Pixilation - Frame-by-Frame Stop Motion: The Guide to Non-Traditional Animation Techniques - page 33

To overcome this effect of internal energy, the expressions of a human subject
need to be bold and powerful. The eye is drawn to the strong expression and
becomes less concerned about the constant vibration of movement, which
can be a potential distraction. Once you understand this principle, you can
experiment with variations of expression and constant movement. Lindsay
Berkebile, a young filmmaker in the New York area, puts it this way:
“In my film MEAT! I took a simple concept and used the stylized movement
pixilation provides to my advantage. The movement is exaggerated; the
facial expressions are pushed to the limit and place an audience at an
uneasy state. The movement, especially in this piece, is very controlled
for pixilation. There are a lot of pauses, silent moments, and breaths
throughout the film. However, the stillness still has a vibrating life to it,
which I feel gives the film a sort of chaotic life amongst silence.”
In my own 2009 film Off-Line , I wanted to animate a real human arm and hand
pressing a microwave Start button. I wanted a slightly affected movement,
but I desired a more fluid live-action approach to the movement of the hand.
I ended up making a support or rig to hold the human subject's arm so I
could control the movement. If the support were not there, then the inward
movement of the arm would have been less direct and effective.
Fig 3.2 tyler gasek with arm
support rig, Off-Lin e, 2009, tom
gasek.
So setting up rigs, using predetermined staging marks, and designing the
look of a character through makeup and strong expressions can add a whole
other layer to your pixilated film.