Fox' (2009)Īll of director Wes Anderson's cinematic worlds are fantastical and thick with artifice - cartoonish, almost. charming), child-friendly homage to horror films about a quiet town whose giant-vegetable competition is threatened by a mutant rabbit. He took his claymation charm to the big time with this feature-length film from Aardman Animations, and it's every bit as clever as those shorts, an incredibly British (i.e. #Top stop motion animation movies seriesStop-motion animator Nick Park had been delighting with his "Wallace & Gromit" short-film series since the '80s with absurdist adventures featuring absent-minded (and cheese-loving) inventor Wallace and his smart but silent (and awesome) dog, Gromit. The animated chronicle of the decades-spanning friendship that develops is beautiful and heartbreaking, the way the best art often is. They're an unlikely pair, but they become the best of friends when Mary picks Max out of a phone book and enlists him to be her new pen pal. Philip Seymour Hoffman voices Max, a morbidly obese 44-year-old man with mental problems living in New York City. Toni Collette voices Mary, a poor, lonely 8-year-old girl living in the suburbs of Melbourne. Stop-motion vet Henry Selick adapted the writer's Hugo and Nebula Award-winning novella into a winning film about an adventurous 11-year-old girl who finds a portal in her new house to the Other World. Writer Neil Gaiman's brand of dark fantasy is such a perfect fit for the weird wonders of stop-motion animations, it makes one wonder why more of his work hasn't been adapted in the medium. He shares the fruit domicile with a host of anthropomorphic bugs - Grasshopper, Centipede, Earthworm, Miss Spider, Ladybug and Glowworm - and together they set off across the ocean for New York. Stop-motion master Henry Selick directs this story about an orphaned British boy who escapes his life with his terrible aunts in, well, a giant peach. It's an unlikely Roald Dahl story to adapt into a film, so it required an unlikely art form to bring it to life. It's "The Great Escape," but on a chicken farm - what's not to love about that? Mel Gibson voices Rocky, a rooster keen to liberate a World War II POW camp-style chicken farm once the farmers bring in an ominous machine for making chicken potpies. 'Chicken Run' (2000)Īardman Animations and directors Peter Lord and Nick Park - the folks behind the Wallace & Gromit stop-motion-animated shorts - first tackled the big screen with this fowl bit of fantasy. Johnny Depp voices Victor, a shy Victorian man who, while practicing his wedding vows in a forest, accidentally weds the corpse of a murdered woman (voiced by Helena Bonham Carter), who springs to life following the unintended nuptials. It's no "The Nightmare Before Christmas" (nothing ever will be), but director Tim Burton still delivered a charming gothic fantasy when he went back to the spooky stop-motion well. Here are 10 of the best of those labors of love. It has gotten a bit easier with the rise of digital film technology and computer-generated effects, but stop-motion-animated films are still a labor of love for filmmakers. The one at the start needed 700 photos! So, have fun, practice and be patient.Stop-motion animation is an arduous art form that requires the painstaking manipulation of objects in small increments to give them the illusion of movement. Stop-motion can require hundreds, if not thousands of pictures. You can change the scenes, add more characters, and once you get the hang of it, you'll be having fun, and be great at it! The only thing you need is PATIENCE. TIP: if you want a certain point in your animation longer, just take lots of pictures of the same moment! If the scene moves a bit, DON'T WORRY, this will give the animation a bit of character and quirkiness! Carry on moving the figure, taking a picture every time you do. Make sure you don't move the camera AT ANY TIME, and only make SUBTLE MOVEMENTS to your scene and figures each time. Then, move the figure a little bit, and take the next picture. Using your storyboard to help you, take a picture of your figure in the first position. You could Blu Tack the camera onto a table, etc.). Set up a tripod with camera/phone on it, to make sure it doesn't move while you're making the animation (you don't have to use a tripod, just put the camera somewhere where it won't move. Time to get started! Put your figure in the first position in your scene.
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