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This is cool, check out this animation worthy of Halloween and I must add, I wish I could do this to my room!
Lucía remembers the summer in which she fell in love with Luis. The furniture within a bedroom is shaken and destroyed, meanwhile the charcoal Lucía appears and vanishes on the walls.
Dirs: Cristóbal León, Niles Atallah and Joaquín Cociña / Chile / 200
This month on SMW we would like to shine the spotlight on one of our favorite stop motion creators, Kyle Roberts who has brought us the amazing stop motion battle between Batman and the Iron Man and also the dancing styles of Wall-E Meets Micheal Jackson!
Kyle Roberts has proven himself with amazing talent and creativity. Now in SMW we are extremely proud to announce his new upcoming project “The Battle Of The Bonds.”
We came across Kyle when we were looking for great videos to be posted on our blog so we are excited to see what he has in store for us next. He didn’t want to give away too much but there will be over 20 12″ figures in this short film over 10 limited edition Bonds, and a one of a kind Daniel Craig head shipped from Singapore! We’ve also got our own Bond esque theme song produced just for this project! When ever asked about why he does his projects he says “I admit I’m a nerd.. and like to make nerdy things cool!”. Well we are all glad you enjoy nerdy things for sure!
Reckless Abandonment Pictures is an independent motion picture company located out of Oklahoma City Oklahoma.
The spot has a very hands-on look, how much is in camera vs. post?
All of the spot is in-camera on a multi-plane table in sequence. The characters are either paper or clay. All of the backgrounds are painted. Even the natural elements, like clouds and stars, were a layer of animated paint shot in-camera. Because of the way the transitions worked from one thing to the next, we had to be careful because there wasn’t any time to start over, really. The only shot that isn’t fully in camera would be the mouse shot that we mirrored for the clone effect.
Any fun stories from production? Did you guys shoot an actual mouse?
During the animation, the studio was taken over by a couple rogue mice. It almost got us kicked out of the studio by the landlord. We tried to catch one of them for the mouse shot, but we couldn’t get our hands on the sneaky bugger. After that, we tried a few different animated mice. In the end what ended up working is walking down to the pet store and dropping two bucks on some mice.
We tried to shoot it on green-screen, but ended up building the shot around the mouse in his little plastic house. The thing about mice is they don’t like to stand still at all. Especially when you’ve got lights and cameras up in their business. We had to shoot for a couple hours to get the right moment. I hope the mice enjoyed their vacation from the pet store! I worry they may fall prey to snakes someday.
What was the brief or was it an open brief? How long was production?
The script was great. We tried out some techniques, and off to the races we went. The majority of the production took about three weeks once everything was approved.
Check out this great paper stop motion by Aziz Oulhiyane, great work and love the character design.
Wow Barbies can be extremly mean! Cool video made by Alex Heller, lot of detail and goes great with the music. Hope you guys enjoy this and please let us know what you think of those Barbies.
One lonely doll’s desperate attempt to be accepted.
1554 pictures, shot with Nikon D60
Festering Features 2010
You guys will love it, well at least I hope you do. When 2 amazing mediums get together the results are amazing, just look at how cool this video is. I love it from the music, to the way it was shot to the way 2d was integrated, I really hope you enjoy this.
To check out more amazing videos please visit http://cargocollective.com/crcr/
With over 60 international films, the Montreal Stop-Motion Film Festival captures tactile filmmaking frame by frame
Like a puppet show in a condemned building, or a circus in a deep, dark forest, stop-motion animation mixes the magical and the mundane, the fantastical moved by the human hand. The second edition of the Montreal Stop-Motion Film Festival captures that spirit in three days of big-screen programming for die-hard fans, the curious and the compelled.
“It blows everyone away trying to understand that someone gave life to these objects – and then you forget about the technique and let yourself go into the story,” says festival manager, filmmaker, Concordia University film instructor and all-around stop-motion enthusiast Erik H. Goulet.
He’s paired the screenings with an expanded conference section featuring a master class by the amazing British filmmaker Barry JC Purves, who will also screen some of his films, including Next, the complete works of Shakespeare in five minutes. Alongside Denis Wolff and director Patrick Péris, Goulet takes us behind the scenes of La Famille Sac à Papier, at the festival in its North American premiere.
The typical stop-motion animation process – long hours and incredible attention to detail – hasn’t changed much over the years, but new, inexpensive digital cameras and software have let the low-tech, hard-work charm of the medium shine through outside of professional studios. While the juried festival divides stop-motion into professional, academic and independent categories, the quality of work is often comparable across all three.
Among the 27 films
in the academic screening is Belgium’s L’Oeil du paon, an 18th-century tale of such high quality that Goulet had to personally confirm that it was made by a student. Fred, a performance piece about a fed-up clown from U.S. filmmaker Misha Klein, sets one of many tones for the independent entries. Among the professionals is the haunting The Twin Girls of Sunset Street, from Spanish duo Marc Riba and Anna Solanas.
Goulet does strive to balance the less family-friendly films with animation that kids love. “I really wanted to give a sense of the magic of going to the theatre with the family,” he says of the addition of 10 a.m. screenings.
Check out this amazing video, really beautiful work hope you enjoy it!
La Sonnambula (The Sleepwalker), is the namesake of the 1831 Italian opera by Bellini. Set in a pastoral village, the opera follows the love relationships of a group of characters, one of whom is plagued with somnambulism, or sleepwalking.
I derived the imagery for the drawing stop-motion animation from the 1969 film, They Shoot Horses, Don’t They? which was adapted from the 1935 novel by Horace McCoy.
Erin Sickler:
“In the stop-motion animation La Sonnambula (2010, sound by Christopher Ryan Spence), Iglesias appropriates the 1969 film starring Jane Fonda, They Shoot Horses, Don’t They?, which measures the desperation of the young and jobless who participated in the exploitative dance derbies that were popular during the Great Depression. For $1,400 in prize money, competitors danced for weeks on end, resting only 15 minutes every two hours, eating on their feet. In the film, the drama is heightened when the organizers stage an elimination race, forcing the exhausted couples to run around a track and removing the last three to cross the finish line. One man dies. Others go insane. After thousands of hours of dancing, Fonda’s hard-edged character Gloria and her partner Robert learn that even if they manage to win the prize, they will have to pay for their food and lodging. With nothing to gain but a few dollars, they drop out of the competition. Gloria begs Robert to shoot her, which he does. When asked by the police why he did it, his only answer: “They shoot horses, don’t they?” Distilling the frames from one racing scene into hundreds of drawings and compiling them together as a new film, Iglesias painstakingly renders the dancers’ suffering, acknowledging the choicelessness of poverty and desperation.”
From Bogota to Los Angeles, Plastilina Creativa is a group of animators specializing in commercials, videos, shorts and animation for tv, as well as educational books and their own projects.
I was extremely happy to learn from this very creative group of talented animators and see some of their great work. They have also helped us by sharing one of their tutorials “How to Make a Stop Motion Commercial” that now we have on our tutorial page. So I hope you enjoy their work as much as we do. Thank you Plastilina Creativa and we continue looking forward to see your work.
Check out Plastilina Creativa’s website http://www.plastilinacreativa.com/
LONDON, October 22, 2010 | SHOOT Publicity Wire | — Production company and design studio Brand New School London (BNS, www.brandnewschool.com) is very proud to announce its role in designing and directing a 30″ promo trailer and additional visual content for advertising agency Fallon’s campaign promoting the BBC Radio 2 Electric Proms.
Radio 2′s Electric Proms is dedicated to creating new moments in music. Created under the direction of Fallon’s executive creative director Augusto Sola, art director Gary Anderson and copy writer Tony Miller, the innovative stop-motion trailer directed by BNS’s Jonathan Notaro and Mario Stipinovich debuted yesterday on the BBC. The trailer promotes this year’s Electric Proms performances from Elton John, Robert Plant and Neil Diamond, taking place from Thursday, 28 October, until Saturday, 30 October at the Roundhouse in London.
“This is always such an exciting event, and we are always really thrilled to be part of it,” said Fallon CEO Gail Gallie. “The campaign captures all of that excitement in a really fresh and original way.”
“We were thrilled to be asked by Fallon to submit a treatment for this amazing, high-profile project, and then to be awarded the job” began Kayt Hall, executive producer for BNS London. “The main idea behind the script was creating the faces of these iconic artists from actual pop memorabilia. We could not be happier with the results: It plays to all our strengths – strong design, great animation, and an end product that everyone is delighted with.”
As Notaro explained, “In keeping with the agency’s sentiments, we proposed producing the content practically through stop-motion animation, knowing that making physical objects move together to create readable portraits would give the idea the payoff and spectacle it deserved.”
Planning for the ambitious production involved gathering, and in some cases, producing, props of the proper scale, anticipating that each face would be approximately 6 metres wide when assembled. Over the course of six days on a set in East London, in close collaboration with director of photography Toby Howell and using a Canon EOS 5D Mark II with Milo and Juno motion control rigs, the crew hand-animated the prescribed actions in reverse order (beginning with the final collages), capturing each sequence completely in-camera with single takes. The project was finished in Adobe After Effects at BNS London’s studio.
In addition to Notaro, Stipinovich, and Hall, credits for BNS London also include producer Kat Harrison, lead animator Andy Biddle, art director Andy Kelly, editor Jamie Foord, compositors Cassiano Prado and David Pocull, and rotoscope artist Rebecca Clay. Audio post is courtesy of Wave.
