Use this space to tell everyone about yourself and your interest in stop motion animation.

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Hi Darin,

Cool - you know what you are in for with titles like that, and it looks like you deliver!  I just watched the beginning of Monster from Bikini Beach, and the bikini girl was there from the start, the monster not far behind, and it didn't take long to get the top off either!

Brett Piper, who's work you would have to be familiar with, drops in here from time to time.  He certainly uses stop motion as part of a mixed approach to creature effects.  These days cgi can become part of that mix too, but I don't like the approach where everything is cgi - I feel cheated somehow, it lacks the "meatiness" of the old school physical effects somehow.  It's just too easy,  to do it all in cgi.  

There's an obvious advantage to the rubber suit/live puppet monster right there on set (even if it is a touch cheesy) but if you need to see things that aren't practical to build and animate in full scale, I think stop motion is still a good option.  (Well, I would think that, as a member of this board!)  It can be a very good match for the full scale claws and tentacles you use on set. It can do things that a hand puppet can't.  In this sort of film, which has to be approached with a lot of good humour and willingness to go along with the gag, even slightly sub-par stop motion can be part of the fun.  But with frame grabbers, motion blur, and digital compositing, it can be animated more smoothly and integrated into the live action a lot better than the stopmo creatures we remember from the heyday of dynamation.  We've seen this high standard in puppet films, and there's no reason it can't apply just as well to creature effects in a live action film.

The job of compositing is much the same, whether it is a stopmo or hand/rod puppet, cgi critter, anything that has to be shot separately. 

The first name to be mentioned as one of those doing this kind of work today should be Ron Cole, a crusader for the return of dynamation style effects.  He has just completed the largest part of the stopmotion scenes for the indy feature Sinbad the Fifth Voyage.   Dave Hettmer and Mark Sullivan were also involved.  Ron is now taking on a creature for another indy feature, Legend of the Golden Fishcake, and I am doing one as well.   You can see some of Peter Montgomery's clips from his productions here in the Video section.  So there are people here who could help with any aspects of how to approach it, and maybe even get involved if you wanted.   Many of us would be attracted to a Lovecraft project.  (The last puppet head I made was a portrait of HPL himself, who will make a cameo appearance in my Poe film.  I'm hoping to get Cthulhu a bit part as well.) 

Anyway, welcome to the message board!  Now I have to go and watch some more of your films...

He STILL IS!

Bianca Ansems said:

Indeed! 

Thanks for the advice Nick. I'll be done shooting very soon and then I'll dive into learning how to make an armature!

StopmoNick said:

Hi Darin,

Cool - you know what you are in for with titles like that, and it looks like you deliver!  I just watched the beginning of Monster from Bikini Beach, and the bikini girl was there from the start, the monster not far behind, and it didn't take long to get the top off either!

Brett Piper, who's work you would have to be familiar with, drops in here from time to time.  He certainly uses stop motion as part of a mixed approach to creature effects.  These days cgi can become part of that mix too, but I don't like the approach where everything is cgi - I feel cheated somehow, it lacks the "meatiness" of the old school physical effects somehow.  It's just too easy,  to do it all in cgi.  

There's an obvious advantage to the rubber suit/live puppet monster right there on set (even if it is a touch cheesy) but if you need to see things that aren't practical to build and animate in full scale, I think stop motion is still a good option.  (Well, I would think that, as a member of this board!)  It can be a very good match for the full scale claws and tentacles you use on set. It can do things that a hand puppet can't.  In this sort of film, which has to be approached with a lot of good humour and willingness to go along with the gag, even slightly sub-par stop motion can be part of the fun.  But with frame grabbers, motion blur, and digital compositing, it can be animated more smoothly and integrated into the live action a lot better than the stopmo creatures we remember from the heyday of dynamation.  We've seen this high standard in puppet films, and there's no reason it can't apply just as well to creature effects in a live action film.

The job of compositing is much the same, whether it is a stopmo or hand/rod puppet, cgi critter, anything that has to be shot separately. 

The first name to be mentioned as one of those doing this kind of work today should be Ron Cole, a crusader for the return of dynamation style effects.  He has just completed the largest part of the stopmotion scenes for the indy feature Sinbad the Fifth Voyage.   Dave Hettmer and Mark Sullivan were also involved.  Ron is now taking on a creature for another indy feature, Legend of the Golden Fishcake, and I am doing one as well.   You can see some of Peter Montgomery's clips from his productions here in the Video section.  So there are people here who could help with any aspects of how to approach it, and maybe even get involved if you wanted.   Many of us would be attracted to a Lovecraft project.  (The last puppet head I made was a portrait of HPL himself, who will make a cameo appearance in my Poe film.  I'm hoping to get Cthulhu a bit part as well.) 

Anyway, welcome to the message board!  Now I have to go and watch some more of your films...

hyello, i am Scott from Auckland, New Zealand.  i've loved stop motion since first seeing sinbad reruns on a sunday morning back in the 80s.  there is something about the at times slightly clunky nature of SMA, and it is nice and tactile/physical.  i do find it quite strange watching things like thomas & friends or bob the builder where you no longer have to imagine them talking as their mouths actually work now.  And yes i do watch those even when the kids are not home...  As far as my interest now i have ideas in my head that need to come out, and i like the idea of using SMA as a conduit.  It remains to be seen whether I can actually do anything, or whether i will have to enlist the talents of other people.    fun fun.

Hey guys, I joined this site in hopes of getting put in the right direction in making stop-motion movies. Animation has been a long-time dream of mine for a long time, and this is something I've always kind of had an interest in. 

Hello everyone. My name is Jonathan Franks and I currently live in Salem New Hampshire, 45 miles from Boston Mass. I have always been interested in film, especially stop-motion. Currently I am campaigning for my second stop-motion film called Manufactured Love. It is a cross between Pleasantville, Wall-e  and Edward Scissorhands. Here is the Link to my Kickstarter page. I hope you enjoy the concept art and the direction of the piece. Anyways, I will use this site to update everyone on the process of the short. If anyone is in the Northeastern part of the country and would like to be apart of the film let me know. I can see what I can do. www.tinyurl.com/heartrobots. Thank you.

Hi just got here. my name is andre from sao paulo brazil, im a aspiring 3d modeler, currently i work as sound designer/producer and dj, but always dreamt about producing stop motion. Glad i found this amazing place to seek knowledgge and advice. Time to start studying

xD

I am really here to learn, so that I can help out my kids and the neighbour's kids.

Hello! My name is Bobby Murray and I'm a children's pastor at Victory Worship Center in Sulphur, LA. I've been doing research into various avenues of animation and am really fascinated with StopMo. I'm wanting to make fun short films for children as a teaching tool, as I'm having a difficult time finding good "Christian" entertainment for our older children. Quite honestly, they're burned out on Veggie Tales. At any rate, I'm trying to learn the nuts and bolts of animation (and become a better illustrator to boot!) Fortunately I have access to a lot of the things I'd need for StopMo, which is why I'm leaning more in this direction than the traditional animation route. I hope to make some great contacts on this site and others like it!

Hello all,
My name is Carolyn. I am a grad student at RIT working on my stop-motion thesis project. I'm hoping to find a wealth of information here to help me become a better fabricator and animator. I actually started out pursuing an illustration degree in undergrad with an eye towards working in comics or graphic novels, but one intro to animation class sparked an interest in this dynamic brand of storytelling and I was hooked like so many others. =)

Hi there, I'm Heidi from Melbourne, and I've only just discovered the brilliance of stop mo Nick.  For about a year I have had a thing about sculpture illustration and two months ago had a gallery exhibition of my work.  Everyone kept asking me why I was not turning my work into stop motion films, and I had to ask myself that question.  The answer was that I found it kind of intimidating.  I've suddenly realised that not only do I want to get into stop motion, I NEED to get into it!  So I'm here to get over my fears and get inspired by you brilliant folk.

Nice to meet you.

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Puppet Putty

Puppet Putty is formulated by clay animator Don Carlson. Properties include colors that do not bleed on your hands, a matte finish, cleans up with water, is very light weight, firm, non-greasy and has a silky texture.

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