Creating a stop motion video
Stop motion is such a unique art form. It allows you to bring life to the parts of life that are so still.
Where other modern forms of animation often their own creation as a result of drawing or computer-generated imagery, stop motion is all done using real objects. Modern software also makes the process quicker, negating the need for 100% frame-by-frame work for many applications.
Although these are the aspects of stop motion that make it unique, they can also make the creation process somewhat tedious.
A week ago, I set out to create a short stop motion piece. I did some research, created a story and planned every aspect of it which is detailed in a previous blog.
This week I focused on the production of it. As a start, it took a bit to create a scene that I could replicate between each frame that was also lit and captured well. Luckily my knowledge of photography and specialized equipment helped with this a lot. Then it was time to animate.
The difficult thing about this piece is that I wanted to include real world objects that interacted with hand drawn characters. This meant that I had to draw each frame of the character and other objects in the piece to correspond with the other elements in the piece. I liked the idea of drawing everything on sticky notes, because it is an everyday object that almost acted like a portal to an animated world within the real world.
A full stack of sticky notes and a couple hundred photos later, I had everything I needed. The post-production process took some time, but I wanted to make sure everything interacted as best as possible. A crucial part of this was designing the sound in such a way that sold the movement on screen. I wanted to challenge myself with this by using more sound than I typically would and making everything interact in a whimsical and almost obnoxious way that matched the irony of the story.
Overall, this was a great experience, and I am very happy with the final product. I encourage you to view it above.
Readings
Animated Storytelling by Liz Blazer (Chapters 7 & 8)
Chapter seven discusses sound and the crucial role it plays in storytelling. It often drives the narrative just as much as visuals. The power of sound extends beyond just reacting to action—it can set mood, build suspense, or evoke emotions. The distinction between diegetic (sounds originating within the scene) and non-diegetic (added for effect, like background music or narration) helps in crafting an immersive experience. Sound effects, when used with restraint, add depth and metaphorical significance, while music establishes tone and emotional impact. Dialogue should be natural and character-driven, often incorporating subtext to engage audiences. In motion graphics, clarity in voiceovers are crucial, ensuring synchronization with visuals. Ultimately, timing in sound design is everything—small adjustments can make the difference between a moment that lands effectively or one that falls flat.
Chapter eight looks into world-building in animation. It is important to create environments so rich with and consistent that stories emerge naturally from them. Influences from mythology, history, and personal inspiration can help shape unique and meaningful settings. To design a believable animated world, creators must define its time and place, ensuring they introduce organic conflicts that challenge characters. The world's physical, social, and visual orders must be carefully crafted, whether altering gravity, reversing societal norms, or using color and shape to enhance mood. In motion graphics, branding plays a key role, requiring distinct visual rules to communicate identity and values effectively. Ultimately, strong world-building strengthens storytelling by immersing audiences in a cohesive, imaginative reality.
Research
Ratatouille
This scene from Ratatouille uses sound as substitute for taste allowing the viewer to experience food the same way that Remy and his brother did in the film. Obviously, there are the subtle sound effects and ambient audio that make the scene feel lived. This is all really well-done throughout the film, but it’s not what shines in this scene. The star is the scoring and how it illustrates each character’s feelings. Remy tune was far smoother whereas his brothers was quieter and felt more uncomfortable.
Jurassic Park
This scene from Jurassic Park may be one of the most iconic scenes in regard to sound design ever. To me the things that stand out are the lack of music which builds tension throughout the scene, as well as the buildup to the chaos caused by the t-rex. At the beginning of the scene the ambient sounds such as the rain are a bit quieter. There is a focus on the increasingly louder rumbles as the t-rex approaches. When the t-rex arrives, the sounds become more overwhelming and match the chaos of the scene.
Squid Game – Season 2 Introduction Sequence
Two animations are shown here that are both used as an introduction for season 2 of Squid Game – the Netflix logo and the title sequence. Both are great examples of animated text. The first uses a familiar scene from the show that becomes the Netflix logo. This interaction between the created world and traditional animation is definitely a standout from what Netflix does with other shows. Additionally, the title sequence is very smooth and satisfying line work. Paired with the sound effects it matches the intensity and tone of the show.
Cartoon Network
One standout from my childhood is the many different and fun animation sequences Cartoon Network used to present their logo. It was always something so unique and solidified the TV channel in my mind from a very young age. This one is a current logo used as a preroll for the network’s shows on Hulu. It combines 2D and 3D elements with the brand’s jingle to create an engaging and memorable image of Cartoon Network. The example from them over the years are endless and worth diving into.
Hi! My name is Peyton McKenzie.
I am a professional graphic designer, photographer and content creator.
I encourage you to explore my portfolio to get a better idea of the work I create. If you are interested in working with me or have inquiries of any kind, don’t hesitate to reach out over email.
