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Frame by Frame Stop Motion: NonTraditional Approaches to Stop Motion Animation, by Tom Gasek
Download PDF Frame by Frame Stop Motion: NonTraditional Approaches to Stop Motion Animation, by Tom Gasek
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In a world that is dominated by computer images, alternative stop motion techniques like pixilation, time-lapse photography and down-shooting techniques combined with new technologies offer a new, tangible and exciting approach to animation. With over 25 years professional experience, industry veteran, Tom Gasek presents a comprehensive guide to stop motion animation without the focus on puppetry or model animation. With tips, tricks and hands-on exercises, Frame by Frame will help both experienced and novice filmmakers get the most effective results from this underutilized branch of animation. Practical insight and inspiration from leading filmmakers like PES (Western Spaghetti Creator, Time Magazine's #2 Viral Video of 2008), Dave Borthwick, of the Bolex Brothers and more! The accompanying website will include further content driven examples, indexes of stop motion software, a recommended film list and tools and resources for the beginner and intermediate stop motion artist, animators and filmmakers.
- Sales Rank: #226583 in eBooks
- Published on: 2013-01-17
- Released on: 2013-01-17
- Format: Kindle eBook
From the Back Cover
In a world that is dominated by computer images, alternative stop motion techniques like pixilation, time-lapse photography and down-shooting techniques combined with new technologies offer a new, tangible and exciting approach to animation. With over 25 years professional experience, industry veteran, Tom Gasek presents a comprehensive guide to stop motion animation without the focus on puppetry or model animation. With tips, tricks and hands-on exercises, Frame by Frame will help both experienced and novice filmmakers get the most effective results from this underutilized branch of animation. Practical insight and inspiration from leading filmmakers like PES (Western Spaghetti Creator, Time Magazine's #2 Viral Video of 2008), Dave Borthwick, of the Bolex Brothers and more!
Spot potential problems and avoid pitfalls of non-traditional stop motion techniques, and adapt creative solutions for your own projects and develop professional techniques as well as strengthen composition styles. Frame by Frame presents a creative toolset of cinematography and lighting techniques and equipment setups. Further technique based tools, finalized examples and tutorials for further artistic skill development is only a mouse click away at the companion website: http://booksite.focalpress.com/companion/9780240817286/
Amplify your animations with this fresh and unique look at alternative stop motion techniques! Add alternative stop motion techniques to your projects with acclaimed professional stop motion tools, techniques and strategies while standing out amongst the plethora of traditional stop motion videos.
- Re-visualize stop motion character movements, build downshooter rigs, and configure your digital workflows with After Effect tutorials while creating dynamic, creative and inspired stop motion films.
- Apply professional stop motion techniques that have been taught and refined in the classroom and have been applied to leading stop motion films, exhibiting at South By Southwest, Cannes and more!
About the Author
Tom Gasek has over twenty-five years of award winning stop motion animation production experience as an animator and director, having worked with directors like Will Vinton, Art Clokey and Henry Selick. At Aardman Studios, he contributed Nick Park' s Wallace & Gromit short, "The Wrong Trousers.” Gasek co-directed and animated, "The Inside-Out Boy” (Nickelodeon), which is a part of the permanent collection at the Museum of Modern Art in New York. Most recently, Tom has worked on Aardman's "Creature Comforts America”, Sony Bravia's "Play-Doh”, and Laika's "Coraline.” Tom is currently an assistant professor at the School of Film & Animation at Rochester Institute of Technology.
Most helpful customer reviews
7 of 7 people found the following review helpful.
an excellent book about "non-traditional" animation
By Thomas M. Sipos
This book bills itself a "guide to non-traditional animation techniques," by which the author means pixilation, time-lapse photography, and downshooting material other than cartoon cels (e.g., clay, sand, collages, cutouts, -- or anything else). This book excludes "traditional" animation, such as cartoon cels and CGI.
By "cutouts," think of Monty Python or early South Park (which eventually moved over to CGI, while maintaining the "cutout look"). Yes, if you want a book that covers "cutout animation," this book is for you.
Actually, the techniques covered in this book are far older than CGI, so it's really a book about traditional, but less popular, animation techniques.
The book's coverage of "non-traditional" animation is extensive. It begins with an an overview of the history of film and animation, with references to the Lumiere brothers and Georges Melies.
I'm no animation expert, and I was surprised to learn about all the issues that an animator faces.
Much of this book deals with technical issues, such as lighting, cameras, and lenses. When downshooting three-dimensional materials (e.g., sand, clay, collages, cutouts), shadows are a potential problem. Your camera is "facing" characters head-on, so you must beware of shadows coming in from the side. This book will advise you on how to set up your lighting gear.
Low-budgeters will find useful tips. Professional animation stands are expensive, but apparently, many animators get good results from jerrybuilt equipment. This book will teach you about cheap tricks that work.
I learned about lenses I'd never knew existed. For instance, the "tilt shift" lens. This lens tilts out at a diagonal angle, which tilts its focal plane (the area that's in focus). So rather than the background or foreground being in focus, you might have the left background and right foreground in focus.
This is useful if an object is moving from the left background to the right foreground, over an extended period of time (hours or days), and you don't want to sit by the camera all that time, forever adjusting its focal length. As you can imagine, the (very expensive) "tilt shirt" lens is popular in time-lapse photography.
Although the book covers "non-traditional" animation, it's not stuck in the past. Digital cameras and computer programs are covered.
If you want to do time-lapse photography right, you'd either need an intervalometer (which times the shutter release) -- or you can use Dragon Stop Motion software (or a similar computer program).
The book also covers aesthetic issues, such as pacing and the use of music.
Business, marketing, and distribution is also covered (e.g., film festivals, Withoutabox, copyright, and marketing on the internet).
The book is written in easy-to-understand (non-pretentious) prose, lucidly explaining sometimes complex issues. Appropriately, it's heavily illustrated to further clarify its points.
The author, Tom Gasek, is an award-winning animator. He's worked with Art Clokey and Nickelodeon, among many others. His work has appeared at New York's Museum of Modern Art. He is an "assistant professor at the School of Film & Animation at the Rochester Institute of Technology.
9 of 10 people found the following review helpful.
Good introductiory manual for beginning animators
By Michael J. Edelman
There's a lot to like about this book. The text is first rate, which is not surprising, as the author has over twenty-five years practicing these techniques, and teaching them as well. He takes a lot of his examples from the work of well-known animators; there are frames from the word of Terry Gilliam and Aardman Animation, as well as many other lesser-known (but no less influential) animation artists and studios. And while the text isn't really that heavy on the mechanics of animation from the camera end, there's a good overview of modern technology, including the use of DSLRs, and even cellphones, as in the discussion of the making of the "Dot", the world's smallest animation, that was done as an ad for Nokia.
Most of the book is devoted to the actual mechanics of animating, be it clay figures, cutouts (a la JibJab and South Park), pixilating humans or whatever, and that's as it should be. Technology changes, and what's cutting edge in 2011 may be obsolete in a year or two. There is a treasure trove of real, practical information on how to construct and manipulate animated figures, as well as plans for a simple and very practical downshoot animation stand. Another topic that's given a good treatment is one that's often neglected- lighting. Real photographers and cinematographers understand that controlling light is the key to creating images, and this book does an excellent job of explaining the use of light in photography in general, and in animation in particular.
What particularly appeals to me about this book is how animation technique is discussed as the means to an artistic end. Pixilation, the author reminds us, can easily create an air of slapstick, but it can also be used for dark and serious settings, if the animator understands how the lighting, packing, timing and other factors contribute to creating the desired mood. There's an entire chapter devoted to what the author calls "rhythm and flow."
The last section of the book is a series of seven projects for the novice animator to undertake that cover the range of techniques discussed earlier in the book. None require anything more than a camera, a tripod, and a table (and of course digital editing software) to create, and I suspect any of them could be done with a cellphone and duct tape as well. Rather than a shooting script, the author gives you a basic outline, discusses the techniques needed to create the images, and encourages the reader to be creative, and extend the projects in any way they like.
While this is a very good book, it does a have a few shortcomings, though none of them should be sufficient to discourage the would-be animator from buying a copy. First, while the layout is very attractive, as is the case with many photo books it appears that the emphasis was more on making an attractive layout that a useful one. How else to explain the huge margins and tiny sans-serif type? All that whitespace could have been put to good use by filling it with larger, more readable type, or larger illustrations. A more substantive objection I have is the author's concentration on the use of the DSLR as the only animation camera being discussed. One of the exercises begins with the statement that it requires a DSLR, "like a Canon 5D or a Nikon 7000." While DSLR's are an extremely flexible system for animating, and a necessity for theatrical quality animation, they're not the only way. Everything discussed in the book could easily be done with an inexpensive webcam as well.
There are also more than a few technical errors here, mostly in connection with the discussion of equipment, and most are inconsequential. A, autotransformer is shown, and described as a "rheostat. "The Four-thirds digital imaging standard description has a number of errors. The claim that "all dslr cameras come with battery and power adapter options" is just plain wrong. Again, annoying, but inconsequential so far as the discussions of animation technique are concerned.
So yes, some annoyances, some shortcomings, but overall a good introduction to the techniques of animating two and three dimensional objects. Read it along with a good book on the mechanics of animating from the camera end.
4 of 4 people found the following review helpful.
The five thousand foot view
By Personne
We live in a golden age of animation. Whether it's the beautifully inviting world of Pixar or the whimsy of Pes, we see many non-realistic images that capture our imaginations. Most of us know a couple of forms of animation. We certainly know the cel style of classic Disney or Warner Brothers. We may know the intensive model work of Ray Harryhousen. But there are many other ways to create a moving image, and they are the focus of this introductory manual.
Tom Gasek knows and respects his animation history, and many of the techniques he explains have their origins a century ago. He takes some time explaining how it was done once, but he's much more interested in showing how it can be done now. Expensive film cameras have been replaced by affordable DSLRs; flatbed editors have been replaced by powerful software. Each technique has its own distinctive look. Pixilization is the stop-frame motion of real people and objects. It has a jittery look, familiar to those who know the Peter Gabriel 'Sledgehammer' video. Simple household objects can be made into a beating heart (red bell peppers) or a campfire (candy corn). The strangely hilarious animations of Monty Python are made from simple paper cutouts.
Gasek has a basic chapter on each technique. It's enough to get started, requiring only hundreds of hours on the part of the reader to make a product. There are also chapters of more general importance, covering lighting, lip-sync and so on. Any budding animator will want public exposure of her work, so there's a chapter on finding your way to a film festival. There's more than a little homebrew in this art, even at high levels, and Gasek gives some examples of making support armatures, shooting platforms and so on. The key to success (or at least the avoidance of failure) is planning, and Gasek shows how storyboards and other shot-planning methods can save pain. And at the end are seven exercises--focused projects that you can do for yourself.
Tom Gasek never promises more than he can deliver. This top-level survey of methods may point the way toward fulfilling an idea that's in the reader's head. But in many ways, he underscores the importance of story. All of the chops in the world can't save a film that doesn't draw the viewer into caring about the characters. But if the germ of an idea is there, the reader is shown a way forward. I've done some short video work myself, but little involving any sort of animation. It's sobering to see the amount of work required for even a few seconds, so I can't say I'll be spending much time actually exploring these methods. But at a minimum, I'll know more about what I'm seeing and how it was accomplished. It's nice to have an idea how it was done.
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