The Multiplane Downshooter - Frame-by-Frame Stop Motion: The Guide to Non-Traditional Animation Techniques - page 103

We rented two 35 mm Mitchell animation cameras, which we mounted
on homemade animation stands made from 4 × 4 lumber, plastic gutters,
threaded rods, conveniently sized 8 × 10 glass plucked from picture frames
from a local store and hinged with duct tape, etc. Looking around for
someone who shared our aesthetic to go off and shoot slide sequences of
the other band members, who were scattered around elsewhere, we found
that our friend (like us, usually underemployed) Gus Van Sant was willing to
hop on a plane and returned a few days later with more slides for the Xerox
machine. Many others, most of whom went on to work in our next videos,
participated in the making of this video. We had 28 days from the day we
got the go ahead until it appeared on MTV. We had no idea of the huge
impact it would have. There was no significant postproduction in And She
Was —maybe an hour to clean up something or other. It was all shot under
the camera, images stacked up in layers, one frame at a time. All the lateral
'pan' effects were done either on threaded rod with runners attached or on
repurposed slide rules, as I had done with Suspicious Circumstance .”
Fig 7.11 (Clockwise from top left) Jim Blashfield directs the single frame animation of the protagonist's
levitating legs in talking heads' And She Was music video; a trophy, soon to be surrounded by party
hats and bowling balls, awaits frame-by-frame rotation on one of the many improvised animation
rigs used in the production of And She Was ; a cutter, X-acto knife in hand, separates one of hundreds of
color Xerox images from its background for later registration and re-animation onto 35 mm movie film;
producer Melissa Marsland advances the hinged wings of the “flying 2 x 4” as it is animated onto color
slide film for later Xeroxing.