Frame-By-Frame Stop Motion The Guide to Non-Puppet Photographic Animation Techniques

Acknowledgments

Introduction

Chapter 1: What are the Possibilities?

Creating Magic

Silent Films

Stop Motion and its Various Faces

Chapter 2: Shooting Frame by Frame

Technique to Serve The Idea

Pre-Production

Setting Up

Equipment

Software

Chapter 3: Pixilation

Take Advantage of the Medium

Who is the Director?

Humor

Shooting on Two’s

Animation Principles

The Moving Camera

Critique 1- OMOZOC

Chapter 4: Time Lapse

The Intervalometer

Expand your Awareness

Understand Your Subject

Contrast

The Time Lapse Formula

Time Lapse & Pixilation

Shutter Speeds

Motion Control

Chapter 5: Cinematography, Lighting and Composition

Cameras & Lenses

Manual Controls

Controlled Lighting

Shadows

Compositional Beginnings & Ends

Zooms, Tracks, Pans and Tilts

Animated Lighting

Shooting Formats

Chapter 6: Objects, People & Places

Objects and Rigging

Organic and Non Organic Objects

Demanding Work for the Actor

The Actor as Animator

Outside and Inside Shooting

The Studio

A Shooting Safe Zone

Critique 2 – dina Amin

Chapter 7: The Multiplane Down-shooter

The Traditional Animation Stand

A Stand of Your Own

Lighting for the Down-shooter

Working on Glass

Clay, Sand, Dimensional Objects

Cut Outs

Background

Green Screen

Chapter 8: Collage (The Digital Advantage)

Planning a collage

The Rotoscoping Function

Match Lighting

Photoshop

Cleaning Rigs

Multilayering in After Effects

Chapter 9: Visual Rhythm

Let the Music Lead

The Effects of Sound

Tight Cutting

Patterns of Movement

Consistent Movement

Frame Rates

Critique 3 – Kevin Parry

Chapter 10: A Sense of Drama

Live Action and Single Framing

Subtle and Broad Performance

Reference Filming

The Cartoon

The Wide Angle Lens

The Close-Up

Body Language

Chapter 11: Massaging Frames in the Edit

Pulling Frames

Duplicating Frames

Shooting for Post

Post Up Front

Mixing in Live Action

Matching for Composite

Effects Practical & Post Generated

Reverse the Playback

Chapter 12: Off to the Market

Now what ?

Record & Archive the Process

Venues for “Experimental Techniques”

Websites and the Internet

Festival Exposure

Ownership

Critique 4 – Tom Gasek

Biography

Tom Gasek is a Professor Emeritus at Rochester Institute of Technology (RIT) where he taught in the School of Film and Animation for 19 years. He worked as a professional director and animator for 26 years prior to teaching with animation credits that include Aardman Animations’ The Wrong Trousers and Chicken Run as well as Laika’s Coraline. He operated several small studios of his own including the award‑winning, Sculptoons in San Francisco. Gasek is a Fulbright Specialist and wrote the only book on "non‑puppet stop motion." He just completed his third independent film called 4 @ 60, which includes "non‑puppet" stop motion techniques.

“This book is a wonderfully inspiring, accessible and thorough guide to a number of techniques that have been seldom written about or charted before. It is an essential manual for any student, professional or creative person who has ideas - and wants to be encouraged with a sense of “I could do that” – and wants to get their ideas out there. I just wish this book had been written when I was a student of animation (I still am, so I will buy it anyway).” -- Nick Park, Academy Award winner and creator of Wallace and Gromit.

“A must-have book for any animator’s library. Frame by Frame is a reminder of all the magical possibilities animation has to offer and all you need is a camera and an idea.” -- Jim Capabianco, Filmmaker / Director of “The Inventor”

“Tom’s extensive experience as a stop motion animator, combined with his knowledge of the field and his natural teaching ability, make this book a clear, well-organized, and empowering introduction to stop motion animation. This book will be an invaluable resource for student and teacher alike.” -- Steven Subotnick, animator, educator and author of Animation in the Home Digital Studio

“In the digital age it pays to remember that innovative ideas can still be inspired using even the most basic techniques. This book is a timely reminder that a rewarding process depends as much on ingenuity as it does on facility.” -- Dave Borthwick, animation director, Bolex Brothers