Stop Motion: Craft Skills for Model Animation, Second Edition (Focal Press Visual Effects and Animation)

265 Pages·2008·9.63 MB·English

by  Susannah Shaw

Stop Motion
dedication
This book is dedicated to my mother, Francesca (1927–2006).
Stop Motion
Craft skills for model animation
Second edition
Susannah Shaw
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Focal Press is an imprint of Elsevier
Focal Press is an imprint of Elsevier
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First edition 2004
Reprinted 2004, 2005, 2006, 2007
Second edition 2008
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ISBN: 978-0-240-52055-1
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08 09 10 11 10 9 8 7 6 5 4 3 2 1
contents
acknowledgements ix
chapter 1
introduction – playing God 1
what is stop motion? 1
nature and caricature 5
what this book is for 7
chapter 2
getting equipped 8
what do you need? 8
choosing a camera 9
lenses 12
animation software/frame grabbers 12
tripods 15
lighting 16
the animator’s toolkit 18
editing/sound 18
glossary 19
chapter 3
getting animated 21
animating familiar objects as a fi rst approach 21
setting up for the fi rst time 22
notes on movement 25
timing: single frame or double frame? 27
squash and stretch 29
the dope sheet/X-sheet 30
planning 32
chapter 4
keep it simple – developing your story 35
idea – script – treatment 35
planning your shots – basic fi lm grammar/composition of shots 38
the storyboard 43
editing – animatics and story reels 47
vi contents
chapter 5
coat-hangers for armatures – making your own model 51
character design 51
working with modelling clays 54
making your own puppet 57
1. simple wire and plasticine puppet 57
2. durable clothed puppet 65
chapter 6
model makers – the professionals 76
the maquette 77
ball-and-socket armature 78
mould making – hard and soft moulds 83
casting 88
coloring 93
costumes/dressing 93
model-making masterclass – ScaryCat Studio and the
Duracell bunny 95
glossary of model-making materials 100
chapter 7
four walls and a sky – sets and props 102
research the look 102
design and building of sets 103
interior sets 108
exterior sets 109
forced perspective 110
making props 111
rigging 112
glossary of materials for sets 113
chapter 8
sound advice – the voice track 114
pre-production 115
recording dialog 116
sound breakdown 117
lip sync 119
music and effects copyright 124
chapter 9
the mechanics of movement 125
studies from observation 125
posing the model 128
timing 129
weight 131
anticipation, action and reaction 134
walking and running 139
contents vii
the illusion of speed 142
animal and bird movement 143
chapter 10
animation masterclass – Teresa Drilling 147
the model 148
on what creates a character 150
fi rst position 150
the extreme downward position 153
on Vinton’s 154
beginning the upward move 154
slowing down at the top of the move 158
settling into the fi nal position 162
chapter 11
the performance 166
character animation 166
comedy and comic timing 169
subtle character animation 173
chapter 12
the production process 176
lighting 177
health and safety issues 180
setting up the camera 181
shooting with a rig 184
special effects – tips and hints 188
fi nal checks before you hit that button 191
interview with Tim Allen 192
glossary 193
chapter 13
post-production 195
timecode 195
the picture edit 196
sound 197
titles and credits 199
exporting your fi nal fi lm 199
chapter 14
getting the job – the business of animation 200
know where you stand 201
different work, different studios 201
commercials 201
series 203
viii contents
TV specials and features 206
applying for jobs 209
your showreel 209
starting out as a runner 210
festivals 210
sending proposals to commissioning editors 211
bibliography 213
appendix 1
software and recording equipment suppliers 215
appendix 2
manufacturers and outlets 217
appendix 3
calendar of animation festivals and fi lm festivals
incorporating animation 221
appendix 4
animation courses that include or specialize in stop
motion, and related organizations and websites 235
index 247
acknowledgements
Thanks to Gary Jackson and Cat Russ of ScaryCat Studio; Tony Guy; Ian Mackinnon,
Peter Saunders and Christine Walker of Mackinnon & Saunders; Barry Purves; Jeff Newitt;
Guionne Leroy; Timothy Hittle; Sara Mullock; Helen Nabarro at the BBC Animation Unit;
Nick Hilligoss at ABC; Ange Palethorpe, Glen Holberton and Emma Bruce at Loose
Moose; John Schofi eld at bolexbrothers; Blair Clark at Tippett Studios; Lionel Orozco of
Stop Motion Works; David McCormick; Helen Garrard; Tristan Oliver; Bob Thorne at
Artem; Anthony Scott; Trey Thomas; Richard Goleszowski; John Wright at John Wright
Modelmaking; Miguel Grinberg (Magpie); Brigid Appleby and Mark Hall of Cosgrove
Hall; Jackie Cockle; Sarah Ball; Barry Bruce at Vinton’s; Nigel Cornford; James Mather;
John Parsons; Brunsdon, Luis Cook, Nick Park, Sharron Traer, Dave Sproxton, Loyd Price,
Gareth Owen, Dan Lane, Tom Barnes, Jan Sanger, Martin Shann, Ian Fleming and Michael
Carter of Aardman Animations; Chris Webster at UWE; Rick Catizone; Chris Grace at
S4C; Chris Hopewell and Ben Foley at Collision Films; Mary Murphy; Teresa Drilling;
Johnny Tate; Tim Allen and Simon Jacobs.
Model making and animation sequences for Chapters 5, 6, 9 and 11 created and ani-
mated by ScaryCat Studio
Model design, sculpt and animation sequences for Chapter 10 (and cover) created and
animated by Teresa Drilling
Model making for Chapters 3 and 10 by Johnny Tate
Illustrations by Tony Guy and Susannah Shaw