When watching this short animation by Brazilian animator Diego Akel, you get the distinct feeling he covered a table with clay, turned on some music, and just started messing around while snapping a photo every minute or so, almost like a kid in a sandbox. You wouldn’t think abstract experimentation with clay would result in anything particularly compelling, but in this instance it happens to be amazing. Titled Fluxos, Akel says the piece is “an essay about the constant flows of life, a self-portrait of its own process, an improvise [sic] on Bach, an investigation on plasticine.”
Here’s a fun new music video for ‘Quack Fat’ by Australia-based DJ Opiuo off his new album Meraki. The video was directed and animated by Jonathan Chong of Dropbear who set 240 audio cassettes, 5,600 feet of video tape, 108 floppy discs and 1 retro walkman in motion to create everything you see here. Catchy tune. (via swissmiss)
In this new music video for Son Lux‘s “Change Is Everything,” a montage of singing faces and geometric forms is set in motion with hundreds of pins and rubberized thread moved across the surface of foam boards. The clip was created by The Made Shop who used a mixture of rotoscoping and stop motion to bring Son Lux’s new track to life through 4,000 frames over a period of three weeks. In this making of clip, director Nathan Johnson details the arduous and surprisingly painful process of moving pins thousands of times. (via Quipsologies, NPR)
Built in the late 1880s, Holland Island House was the last surviving structure on an rapidly eroding island in the Chesapeake Bay. The island’s inhabitants were forced from the island in the 1920s, but this one Victorian structure stood for decades as the land around it disappeared. After numerous attempts to save it, the house finally collapsed into the ocean in October of 2010.
In her stop-motion short The Ballad of Holland Island House, animator Lynn Tomlinson shares the story of the house through an innovative clay-on-glass animation technique. Every single frame was painted by hand with clay and photographed, a medium that lends itself perfectly to depicting ocean currents, memory, and the passage of time. Music by Anna & Elizabeth.
It’s not often that a student film gets nominated for an Oscar, but such was the case with Head Over Heels, the graduate film of animator Timothy Reckart that went on to pickup awards and nominations around the world when it was released two years ago. The film tells the story of a crumbling relationship depicted by the visual metaphor of a couple who are pulled by gravity in opposite directions; one lives on the ceiling and the other on the floor. Reckart just made the film viewable online for the first time along with a number of extras including a director’s commentary. (via Colossal Submissions)
Watch as Lego enthusiast Jon Rolph deftly recreates a Piet Mondrian using stop-motion animation. While it may seem like a pretty straightforward idea, the attention to detail here is astounding, even PES was impressed. (via Stellar)
First off: language warning for the kiddos. Stop-motion animator Dillon Markey works on projects for animation powerhouses like Robot Chicken and PES. While on set three years ago Markey tired of moving back and forth between the set, camera, and computers for each shot and conceived of a numerical keypad he could use to help control some, if not all, of the devices he uses for animating.
In a stroke of nostalgic brilliance, he realized Nintendo’s failed 1980 Power Glove—a wearable device that was supposed to offer novel ways of controlling video games—possessed the form factor he needed. While the Power Glove itself was a commercial flop because of imprecise and awkward controls (not to mention crummy games), Markey teamed up with an electrical engineer to completely rewire the device so it could interact with his stop-motion software via Bluetooth. In a move that would make Inspector Gadget proud, he further modified the glove to incorporate animation tools like retractable tweezers and special sensors that emit the perfect phrase when you use the glove for a fist-bump.
One would think such modifications would be interesting for the purpose of making a quick concept video like this, but that in practical application it might not really work. Not the case: he’s now used it for over 1.5 years on projects like this. It makes you wonder what other outmoded technology had the right form factor but wrong application? Film by Ava Benjamin.