Since launching early last year the popular video recording app Vine has found itself capturing the height of world conflicts, the candid moments of celebrities, and the whimsical short films of creative artists.
One such person is Twitter video producer Ian Padgham who maximizes the use of every fractional second permitted by Vine’s brief 6-second recording limit. A master of stop motion, he often relies on a small wooden artist’s model which he manipulates to create surprisingly humanistic motion—an extraordinary feat given the linear nature of Vine. Make one tiny mistake halfway through and your recording is ruined. No editing allowed.
Padgham used Vine to shoot everything from 360 degree panoramas of Alcatraz to absurdly detailed nods to Eadweard Muybridge. Flooded with comments from other users as to the animator’s secrets, he’s also shot a few ‘how to’ clips showing some of his techniques. (via laughing squid)
There are some fantastic sequences in this brief stop motion clip by Victor Haegelin of Patator Prod accompanied by music from Professor Kliq. Haegelin relies entirely on bent wire and paper to create everything you see and it’s amazing how fluid all the individual wire strands become when animated like this, wish it went a bit longer. (via vimeo)
Last year I featured a number of amazing gifs from Istanbul-based artist Erdal Inci (previously) who clones sections of video to create hypnotic animated loops. His work has since popped up all over the web and will soon find its way into a gallery space. Above are some of his latest clips depicting numerous copies of Inci himself parading through the frame like a cloned robot army, though he also flashlights to create even more complex effects. If you happen to be in Italy you can catch his work firsthand at Action Gallery in Milano on May 25 and in Naples on May 30.
Montreal-based visual artist Carine Khalife produced, directed, animated this music video for the 2011 track Blown Minded, off the album Shapeshifting by Young Galaxy. The entire clip is comprised of oil paint on glass photographed above from a camera. Khalife explains her process a bit more on her site:
Basically, my technique was to paint on a piece of glass fixed to a light box. I would paint on the glass with oil so that it wouldn’t dry, and I could play with it for hours. A camera, fixed overhead above the animation table and plugged in my computer, would capture my paintings frame by frame and create the animation using the software Stop Motion Pro (the aardman studio software). This process took place inside a dark room so that there wouldn’t be interference or changing lights on the paint. The single light source came from beneath the glass, revealing the textures and details of brushes movements.
I worked a lot with transparency. The more paint, the darker the image, and therefore the animation becomes about gesture, and the texture of brushstrokes; it’s a very physical, organic process. I based the number of frames per second (sometimes 8 sometimes 12) on the rhythm of the music. Everything is based on the rhythm. It was important for me, especially for the abstract parts, that I was responding to the song conversationally; like a running dialogue. I think I’ve listened to the song more than a thousand times. And because i would often listen to it and focus solely on drums, voice, lyrics, or melody – I was still able to hear new things each time.
The film has screened in festivals around the world and Khalife won a Director of Photography award at the Salon International de la Luz. (via vimeo)
Oscillate is a thesis animation made by Daniel Sierra for his MFA at the School of Visual Arts in New York. While essentially an experiment in animation, Sierra says the project was an attempt “to visualize waveform patterns that evolve from the fundamental sine wave to more complex patterns, creating a mesmerizing audio-visual experience in which sight and sound work in unison.” Make sure you view it full-screen, headphones on, you know the drill. I could have watched this continue for twice as long. Hope he got an ‘A’. (thnx, neil!)
Behold the latest work from animator Jake Fried (previously) who works with layer after layer of ink, gouache, white-out and coffee to create deeply textured and truly psychedelic animated shorts. Fried lives and works in Boston where he is primarily known for his painting, but has recently begun focusing on these experimental animations he refers to has “moving paintings,” many more of which you can see on his website.