One variation of claymation is strata-cut animation, in which a long bread-like loaf of clay, internally packed tight and loaded with varying imagery, is sliced into thin sheets, with the camera taking a frame of the end of the loaf for each cut, eventually revealing the movement of the internal images within. Clay can also take the form of "character" claymation, where the clay maintains a recognizable character throughout a shot, as in Art Clokey's and Will Vinton's films. "Freeform" claymation is an informal term referring to the process in which the shape of the clay changes radically as the animation progresses, such as in the work of Eli Noyes and Ivan Stang's animated films. Nevertheless, clay remains a viable animation material where a particular aesthetic is desired. Feature-length productions have generally switched from clay to rubber silicone and resin cast components: Will Vinton has dubbed one foam-rubber process "Foamation". The object must not be altered by accident, slight smudges, dirt, hair, or dust. Shooting a 30-minute movie would therefore require making approximately 21,600 stops to change the figures for the frames a full-length (90-minute) movie, 64,800-and possibly many more if some parts were shot with "singles" or "ones" (one frame exposed for each shot). With the standard practice of "doubles" or "twos" (double-framing, exposing two frames for each shot), 12 changes are usually made for one second of film movement. Normal film runs at 24 frames per second (frame/s). Producing a stop-motion animation using clay is extremely laborious. Upon playback, the viewer perceives the series of slightly changing, rapidly succeeding images as motion.Ī consistent shooting environment is needed to maintain the illusion of continuity: objects must be consistently placed and lit. These and other moving images, from zoetrope to films and video games, create the illusion of motion by playing back at over ten to twelve frames per second.Įach object or character is sculpted from clay or other such similarly pliable material as plasticine, usually around a wire skeleton, called an armature, and then arranged on the set, where it is photographed once before being slightly moved by hand to prepare it for the next shot, and so on until the animator has achieved the desired amount of film. Traditional animation, from cel animation to stop motion, is produced by recording each frame, or still picture, on film or digital media and then playing the recorded frames back in rapid succession before the viewer. Each animated piece, either character or background, is "deformable"-made of a malleable substance, usually plasticine clay. Characters in the animated series From Ilich to Kuzmich A claymation scene from a Finnish TV advertisement Ĭlaymation, sometimes called clay animation or plasticine animation, is one of many forms of stop-motion animation. For the trademarked term, see Will Vinton.
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