Fluid Frames
Experimental Animation with Sand, Clay, Paint, and Pixels
Corrie Francis Parks
- 240 páginas
- English
- ePUB (apto para móviles)
- Disponible en iOS y Android
Fluid Frames
Experimental Animation with Sand, Clay, Paint, and Pixels
Corrie Francis Parks
Información del libro
Once the realm of a few stalwart artists, animating with sand, clay, and wet paint is now accessible for all filmmakers with an experimental frame of mind. Created directly under the camera with frame-by-frame stopmotion, this "fluid frame animation" provides a completely unique visual world for animators. While pioneering animators such as Caroline Leaf, Alexander Petrov, and Ishu Patel paved the way, the availability of frame capture programs, compositing software and digital workflow is opening up new avenues of exploration for artists of all experience levels. This book will walk you through setting up your studio, choosing and working with your materials, and combining the physical under-the-camera production with digital compositing and effects to enhance your animation.· Firsthand advice from experimental animation veterans and rising stars in the field· Covers the digital aspects of experimental animation, including the latest techniques in After Effects CC·
Tutorials and source files for under-the-camera approaches and After Effects enhancements on the book's companion website
In addition to the practical advice, you'll find historical and contemporary examples of successful films, step-by-step tutorials for working under the camera and working with the footage digitally, and interviews and tips from artists who are currently pushing the boundaries in these experimental mediums. Stacked with information and images from over 30 artists, this book is an indispensable resource for both the student and professional wishing to get their hands dirty in an increasingly digital world.
Preguntas frecuentes
Información
Section II
Chapter 4
Animating With Sand and Other Powders
Notable Pioneers in Powder Animation
Like with many other inventions in the history of film, there were several people in different places experimenting independently with similar materials at roughly around the same time. In the pre-digital world images could not be spread as easily and instantly as they are now, and a new animation technique had to travel physically as a film print if it was to be discovered elsewhere.1
Nag and Gisèle Ansorge
As a pharmacist, Gisèle was familiar with loose material of all kinds, and tested every substance within reach, ending with quartz sand of a certain grain size … They would sift the sand for the right calibration, soak it in black china ink and then grind the dyed grains in a mortar.2