McDonalds' German "Made of Love" Spot Produces Amazing Paper Stopmo Into the Commercial World

"Made of Paper - Made of Love. In exquisite craftsmanship and with great sensitivity the little paper figures life was breathed. Was realized the Papercraft Commercial together with the agency Heye, director Sinem Sakaoglu and the team of visual distractions Ltd.."

Link: http://vimeo.com/99830142

BTS: http://vimeo.com/99830141

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Aardman Co-Founder David Sproxton's Tips for Success in the Animation Industry, Part 1 (of 3): 3 Pre-Production Tips

Aardman founders David Sproxton (left) and Peter Lord (right) standing in front of Wallace & Gromit set for Variety (Photo by Charlie Gray) “It all started at a kitchen table,” says co-founder of Aardman Animations, David Sproxton, about the beginning of his career in animation, “Pete [Peter Lord] and I met as schoolkids….Pete and I got to be great mates and we started playing and thinking up stories. I was always interested in photography and kind of, I guess, the process thing about films….One day we got out the Bolex, stuck it up on a stand and actually just cut images out of color supplements. We’d obviously watched programs like Vision On , which obviously used a plethora of styles. Cut out is the easiest thing to do. We didn’t really understand cel animation or actually how you drew stuff. We just moved stuff around and did stuff with chalk drawings.” Earlier this year, Aardman, in celebration of the 40th anniversary of their studio, released a ...

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Interview with Mark Smith, Director and Writer of Stop Motion Short Film, "Two Balloons"

A still from Two Balloons featuring the character of Elba. Photo courtesy of Mark Smith. As I sit, listening to Peter Broderick’s moving composition for piano More Of A Composition , I close my eyes and envisage an enormous funnel cloud skimming across the crystalline face of an ocean – the skies are murky and unusually dark, lightning crackles, spider-webbing across the darkened skies before then vanishing, and still, after its gone, an electricity continues to hum in the air and I simply know that it’s going to soon strike again. And as the scene presents itself to me, I suddenly feel something similar to what director Mark C. Smith felt when he saw the same image as he sailed to a small island called Grenada along with his wife in a timeworn sailboat. For him, in that moment inspiration struck, and the idea suddenly came to him for his heartfelt stop motion film, Two Balloons . For me, I open my eyes and feel as I did the instant Two Balloons ...

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Interview with Samuel Lewis - Animator, Character Designer, and Sculptor on Stop Motion Short Film, "Lost & Found"

Knotjira, a clumsy dinosaur made of wool, as seen in Lost & Found . Photo courtesy of Andrew Goldsmith. “If I had to pick a starting point for my career as a stop motion animator I would have to say it was my obsession as a six year old with a book called ‘Playing with Plasticine’ by Barbara Reid,” Samuel Lewis – a London-based stop motion and 2D animator and director, whose most recent labor of love can be seen in his contribution to the Australian stop motion short film, Lost & Found – tells Stop Motion Geek. Upon reflection, Lewis explains that his love for the medium of stop motion began very early in life, and has merely managed to burn ever brighter in his fervor to master the craft. “I would spend countless hours fixated on sculpting tiny snails, fruit bowls and dinosaurs to the point where I would stay inside on family holidays sculpting a surfer in a beach scene rather than going to the actual beach that was only a short walk away,” Lewis recalls wistfully. “...

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

Knotjira (foreground) and Knitsune (background) in Lost & Found . Photo courtesy of Andrew Goldsmith. 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 contro...

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Interview with Joseph Wallace, Director and Animator of Psychedelic, Cut-out Stop Motion Music Video for Canadian Artist Parker Bossley's "Chemicals"

Parker Bossley as seen in Chemicals . Photo courtesy of Joseph Wallace. “I think the thing I’ve always found wonderful about cut out animation is that it’s one of the most immediate forms of animation,” muses British stop motion animation director Joseph Wallace – currently based in Bristol, UK, where, in January of this year, he founded the stop motion studio Hangar Puppet Animation Studio – in discussion of the medium he employed in his most recent film – the surreal, psychedelic music video for Canadian artist Parker Bossley’s debut single, Chemicals , which has already won a Vimeo Staff Pick. Perhaps more than anything else – perfectly suiting the film’s subject matter –the style and medium allow to film to transcend to time itself, just as Wallace implies, undoubtedly allowing the film to become just that – immediate. Almost so much so one gets the feeling they’re clawing at air in search for a handle on reality as they fall…along with Bossley – also the film’s protagoni...

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Interview with Niki Lindroth von Bahr, Director, Writer, and Animator of Stop Motion Short Film "Bath House"

In art as in life, when in the thick of something – a chain of, at times, loosely connected actions and consequences – it can be easy to miss “the point.” It’s often only in retrospect – the moment when one can contemplate, assessing and reassessing an event, whether mundane or abnormal – when one can discover meaning and a “point” to events in life as in art. When in the thick of something, things often feel commonplace, moments of actual weight sporadic, chaotic, and adrift, lost in the moment. Niki Lindroth von Bahr’s Bath House – a 15-minutes-long short film – perfectly captures these feelings of disorder and inconsequential consequence in the midst of the mundane and seemingly aimless. This mood is further accentuated in the film by a disquieting lack of a soundtrack, using dialogue only sparingly which perfectly accompanies Bahr’s incredibly lifelike puppets and animation, together harmonizing and bringing to life moments and an atmosphere that are rarely (if...

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Vincent & Puppet Scales

Tim Burton's Vincent is a masterpiece; the short was animated by the brilliant Stephen Chiodo . I do love that the short was shot in black and white film, ask any true film-lover and

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Aardman Senior Model-Maker Jay Smart Reveals Aardman's Puppet Materials and Plasticine Techniques for "Early Man" to Adam Savage of Tested

Adam Savage (right) holding "The Farmer" puppet from Shaun the Sheep and Jay Smart (right). Copyright Tested. Along with the usual humdrum of press ranging from critic reviews and interviews with voice actors regarding British animation powerhouse Aardman Animation’s latest feature film – Early Man , a “prehistoric underdog sports story,” in the words of the film’s director Nick Park – has come by the way of the YouTube channel Tested something really exceptional and especially meant for stop motion enthusiasts – a deep-dive into the materials and plasticine techniques Aardman uses for their puppets presented by television personality and special effects aficionado Adam Savage and Jay Smart, a senior modeler at Aardman. During Savage’s tour of the plasticine department, Smart gives Savage a demonstration of a system Aardman began developing for Chicken Run , their first plasticine-driven feature film, to methodize a system for mixing large batches of plasticine to p...

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Interview with Chris Randall, Creative Director and Co-Founder of Second Home Studios

Chris Randall in the Mills & Reeve Innovation 50 list. Source: https://twitter.com/SecondHomeChris/status/904681346060230656 “I came to animation mainly from a point-of-view of blind curiosity,” Chris Randall—the creative director and co-founder of Second Home Studios, a Birmingham, United Kingdom-based, award-winning animation studio—tells Stop Motion Geek. “I’d always loved the medium but never took it seriously, or saw myself with a part to play in it. It wasn’t until after Uni that I realised I basically like tinkering and trying out new things, whilst at the same time telling stories. So, animation is a perfect fit for me.” First founded in 2004, Second Home Studios has garnered multiple BAFTA and Royal Television Society awards and nominations for many of the films in their diverse repertoire of artistic and commissioned projects, encompassing all styles of animation—from stop motion to CGI to 2D—as well as puppetry and mixed-media. In their fourteen-and-counting years...

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Behind the Scenes of "Robocop 2" at Tippett Studios and how "Jurassic Park" Changed Special Effects Forever

A depressingly large percentage of Hollywood movies boast a gratuitous amount of potential and possibility and yet, for one reason or another, often fall far, far too short to live up to the films they seem to have the potential of being. Although it’s a shame that many of these films have a stupendous level of production value and talent but are often often overlooked, as production value and talent are seen as secondary and supplementary to a quality story – the special effects work done on such second-rate films sadly go unrecognized the most often. An immutable fact stands strong – mediocre films, no matter the level of talent and amount of time poured into producing their special effects, are seen and remembered as nothing but wasted potential…or worse. Yet few box office bombs have had special practical effects work as groundbreaking, especially in the stop motion realm, and yet unfortunately remains unrecognized in every respect than the 1990 film Robocop 2 , both an irrefutabl...

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