Skip to main content

iStopMotion 3.5 Review

Now, obviously my favorite way of reviewing software is to get to the dirt n' grit of it all.  And by that I mean shoot a Test Animation and export into a GIF.  (GIF is a new format that you can export your project in).  Though I wanted it to remain high-res so I uploaded it to Vimeo.  I'll email it to you in GIF form if you really want to see it though, email me at chefelepsy@gmail.com.  Now the definition of a GIF (Graphics Interchange Format) is, and I'll quote Wikipedia here:
"The Graphics Interchange Format (better known by its acronym GIF; /ˈɪf/ or /ˈɡɪf/) is a bitmap image format that was introduced by CompuServe in 1987[1] and has since come into widespread usage on the World Wide Web due to its wide support and portability.
The format supports up to 8 bits per pixel for each image, allowing a single image to reference its own palette of up to 256 different colors chosen from the 24-bit RGB color space. It also supports animations and allows a separate palette of up to 256 colors for each frame. These palette limitations make the GIF format unsuitable for reproducing color photographs and other images with continuous color, but it is well-suited for simpler images such as graphics or logos with solid areas of color.
GIF images are compressed using the Lempel-Ziv-Welch (LZW) lossless data compression technique to reduce the file size without degrading the visual quality. This compression technique was patented in 1985. Controversy over the licensing agreement between the software patent holder, Unisys, and CompuServe in 1994 spurred the development of the Portable Network Graphics (PNG) standard. All the relevant patents have now expired."
Therefore:
  • "GIFs can be used for small animations and low-resolution film clips."
Pretty cool, and great for sites like Tumblr, Twitter, Facebook, and it emails well also.

I made this short animation in a matter of 40 minutes of messing around with my Christmas tree and clay...


Clay Figure Animation from SMG on Vimeo.

I gotta say, sorry for the shakiness, I was using the remote camera
for the iPad with a bad tripod.  Again, I filmed it on the fly.  Christmas trees don't like to stay still very much...

Also, I shot this commercial (or entry for a commercial contest for Tech Deck), and have stayed quiet about it for sometime now.  But, I think that it's safe to show you guys it now.  They'll be announcing the winner the 20th so, fingers crossed..

Bus Stop Fun (Tech Deck Commercial) from SMG on Vimeo.

There is honestly not much to say that hasn't been said in my first review and my app review.  Just that I love it and the GIF support is great.  Also, for a while now I have been using the iStopMotion app and it is fantastic!  I cannot recommend it more.  Guys, one more thing: there is a DSLR live view option now!  So the Canon camera's have live view!  It's the goodness!

Boinx website: http://boinx.com/istopmotion/mac/

Popular posts from this blog

Interview with Gerald Thompson, Director of Photography and Motion Control Artist on Australian Stop Motion Short Film "Lost & Found"

Early on, while growing up in Adelaide, South Australia, Gerald Thompson – motion control artist and director of photography on the beautiful and heartfelt Australian short film Lost & Found – developed an interest in photography, and it didn’t take very long for him to became enamored with making “epic” Super 8 films with his friends.


An engineer at heart – having gone on to design numerous motion control rigs as well as an incredible robot that interacts in real time with a dancer and musician – the element of filmmaking that Thompson found the most ardor remains the technical side of film’s craft, especially in the realm of special effects, specifically practical effects (for when Thompson – now a veteran in the special effects industry – began, CGI was still only in early stages of development, and was then far from being the industry standard). During these formative years, Thompson recalls his early experiments with practical effects, saying, “I also made my own short films…

Interview with Zélie Durand, Director and Animator of Stop Motion Short Film, "Sahara Palace," Incredible True Story of Loss, Dreams Unfulfilled, and Middle Eastern Cinema

“The only things my grandfather left behind were dozens of 35mm film reels in my grandmother’s basement, which ironically took up a lot of space compared to the fact that nobody seemed to talk about him, and that he was noticeably absent of every family album,” Zélie Durand, a French director and illustrator, tells Stop Motion Geek about the very personal tragedy that inspired her most recent film, Sahara Palace – a transcendent, nine-minute long stop motion short film that realizes and further explores the greater themes of an unproduced film script entitled “Sahara Palace,” as well as the life and legacy of the script’s screenwriter: filmmaker Hedy Ben Khalifat, Durand’s grandfather, a man she never met.

“I was not allowed to touch the reels,” Durand continues. “When I started to ask questions three years ago, my uncle gave me a suitcase he inherited from Hedy, telling me he had no idea what was inside. Right after that, I spent a week alone reading the three versions of Sahara Pal…

Interview with Tim Allen, Key Animator on Wes Anderson's "Isle of Dogs"

“The Wes style of movement has a simplicity & a more experienced animator has to learn to not put in the little tricks or flair that they may have used animating elsewhere,” Tim Allen – an animator whose career spans decades and includes credits on prestigious projects such as Shaun the Sheep, Postman Pat, Fireman Sam, The Flying Machine, Creature Comforts, the Oscar®-nominated films My Life as a Zucchini, Corpse Bride, Frankenweenie, Fantastic Mr. Fox, and the Oscar®-winning short film Peter & the Wolf – tells Stop Motion Geek, describing the metamorphosis his animation style underwent on one of his most recent projects – Wes Anderson’s Isle of Dogs, currently available on digital and set to be released on Blu-ray and DVD on July 17th. “The Wes style is direct & clear,” he goes on. “I take the old stop motion phrase & embraces it: ‘Less is more’.”


Although the “Wes style” is something of a “back to basics” approach to stop motion – in the sense that the animation sty…

Interview with Lucy J. Hayes, Producer of Stop Motion Love Story, "Lost & Found"

Ever since her childhood, Lucy J. Hayes – the producer of Lost & Found, an extraordinarily beautiful short film that make for a profound mediation on the impermanence and imperfection of life and beauty – she’s wanted to play some part in the creative industry, in some way, shape, or form. For Hayes, that dream went unquestioned. However, the challenge turned out to be figuring out quite where she belonged in the creative industry.

“I dabbled in acting and directing, however, I was terrible!” Hayes tells Stop Motion Geek. It wasn’t until she began to put on plays with her friends in her adolescence and early adulthood that the answer to her search dawned upon her: All that Hayes found came innately to her – everything from her ardor for creative work to her love for working with creatives to bring an idea, the kernel of a story, to fruition – she found in the title of “producer.”


Although being a term often thrown around colloquially, the actual responsibilities helmed by produce…

Interview with Bradley Slabe, Co-Director of Stop Motion Love Story, "Lost & Found" (Part 1/2 of Interview with "Lost & Found" Directors)

The true essence of art – a reflection of life itself – is very much akin to the Japanese aesthetic of “wabi-sabi”: it’s imperfect, impermanent, and, at times, profoundly...incomplete.

It is both at once a fundamental truth, and, curiously, more often than not, a thing incredibly hard to acknowledge, to make peace with. Yet perhaps our resistance is justifiable, for once we admit that the world is full of unknowns – unknowns that aren’t ideal, that aren’t perfect – we are just as soon confronted with the actualization of a deep, intrinsic, and very human fear: the fear of a future full of...unknowns that aren’t ideal, that aren’t perfect. Yet it’s the confrontal of that fear that is the most terrifying reality of all, for the moment we make peace with it we have just as soon have acknowledged that our paths in life aren’t in our own hands, or something we can control – a terrifying reality, yet one that’s nonetheless fundamentally true.


Yet, in art as in life, it is in this very plac…

Interview with Andrew Goldsmith, Co-Director of Stop Motion Love Story, "Lost & Found" (Part 2/2 of Interview with "Lost & Found" Directors)

The true essence of art – a reflection of life itself – is very much akin to the Japanese aesthetic of “wabi-sabi”: it’s imperfect, impermanent, and, at times, profoundly...incomplete.

It is both at once a fundamental truth, and, curiously, more often than not, a thing incredibly hard to acknowledge, to make peace with. Yet perhaps our resistance is justifiable, for once we admit that the world is full of unknowns – unknowns that aren’t ideal, that aren’t perfect – we are just as soon confronted with the actualization of a deep, intrinsic, and very human fear: the fear of a future full of...unknowns that aren’t ideal, that aren’t perfect. Yet it’s the confrontal of that fear that is the most terrifying reality of all, for the moment we make peace with it we have just as soon have acknowledged that our paths in life aren’t in our own hands, or something we can control – a terrifying reality, yet one that’s nonetheless fundamentally true.


Yet, in art as in life, it is in this very plac…

Interview with Marika Aakala, Model Maker on Aardman's "Early Man"

“As a child, I was always making something or drawing something,” Marika Aakala, Finland born and bred model maker on Aardman Animation’s recent stop motion feature film, Nick Park’s Early Man, tells Stop Motion Geek. “I drew my own comics,” Aakala continues, “sculpted things with clay, sewed my own toys, and later built a dollhouse with furniture and dolls while I actually should have been studying for my high school exams.” Yet, despite her inherent knack for making things, Aakala’s journey to the puppet making industry was an indirect one, and the title she now claims – “model maker” – was a destination that took her many years of working in many other industries to discern.

“I have lived most of my life in Finland where I was born in a relatively small village called Hollola. There are no practicing artists in my family, and pursuing an art-related career just did not seem sensible. Certainly, I did not think that I would be good enough to work in the animation industry,” says Aa…

Interview with Quentin Haberham, Director and Animator of "Homegrown," a Stop Motion Short Film About Over-Protective Parenting

There’s a moment that comes in the life of most, if not every child, along their staggering yet steady steps taken towards a weird and mystifying future – one often mistaken, by both children and “grown-ups,” as a permanent destination – that we call “adulthood.” It’s every parent’s dread, but perhaps that’s only so because it is, in many ways, as certain – in the sense that it undeniably will come, whether one wishes for it to or not – as it is uncertain, in the sense that the face of that fear could simply be encapsulated in that one word: uncertainty. The certainty is that there will come a point at which both child and parent realize that there is something that living one’s own life – autonomous from a parent’s governing eye – can give one something necessary that a life curated at every step by a parent cannot. It’s the moment that comes in most, if not every parent’s life where they have to learn to let their child go.

Award winning director and animator, Quentin Haberham, in …

Interview with Sylvain Derosne, Lead Animator on Oscar® Nominated Stop Motion Short Film, "Negative Space"

If there’s one steadfast truth about the medium of animation as a whole and about the inspired act of animating, it is that the probability for novelty is infinite, the possibilities boundless.

In animation – unlike in the medium of live action film – the laws of physics don’t apply – or at least they don’t have to. The potential for strange new worlds to be conceived of and explored has no ceiling, nor does the expressiveness with which characters walk, talk, and emote. So whenever an animated film – particularly a stop motion film – of artistic excellence is released like Ru Kuwahata and Max Porter’s Oscar-nominated short film Negative Space – which is a film that explores a father-and-son relationship and the burden of grief through a lens that is, more often than not, grounded in a reality not unlike ours – it should imbue us, the audience, with the ardor to observe, and the attentiveness to ask the question that is immediately provoked in the back of our minds: Why?

In regards …

Interview with Ru Kuwahata and Max Porter, Directors of Oscar® Nominated Stop Motion Short Film, "Negative Space"

Across the Baltimore-based director-duo Ru Kuwahata and Max Porter’s Oscar® nominated short film Negative Space’s 5 minute runtime, rooted in the profoundly emotional soil of the film’s essence, an extraordinary spectrum of deep themes are explored – death, grief, what one’s childhood means once one has “grown up” – yet perhaps none are as front-and-center than that which binds all of the film’s themes together: that of the relationship between father and son.

Negative Space, a film inspired by a 150-word poem of the same by Ron Koertge, is, at its heart, the story of Sam, a young man, as he internally processes his relationship with his father throughout his life as well as the grief and emotion that come with the loss of his father as he travels to his recently-passed father’s funeral.


Undoubtedly the primary visual motif as well as the crux of the film – both visually as well as thematically – is the practice and veritable art of packing a suitcase. The film begins, appropriately,…