Tag Archives: stop motion

Ballpoint Barber: A Stop-Motion Reverse Haircut by Peter Simon

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The ludicrous battle of haircut/shaving videos continues with an new stop-motion short from Peter Simon that was inspired by an old magnetic Wooly Willy toy. Simon previously created a video called Trim back in 2011 which might have been inspiration for Ben Garvin’s Magic Beard last month. Do we have a new genre on our hands? Music by Paul Otteson.

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Magic Beard: A Stop-Motion Video of Amazing Beard Tricks by Ben Garvin

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Minneapolis-based photographer Ben Garvin just released this wacky video of stop-motion beard tricks called Magic Beard. Garvin shot the entire video on an iPhone and used an app called Stop Motion Studio to stitch it all together. Colossal takes no responsibility for how ridiculous this is. If you liked this also check out Trim. (via Laughing Squid)

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Paper Stop Motion Teaser for the Human Body Anatomy App

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The Human Body is the first release from design studio Tinybop as part of their Explorer’s Library series that seeks to “help children develop a foundational understanding of the world.” The immersive anatomy app for kids features some great artwork work from illustrator and designer Kelli Anderson who created 200+ illustrations of bones, veins, muscles and other components that comprise the interactive environment as well as the stop motion video above. The app is extraordinarily well conceived and designed, every attempt to pry the iPad out of my son’s hands so I can actually try it myself have failed. Get it here. (via Kottke, Swissmiss)

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Brock Davis Turns His Clever Visual Jokes into Stop Motion Shorts on Vine

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I was excited to discover that mixed media artist Brock Davis (previously) recently joined Vine and started making some fantastic little animated shorts in his clever minimalist style. Definitely worth a follow.

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Animator Ian Padgham Flourishes Within Vine’s 6-Second Recording Limit

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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)

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Stop Motion Wire and Paper Music Video by Patator Prod

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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)

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Blown Minded: A Painted Music Video for Young Galaxy by Carine Khalife

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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)

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