Touchedoutofframe

2010-08-06T05:29:00.000-07:00

OFFF Paris 2010 Sponsors titles from Julien Vallée on Vimeo.

http://www.jvallee.com/index_jvallee.html

2009-10-21T18:02:00.000-07:00

Some more videos I have been playing with.
I like the weird facial twitching but I would like to make it so that you cannot see my shoulders going up and down. I know I could do it, frame-by-frame, but definitely not in the amount of time I have left(A week..)

I know this doesn't really work like this, but if I was going through frame-by-frame and adding this type of mask, then doing the fake motion-track like I did in the previous video.

2009-09-10T19:51:00.000-07:00

hah done!
finally.

I will hand in some sound trials with my (small) physical workbook.

2009-08-30T14:49:00.000-07:00

Part-way through editing.

There is an feature in after effects which can be used to do something similar. The computer version is far quicker and you can walk away and leave the computer to it, but you end up with a fairly shiny looking mechanical version.
Of course going through by hand and lining it up frame-by-frame is better. Tedious and soul-destroying, but better. I think you can see that it has been done by hand rather than getting a computer to do it.

Computerised motion-tracking with a few seconds of the original footage at the end.

2009-08-27T20:08:00.000-07:00

Some in-progress shots that i'm getting quite attached to.

2009-08-17T18:54:00.000-07:00

a test from a while ago that I had lost.

from back when I was still wanting to do Animationhaven!

2009-08-03T23:33:00.000-07:00

Tragedy is tracing how people fail and according them sympathy they would otherwise not receive.

Hamlet is not a loser but he has lost.

2009-07-27T18:09:00.000-07:00

Peter Kubelka

Pause(part1)

Pause(part2)

from youtube

I would like to see this without the plates in shot. cropped just above the forehead.

strangely sexualised at times.

Vito Acconci

Bruce Nauman

2009-07-27T16:25:00.000-07:00

brief notes from critique:

people connected the photocopies and the shreds of notepaper to the videos but the clock and the paper frame were too far out. other than a few initial comments there was little discussion about the various objects other than to say that they were unnecessary.
statements about the combination of humor and anxiety, and a nervous energy running through the videos.
portrait of a psychologically disturbed individual.
people noticed that I looked exhausted and after I explained the process said about how people slap themselves to wake up, but it seems to have the opposite effect on me.
it seemed like people were gaining a sense of unease from the videos but they weren't getting close to realising what was going on/means of production.
awareness of the process builds interest(but how to get that awareness in there without just doing some cop-out piece of wall text?)
Richard liked comparing his reaction to the work before and after gaining knowledge of the process.
there was mention of physiognomy
defined by wiki as:

Physiognomy (Gk. physis, nature and gnomon, judge, interpreter) is the assessment of a person's character or personality from their outer appearance, especially the face. The term physiognomy can also refer to the general appearance of a person, object or terrain, without reference to its implied characteristics.

The credence of such study has varied from time to time. The practice was well-accepted by the ancient Greek philosophers but fell into disrepute in the Middle Ages when practiced by vagabonds and mountebanks. It was then revived and popularised by Johann Kaspar Lavater before falling from favour again in the 20th century.

It is now being revived again as some new research indicates that people's faces can indicate such traits as trustworthiness, social dominance and aggression. The latter trait seems to be determined by the level of the hormone testosterone during puberty which affects the ratio between the height and width of the face - aggressive individuals are found to have wider faces

from: http://en.wikipedia.org/wiki/Physiognomy

it sounded like everyone agreed that I need to gain empathy from the audience rather than make myself look a little strange.

Tim suggested looking at Face-art, Peter Kubelka and Gary Hills 'Kiss'

2009-07-25T21:28:00.000-07:00

play the two above simultaneously.

2009-07-25T18:19:00.000-07:00

Diego Stocco - Music From A Tree from Diego Stocco on Vimeo.

2009-07-24T22:07:00.001-07:00

555 KUBIK | facade projection | from urbanscreen on Vimeo.

maybe more relevant than I previously thought.

2009-07-19T21:14:00.000-07:00

Synesthesia

2009-07-19T16:13:00.000-07:00

"At its core, Ponyo is an sweet, old fashioned fairy tale - albeit one about inter-species love between two five-year-olds (one a former goldfish-with-a-human-head who runs away from home), laced with pro-environmental messages."

From here

APPARATI EFFIMERI Tetragram for Enlargment from Apparati Effimeri on Vimeo.

By Apparati Effimeri
more because it's amazing than because it's helpful...

2009-07-02T18:44:00.001-07:00

Quotes from Watt, by Samuel Beckett

Watt's way of advancing due east, for example, was to turn his bust as far as possible towards the north and at the same time to fling out his right leg as far as possible towards the south, and then to turn his bust as far as possible towards the south, and at the same time to fling out his left leg as far as possible towards the north, and then again to turn his bust as far as possible towards the north and to fling out his right leg as far as possible towards the south, and then again to turn his bust as far as possible towards the south and to fling out his left leg as far as possible towards the north, and so on, over and over again, many many times, until he reached his destination, and could sit down. So, standing first on one leg, and then on the other, he moved forward, a headlong tardigrade, in a straight line. The knees, on these occasions, did not bend. They could have, but they did not. No knees could better bend than Watt's, when they chose, there was nothing the matter with Watt's knees, as may appear. But when out walking they did not bend, for some obscure reason. Notwithstanding this, the feet fell, heel and sole together, flat upon the ground, and left it, for the air's uncharted ways, with manifest repugnancy. The arms were content to dangle, in perfect equidependency.
p.28-29

The house was in darkness.
Finding the front door locked, Watt went to the back door. He could not very well ring, or knock, for the house was in darkness.
Finding the back door locked also, Watt returned to the front door.
Finding the front door locked still, Watt returned to the back door.
Finding the back door now open, oh not open wide, but on the latch, as the saying is, Watt was able to enter the house.
Watt was surprised to find the back door, so lately locked, now open. Two explanations of this occurred to him. The first was this, that his science of the locked door, so seldom at fault, had been so on this occasion, and that the back door, when he had found it locked, had not been locked, but open. And the second was this, that the back door, when he had found it locked, had in effect been locked, but had subsequently been opened, from within, or without, by some person, while he Watt had been employed in going, to and fro, from the back door to the front door and from the front door to the back door...
...The result of this was that Watt never knew how he got into Mr. Knott's house. He knew that he got in by the back door, but he was never to know, never, never to know, how the back door came to be opened. And if the back door had never opened, but remained shut, then who knows Watt had never got into Mr. Knott's house at all, but turned away, and returned to the station, and caught the first train back to town. Unless he had got in through a window.
p.34-35

The name of this fortunate family was Lynch and at the moment of Watt's entering Mr. Knott's service this family of Lynch was made up as follows.
There was Tom Lynch, widower, aged eighty-five years, confined to his bed with constant undiagnosed pains in the caecum, and his three surviving boys Joe, aged sixty-five years, a rheumatic cripple, and Jim, aged sixty-four years, a hunchbacked inebriate, and Bill, widower, aged sixty-three years, greatly hampered in his movements by the loss of both legs as the result of a slip, followed by a fall, and his only surviving daughter May Sharpe, widow, aged sixty-two years, in full possession of all her faculties with the exception of that of vision. Then there was Joe's wife née Doyly-Byrne, aged sixty-five years, a sufferer from parkinson's palsy but otherwise very fit and well, and Jim's wife Kate née Sharpe aged sixty-four years, covered all over with running sores of an unidentified nature but otherwise fit and well. Then there was Joe's boy Tom aged forty-one years, unfortunately subject alternately to fits of exaltation, which rendered him incapable of the least exertion, and of depression, during which he could stir neither hand nor foot, and Bill's boy Sam, aged forty years, paralysed by a merciful providence from no higher than the knees down and from no lower than the waist up, and May's spinster daughter Ann, aged thirty-nine years, greatly reduced in health and spirits by a painful congenital disorder of an unmentionable kind, and Jim's lad Jack aged thirty-eight years, who was weak in the head, and the boon twins Art and Con aged thirty-seven years, who measured in height when in their stockinged feet three feet and four inches and who weighed in weight when stripped to the buff seventy-one pounds all bone and sinew and between whom the resemblance was so marked in every way that even those (and they were so many) who knew and loved them most would call Art Con when they meant Art, and Con Art when they meant Con, at least as often as, if not more often than, they called Art Art when they meant Art, and Con Con when they meant Con. And then there was young Tom's wife Mag née Sharpe aged fourty-one years, greatly handicapped in her house and outdoor activity by sub-epileptic seizures of monthly incidence, during which she rolled foaming on the floor, or on the yard, or on the vegetable patch, or on the rivers brim, and seldom failed to damage herself in one way or another, so that she was obliged to go to bed, and remain there, every month, until she was better, and Sam's wife Liz née Sharpe aged thirty-eight years, fortunate in being more dead than alive as a result of having in the course of twenty years given Sam nineteen children, of whom four survived, and again expecting, and poor Jack who it will be remembered was weak in the head and his wife Lil née Sharpe aged thirty-eight years who was weak in the chest. And then to pass on to the next generation there was Tom's boy young Simon aged twenty, whose it is painful to relate

?

and his young cousin wife his uncle Sam's girl Ann, aged nineteen, whose it will be learnt with regret beauty and utility were greatly diminished by two withered arms and a game leg of unsuspected tubercular origin, and Sam's two surviving boys Bill and Mat aged eighteen and seventeen respectively, who having come into this world respectively blind and maim were known as Blind Bill and Maim Mat respectively, and Sam's other married daughter Kate aged twenty-one years, a fine girl but a bleeder{1. Haemophilia is, like the enlargement of the prostate, an exclusively male disorder. But not in this work.}, and her young cousin husband her uncle Jack's son Sean aged twenty-one years, a sterling fellow but a bleeder too, and Franks daughter Bridie aged fifteen years, a prop and a stay to the family, sleeping as she did by day and at night receiving in the toolshed so as not to disturb the family for twopence, or threepence, or fourpence, or sometimes even fivepence at a time, that depended, or a bottle of ale, and Jack's other son Tom aged fourteen years, who some said took after his father because of the weakness of his head and others said took after his mother because of the weakness of his chest and some said took after his paternal grandfather Jim because of his taste for strong spirits and others said took after his paternal grandmother Kate because of a patch he had on the sacrum the size of a plate of weeping eczema and some said took after his paternal great-grandfather Tom because of the cramps he had in the stomach. And then finally to pass on to the rising generation there were Sean's two little girls Rose and Cerise, aged five and four respectively, and these innocent little girlies were bleeders like their papa and mama, and indeed it was very wrong of Sean, knowing what he was and knowing what Kate was, to do what he did to Kate, so that she conceived and bought forth Rose, and indeed it was very wrong of her to let him, and indeed it was very wrong of Sean again, knowing what he was and what Kate was and now what Rose was, to do again what he did again to Kate, so that Kate conceived again and bought forth Cerise, and indeed it was very wrong of her again to let him again, and then there were Simon's two little boys, Pat and Larry, aged four and three respectively, and little Pat was rickety with little arms and legs like sticks and a big head like a balloon and a big belly like another, and so was little larry, and the only difference between little Pat and little Larry was this, allowing for the slight difference in age, and name, that little Larry's legs were even more like sticks than little Pat's, whereas little Pat's arms were even more like sticks than little Larry's, and that little Larry's belly was a little less like a balloon than little Pat's, whereas little Pat's head was a little less like a balloon than little Larry's.
p.98-101

No symbols where none intended
p.255

also need to find 120 days of Sodom(film, Pasolini), Marquis De Sade books, and ecstacy by Haruki Murakami(apparently).

2009-07-01T22:02:00.001-07:00

2009-06-22T21:41:00.000-07:00

amazing how fake that slap looks.
definitely didn't feel fake.

2009-06-21T22:06:00.000-07:00

also
from cartoonbrew.com

7200 Frames is seeking independent animators from around the US with ideas for a short (five minute=7200 frames) animated film. The chosen films will be fully funded and the process will be documented on video from start to finish. According to their website:

The documentary series will be about the artists and the behind the scenes process of the creation of the animated films, so the submitting artist must be comfortable appearing on camera. The artists must be able to draw, animate and direct – as well as commit to a 4-6 week exclusive production schedule. Interviews will be held in Los Angeles and San Diego in Summer 2009. Applicants must be 18 or older.

Animators must submit portfolio or reel AND live footage of the artist describing his/her film idea. This live interview should be no longer than five minutes. All submissions are due by June 26, 2009.

Animators will be considered for this project during judging sessions that will take place during 2 days in LA and 2 days at the San Diego Comic Con (the producers have reserved a boat behind the Marriot for the judging).

For more information and a trailer, check the 7200 Frames website.

http://www.7200frames.com/7200_frames/Animation_Documentary_Series.html

also

some amazing animation techniques that I have never seen before. Daniel Davids and the 'Stratacut' technique.

http://www.artofthetitle.com/2009/06/01/freaked/

also
some amazing pixellation
the car tango is stunning.
http://www.cartoonbrew.com/brewtv/doxology-by-michael-langan.html
the official site
http://www.doxologyfilm.com/index.html

2009-06-10T20:41:00.000-07:00

Journal of Beckett studies
http://www.english.fsu.edu/jobs/Indices.html

2009-06-10T16:20:00.000-07:00

Act Without Words A Mime For One Player
Samuel Beckett

Desert. Dazzling light.
The man is flung backwards on stage from right wing. He falls, gets up immediately, dusts himself off, turns aside, reflects.
Whistle from right wing.
He reflects, goes out right.
Immediately flung back on stage he falls, gets up immediately, dusts himself off, turns aside, reflects.
Whistle from left wing.
He reflects, goes out left.
Immediately flung back on stage he falls, gets up immediately, dusts himself off, turns asides, reflects.
Whistle from left wing.
He reflects, goes towards left wing, hesitates, thinks better of it, halts, turns aside, reflects.
A little tree descends from flies, lands.
It has a single bough some three yards from ground and at its summit a meager tuft of palms casting at its foot a circle of shadow.
He continues to reflect.
Whistle from above.
He turns, sees tree, reflects, goes to it, sits down in its shadow, looks at his hands.
A pair of tailor’s scissors descends from flies, comes to rest before tree, a yard from ground.
He continues to look at his hands.
Whistle from above.
He looks up, sees scissors, takes them and starts to trim his nails.
The palms close like a parasol, the shadow disappears.
He drops scissors, reflects.
A tiny carafe, to which is attached a huge label inscribed WATER, descends from flies to some three yards from ground where it remains dangling.
He continues to reflect.
Whistle from above.
He looks up, sees carafe, reflects, gets up, goes and stands under it, tries in vain to reach it, renounces, turns aside, reflects.
A big cube descends from flies, lands.
He continues to reflect.
Whistle from above.
He turns, sees cube, looks at it, at carafe, reflects, goes to cube, takes it up, carries it over and sets it down under carafe, tests its stability, gets up on it, tries in vain to reach carafe, renounces, gets down, carries cube back to its place, turns aside, reflects.
A second smaller cube descends from flies, lands.
He continues to reflect.
Whistle from above.
He turns, sees second cube, looks at it, at carafe, goes to second cube, takes it up, carries it over and sets it down under carafe, tests its stability, gets up on it, tries in vain to reach carafe, renounces, gets down, takes up second cube to carry it back to its place, hesitates, thinks better of it, sets it down, goes to big cube, takes it up, carries it over and puts it on small one, tests their stability, gets up on them, the cubes collapse, he falls, gets up immediately, brushes himself off, reflects.
He takes up small cube, puts it on big one, tests their stability, gets up on them and is about to reach carafe when it is pulled up a little way and comes to rest beyond his reach.
He gets down, reflects, carries cubes back to their place, one by one, turns aside, reflects.
A third still smaller cube descends from flies, lands.
He continues to reflect.
Whistle from above.
He turns, sees third cube, looks at it, reflects, turns aside, reflects.
The third cube is pulled up and disappears in flies.
Beside carafe a rope descends from flies, with knots to facilitate assent.
He continues to reflect.
Whistle from above.
He turns, sees rope, reflects, goes to it, climbs up it and is about to reach carafe when rope is let out and deposits him back on the ground.
He reflects, looks around for scissors, sees them, goes and picks them up, returns to rope and starts to cut it with scissors.
The rope is pulled up, lifts him off ground, he hangs on, succeeds in cutting rope, falls back on ground, drops scissors, falls, gets up again immediately, brushes himself off, reflects.
The rope is pulled up quickly and disappears in flies.
With length of rope in his possession he makes a lasso with which he tries to lasso carafe.
The carafe is pulled up quickly and disappears in flies.
He turns aside, reflects.
He goes with lasso in his hand to tree, looks at bough, turns and looks at cubes, looks again at bough, drops lasso, goes to cubes, takes up small one, carries it over and sets it down under bough, goes back for big one, takes it up and carries it over under bough, makes to put it on small one, hesitates, thinks better of it, sets it down, takes up small one and puts it on big one, tests their stability, turns aside and stoops to pick up lasso.
The bough folds down against trunk.
He straightens up with lasso in his hands, turns and sees what has happened.
He drops lasso, turns aside, reflects.
He carries back cubes to their place, one by one, goes back for lasso, carries it over to cubes and lays it in a neat coil on small one.
He turns aside, reflects.
Whistle from right wing.
He reflects, goes out right.
Immediately flung back on stage he falls, gets up immediately, brushes himself off, turns aside, reflects.
Whistle from left wing.
He does not move.
He looks at his hands, looks around for scissors, sees them, goes and picks them up, starts to trim his nails, stops, reflects, runs his finger along blade of scissors, goes and lays them on small cube, turns aside, opens his collar, frees his neck and fingers it.
The small cube is pulled up and disappears in flies, carrying away rope and scissors.
He turns to take scissors, sees what has happened.
He turns aside, reflects.
He goes and sits down on big cube.
The big cube is pulled from under him. He falls. The big cube is pulled up and disappears in flies.
He remains lying on his side,
his face toward auditorium, staring before him.
The carafe descends from flies and comes to rest a few feet from his body.
He does not move.
Whistle from above.
He does not move.
The carafe descends further, dangles and plays about his face.
He does not move.
The carafe is pulled up and disappears in flies.
The bough returns to horizontal, the palms open, the shadow returns.
Whistle from above.
He does not move.
The tree is pulled up and disappears in flies.
He looks at his hands.

Curtain

What have the creators of Beckett on film done to this?
Everything seems overdone, overproduced, overdramatised.
The comic timing that would make this amazing to watch has been mangled, along with the simplicity.
similar with the version of waiting for godot, everything is done so seriously, and not in a Buster Keaton 'stoneface' seriousness but a shortland street, or dungeons and dragons(the movie) seriousness. this is really not a take on the work that I agree with...

The sequel, I suppose...

Vladimir and Estragon speak to each other in the anxious, cajoling way human beings speak to themselves in their private moments. Fears are expressed and dismissed only to be unhelpfully reiterated in slightly different ways. Their feelings of love and hatred for each other jostle and even combine in the same impossible, tiny moment...

...they are doomed to encircle the same futile topics for ever - and they don't like it. They are waiting for Godot but they are also contemplating suicide. Like Hamlet, they are even powerless to end their lives as they suspect it may only deliver them into another, perhaps even more painful existence...

[speaking of krapps last tape]

His life appears to be an exercise in literally marking time, recording his diminishing sexual adventures and his laughable inability to kick his dependence on alcohol - and bananas.

from:http://www.guardian.co.uk/stage/2006/mar/01/theatre.beckettat100

Charlie Chaplin

More Beckett

“there is nothing to express, nothing with which to express, nothing from which to express, no power to express, no desire to express, together with the obligation to express.”

“I can’t go on, I’ll go on.”

from:http://www.newyorker.com/archive/2006/08/07/060807crbo_books?currentPage=all

Buster Keaton

to say something meaningful would be mere competence

From:http://www.samuel-beckett.net/imagery.html

also, Buster Keaton Starred in 'Film' by Beckett(I just discovered)

Murphy
Beckett's comic masterpiece about "romantic entanglements that foil the search for metaphysical certitude". Narrated by Fionnula Flanagan and featuring 20 of the finest English and Irish voices. Produced in association with Viper Records, TZ Entertainment and The San Quentin Drama Workshop.

The complete unabridged text on six CDs, $50.00. Available at no cost to prisons.
Listen to six Sections -- more than an hour -- in streaming broadband mp3 (160Kbps).

http://www.waitingforgodottheplay.com/

Still to read:

http://www.samuel-beckett.net/ParfittGoingsOn.html
http://www.jasonwaltman.com/papers/human-condition.html
Samuel-beckett.net (in general)

2009-06-04T17:03:00.000-07:00

this took a little longer to upload than I had hoped. damn slow internets.{edit, this time it should work}

I really enjoy moments in here, such as when there is no huge movements but it's made of hundreds of frames. There's an awkward jerking that happens because of the roughness with which it is made that's slightly eery(00:00:17/00:00:20)

New Directions

2009-06-03T20:52:00.000-07:00

less defined, more ambiguous, still animation(pixellation).

Moving back to near the start.

Also reading lots of Samuel Beckett (thanks Maddie!)

Spending my final year of the bachelor working towards a predefined outcome felt so so wrong. Hopefully this will free things up a bit.
we will see.

2009-05-31T20:11:00.000-07:00

2009-05-19T17:48:00.000-07:00

another decent take

This one was apparently too contrived.. I need to find some middle-ground.

lone animation

2009-05-19T16:54:00.000-07:00

Here is the First semi-decent run of animation Haven

and the animation alone

It was suggested I make it more painful to watch, draw things out for longer etc.

2009-04-27T18:22:00.000-07:00

Thanks Mike.

2009-04-19T01:25:00.000-07:00

how could I forget PES
www.eatpes.com

and Carlo Vogele, recent animation graduate from calarts

2009-04-19T00:19:00.000-07:00

a clip from blue peter, which my first attempt at "AnimationHaven" was compared to.

and What now

a crippling spin-off of blues clues
http://www.youtube.com/watch?v=2MAUPiK5_HM

it's surprisingly hard to find un-edited clips from blues clues on youtube..

2009-04-10T16:17:00.000-07:00

http://www.extremeskipping.com/
spoof extreme sport documentaries
similar to shoe flips, ghosting etc.
many, many on you tube.

also check out boxxy, and fred on you tube.

Animation tests

2009-04-03T17:31:00.000-07:00

this is my version.
This first test was based on a test clip from the neverhood creators. see the bird at 0:35ish.

My second attempt was copying some vocals from Invader Zim.
from the episode "a room with a moose"

2009-04-02T14:03:00.000-07:00

Sarahs nightmare from Requiem for a dream.
http://www.youtube.com/watch?v=Ws-dRq4rioc

All these have a little too much action for my liking, the right kind of feeling though.

it would be great getting this kind of creepy feeling mixed with the 'simplicity' of something like you the living or Songs from the second floor by Roy Andersson

I think my current script (if you can call it that) needs some work. Still need to decide how these are going to fit together and if they are going to be a single narrative or a series of vignettes...

2009-04-02T01:59:00.001-07:00

My hero.

*swoon*

also:
(watch with the sound turned off, the 'resonorisation' is horrible compared to the music from the original version on my dvd)

I beleive this is from a series..

2009-04-02T00:18:00.000-07:00

from DavidShrigley.com

also need to look at Happiness, Palindromes and Requiem for a dream.

SceneBlocking
#1
{Scene opens with me behind bench. ANIMATIONHAVEN! sign on wall behind me, bench covered with pieces of foam, wire, clay, fabric swatches, needles and thread, wallpaper and reduced photocopies of wallpaper, balsa wood, craft knives, pens, paints, brushes, cardboard and puppets.}

Me:
Welcome to the first episode of ANIMATIONHAVEN!
My name is Aaron, i'm the host of the show. I'll take you on a journey through the world of Animation! *quieter* Together we'll create life.

{Cut to same scene, but without me behind bench. Tacky jingle plays while objects on desk dance around, maybe reference military marches? Or a subtle, and temporary swastika shape. End on close-up of ANIMATIONHAVEN! logo. Cut to witness protection room. Dark, plain walls, almost a silhouette of puppet, very little detail visible on face.}

Puppet01:
It all started off so innocent. How did we ever let it get to this point?

#2
{ANIMATIONHAVEN!, i'm explaining how stop motion works}

Me:
So you take your puppet and you want to make sure that nothing moves except for the bits that you are animating. I'll just take these nails here and with a few taps we've got a puppet whose feet aren't going anywhere without our help.

{I lift set and shake it a little}

Me:
See?

{Fade to black, then "night-time" shot of nailed puppet crouched into fetal position and rocking.}

#3
{ANIMATIONHAVEN!, still explaining stop motion}

Me:
This technique is called the replacement technique *find actual name*, it's called that because instead of remoulding the object like in some claymation, you instead replace the part that is moving. I'm going to demonstrate this by making a little mouth talk.

{Cut to midshot, showing my hands holding a ball of clay, off to the right of the frame are many small detached mouths, on the table near my hands are some small white beads.}

Me:
So lets pretend that this is my puppet, I'll add some eyes to make it easier to understand.

{pushes two beads into ball of clay, sculpting little raised, sad eyebrows at the same time}

Me:
Now this works just like normal stop motion. Each mouth I have here is just a little bit different from the one before. Now, as I said all we need to do is place a mouth on here...

{puts first mouth on clay ball}

Me:
...and now we take our frame.

{Presses spacebar on laptop}

Me:
Change the mouth...

{Changes the mouth}

Me:
...and shoot.

{spacebar on laptop}

Me:
Change.

{Changes the mouth}

Me:
And shoot.

{Slow crossfade to me finishing up}

Me:
And the last frame...

{Hits spacebar}

Me:
Okay so now lets have a look at what we've created!

{Camera zooms in on computer/crossfade to actual shot footage.}

Puppet02:
*Slow Whisper* Heellp meee!

{Cut back to ANIMATIONHAVEN!, wide shot of me at bench.}

Me:
Oh he doesn't mean that!

2009-04-01T16:16:00.000-07:00

Nick Butera

also found this(which isn't really all that relevant)
http://24hourtoons.blogspot.com/

2009-03-30T18:22:00.000-07:00

2009-03-18T20:01:00.000-07:00

relationship between creator and created

0:58-3:30
sid and his toys. The creations turn out to be friendly and help the other toys unlike the uncaring sid.

also mary shelleys frankenstein and the rocky horror picture show. Sally from the nightmare before christmas.