UNIT 33

S T O P M O T I O N A N I M AT I O N

INTRODUCTION
In this presentation I will:
Define animation and stop motion
Explain Persistence of Vision & Phi Phenomenon
Frame per second in animation
Developers/Development of Stop-motion
Research Contemporary Work
Explore different media that use stop-motion

WHAT IS ANIMATION?
Animation is defined as A sequence of images, that differ slightly from each
other and, when played back in quick succession, will create the illusion of
movement.
Consumes a lot of time
Can become very tedious
Takes a lot of work and patience

The above image shows how the

object changes each frame. They are
still images, but when we play all the
frames in quick succession, we see
the illusion of movement.

STOP FRAME
A very common method of animating. A physical object is photographed,
moved faintly, and then photographed again. This cycle is repeated, and
when all of the images are shown in sequence, the object appears to move.
Claymation is one of the most popular mediums to use, but other materials
are favoured.
Each photo is the equivalent to one frame.

On the set of Wallace and Gromit. This

shows an animator moving the models for
the next shot.

PERSISTENCE OF VISION
Our brain holds light on the retina for around 0.04 seconds, meaning
everything we see it a blend of 0.04 seconds ago and now.
This is an effect that assists animation.
It means the brain will see a sequence of frames as continuous motion if
played at a high frame per seconds.
An example of this is the Bird in a cage
toy. There are two separate images, but
when rotated at a fast enough speed the
images blend together so we see the bird
in the cage.

PHI PHENOMENON
Another theory on how we perceive a sequence of still images.
Unlike Persistence of Vision, this effect causes someone to see movement in
stationary objects, when a series of images is played, our brain fills in the gaps
between these stationary images and applies movement.
Psychologists argue between which of these ideas are real,
or if they influence each other.
This cycle appears to show movement going clockwise
around the circle. However, if we were to slow the
animation down, we would see the dots flashing on and
off on quick succession.

FRAME RATES
The standard frame rate has frequently changed throughout the history of
animation.
At 10 12 fps, the eye can just identify each frame, so most early films used
a frame rate just above this.
When sound was introduced, the new lowest standard was 24 fps, as this
allowed clean and clear audio to be played alongside the film.

This is a comparison of 24 and 60 fps, showing the

significant change in the fluidity of an animation.

PHENAKISTOSCOPE 1831
Created by Joseph Plateau in 1831. Seen as one of the first forms of moving
media.
Flat disk with 8 16 images printed around the circle, each image marginally
different from each other. The disk was attached to a handle so that it could
be spun. A user stood in front of a mirror and looked through a slit at the
reflection.
When spun at a certain speed the images appear to move as fluid motion.
The slits helped stop the images blurring together.
Intended for a single user, as only one
slit could be used at a time.
Image of a Phenakistoscope disk
and what a user would see
spinning the Phenakistoscope.

ZOETROPE -1833
Created by William Horner in 1833, created a another motion device, inspired
and based on Joseph Plateau and his Phenakistoscope.
Also built to allow the eye to perceive movement from a collection of still
images, but with a slightly different design. Instead of a disk, a cylinder was
used.
Images would be placed on the inside of the cylinder drum, will small slits to
look through. The drum would be spun, and the image would appear to move.
This also allowed multiple individuals to use it at
the same time, as there were a collection a slits
all around the circumference of the cylinder
Spinning of the Zoetrope, showing the
animation inside the cylinder drum.

PRAXINOSCOPE 1877
Created by mile Reynaud in 1877 as an improved device based on the
Zoetrope and Phenakistoscope.
Very similar design of the Zoetrope, however, in the centre of the cylinder
drum, he added a set of mirrors, equivalent to the number of images,
reflected the images back at the user.
The mirrors helped created a more fluid motion, and
like the Zoetrope, allowed multiple people to use it
at once.
Showing the animation of a horse and jockey on
the mirrors of the Praxinoscope.

THEATRE OPTIQUE - 1888

Another machine created by Emile Reynaud and was somewhat similar to his
Praxinoscope.
Perfected his design to project an image, and was intended for public
audiences. Pauvre Pierrot was the first animation shown to the public, and
consisted of 500 individually painted frames and lasted for 15 minutes.

A clip of the animation Pauvre

Pierrot. (Translates to Poor Pete)

WILLIS OBRIEN

(1866 1962)

Willis OBrien worked in stop-motion animation and special effects on various

films, and is said to have pushed forward the film industry.
He started his film work in 1914, and his best work consisted of The Lost
World, with animated dinosaurs made out of clay, and King Kong. But he
created a variety of other films in his time.
Most of his films were created for a more mature
audience, as he often featured a significant amount
of violence in his films.
Clip of OBriens King Kong, showing
stop-motion and live action working
together

RAY HARRYHAUSEN

(1920 2013)

Also considered a pioneer for stop-motion animation, he was inspired by the

works of OBrien, and it was his work that made him focus on stop motion,
and eventually came to be his successor.
He worked with OBrien on the film Might Young Joe in 1949.
Eventually he became well know for his work with skeleton gladiators and
mythological creatures, and drew in an older audience
due to the violence in his films.

Showing his use of stop-motion and

skeletons in one of his famous films
Jason and the Argonauts.

TIM BURTON

(C ON T E M P ORARY W O RK )

Tim Burton has worked as a Director, Producer and Screenwriter for a

collection of different films. He started off working at Disney but quickly set
out on his own.
His first short film called Vincent, was a tribute to his childhood idol Roger
Corman, who had a significant influence on him, and this is evident in his film
Sleepy Hollow.
A unique short film twist of Frankenstein, called Frankenweenie grabbed the
attention of Paul Reubens. This granted many opportunities.
From there, he became recognised for his unique blend
of horror and fantasy.
Burtons first short film Vincent 1982, a
stop-motion animation