Pixilation - Frame-by-Frame Stop Motion: The Guide to Non-Traditional Animation Techniques - page 42

This is a time-consuming, difficult process, because it requires twice the
amount of animation, once for the human figure and once for the animation
of the Polaroid photographs, but the results are fascinating. In this kind of
approach, spontaneity of production can be risky, so planning ahead reduces
that risk. Jordan states:
“I test shoot every idea. I have to work out the technical kinks. I also
storyboard and make animatics to get a feeling for the film as a whole…”
A contemporary, Italian born, graffiti artist/animator, Blu has made several films
that feature paintings on buildings that animate across an entire neighborhood
or urban environment. His animation is often shot in outdoor environments,
where the natural movement of light helps keep his frame active and fluctuating
in exposure. He then adds constant movement to his camera in an erratic fashion
that infuses an energy and freshness to the image. There is an aesthetic choice to
this approach as well as a practical advantage. By moving the camera constantly,
the viewer accepts the active camera and consistent jittery motion, which helps
mask any unplanned exposure, lighting, or camera placement changes. These
changes may occur naturally, due to weather, time, or unforeseen obstacles. This
technique, like most stop motion, is difficult and time consuming, and single
shots may take days or weeks to complete. He can stop in the middle of a shot
at the end of one day and start up again several days later, yet the shift in the
image does not stand out. It is impossible to control external conditions for any
extended period of time outdoors, so Blu's aesthetic and practical solution works
very well. Since the overall frame is so active, Blu creates strong striking graphic
images, like in his 2008 film Muto and his 2010 film Big Bang Big Boom . The eye is
drawn to the constant morphing and moving image and is not distracted by the
highly active overall frame. This contrast and focus of the eye is highly effective.
In both films, Blu moves his images from graphic flat painted images to three-
dimensional forms that may carry some of the painted graphic elements on
them as they move through the frame. Occasionally, Blu appears in and out of
the frame, revealing some of the process of making the actual film.
Fig 3.10 a series of three shots from Muto showing the movement in composition from one frame to the next. Directed by Blu, © 2008.