Stop Motion Animation

Stop Motion Animation

Stop-Motion or Stop-Frame has existed as a form of animation for many years, but it is only more recently, and with advances in technology, that some of the production processes have changed. Animation of any sort consists of moving an object and taking a photo (known as frames) then repeating the process, with every 24 frames equating to a second of on-screen time. This finished product then creates the Illusion of Movement.

Animation films themselves have gone through many stages prior to being split into the 3 main categories we know today: 2D/Cel Animation, Stop-Motion and 3D/Computer Generated Animation. A number of devices provided people with a way to create and view short animations with the most well-known being William Horner’s Zoetrope. However, in 1895 the Lumiere Brothers introduced the Cinematograph, the precursor to the film camera. Through physically winding film, users of the device realised they were able to control the number of frames they could shoot on. One such person was George Méliès, a stage magician who began using the camera to create films that contained simple visual effects such as people vanishing or objects changing. This was achieved by stopping the camera, altering something within the scene, then continue with filming.

Following from using this technique for his stage shows, he went on to create films such as Le Manoir du diable (1896) and Le Voyage Dans la Lune (1902). Méliès was one of the first to realise the potential of stop-frame filmmaking and others began using it as a way to create animations such as J. Stuart Blackton and Albert E Smith’s The Humpty Dumpty Circus (1898), cited as the first Stop-Motion film and Ladislas Stravich’s The Beautiful Lukanida (1912), the first puppet-animated film.

The technology used to capture stop-motion has come a long way since the initial invention of the camera. Digital single-lens reflex (DSLR) cameras can now be used to create individual high-quality images for each frame. The camera lenses can be interchanged to allow animators to capture intricate movements and fully emulate the shot types we see regularly in live-action films. This can include automated rigging that allows animators to create smooth tracking shots by adjusting the camera position in each frame. Software such as Dragonframe now allows animators to adjust the camera without physically touching it as well as quickly reviewing the frames captured and identify how many are required for a specific motion.

This is a unique website which will require a more modern browser to work!

Please upgrade today!