A fun workshop looking at creating a rhythm in animation, using Stop Motion Studio, inspired by objects in our house.
Focusing on the themes of time passing and parallels between life and art, the art reflecting the passing of time itself.
Artists mentioned in workshop:
Interview: Live action editor, Walter Murch on Rhythm and Editing
- Up to 1'53"
"Recreation has a fantastic persistent rhythm, the picture and sound rattle along, the dialogue isn’t there to explain or to add meaning but as a piece in the jigsaw that must be felt by the senses. Breer felt that you could deliver the images in any order an our brain would sort out those 25 frames per second in some way."
"Cordell Barker is the master of comic timing and there are so many rhythms in this film, the train, the chewing, walking cow, the music and he changes the speed and pace of his shots to accelerate our enjoyment of the impending disaster."
"Playtime has a rhythm that follows the free and joyful music, in addition in this film, the movement in Steven’s drawings direct our eyes up and down and all around the frame. In the cinema this film is particularly wonderful to see."
Edge of the Frame : How much planning do you put into your films in terms of working out the imagery and structure ahead of the physical process?
SW: Once I have found the perfect musical score, I try to do as little planning as possible. Instead of planning visual movements, I memorise the score and I become more of a visual musician. I move through the sound, riff by riff and movement by movement.
From Edge of Frame - http://www.edgeofframe.co.uk/steven-woloshen/
"The rave music, the drone, the way that the music stops as the lamppost falls on the ice cream van."
"How does Svankmajer manage to combine live action, puppetry, live animals, puppets, paper and objects without us really noticing the changes? His editing is perfect, you can see that he has studied Sergei Eisenstein’s “dialectical” montage techniques from 1929."
" "Drumsolo" using only a camcorder, my mouth and what looks like time consuming editing, but it wasn't really. It took more or less one day to edit"
"No cuts or edits, Anna uses morphing in all her work, but you can see that there is a heightened pace."
First Films (1975)
"Among the first films I shot on super-8 at Goldsmiths College in the late 1970s was this small sequence. Years late I developed the idea into the film Furniture Poetry which gave birth to countless commercials using this same simple technique.” - Paul Bush