The flexibility of this method provides instant access to the images for preview purposes and playback. The software then grabs separate still images from the live feed each time the animator hits the capture button. The video camera basically acts as an “eye” and feeds a constant live image into the software, so if one moves a hand into the frame, this should all appear in real time on the computer monitor as well.
Looking at the strip of film itself, all of the separate images are visible, so an editor can see exactly where scenes begin and end, and the images can be re-arranged and spliced together.Īs film use declined over the years and was replaced by video, the most popular method for stop-motion became using a MiniDV camcorder with an IEEE-1394 Firewire connection (Figure 4.2) that provided a live feed to a computer with frame-grabbing software.
The result of the whole process was basically a series of still images on the strip of film that would exist only in negative form until it was sent to a lab to create the positive print. There was no way to make sure each frame was consistent with the next one. These elements would essentially be a continuous tone, and the features on a film camera could be set manually, although fluctuations could happen because of uneven shutter speed, changes in temperature, or the film moving around in the gate. Each image was essentially a separate photograph with its own established focus, exposure, color, and lighting. Then, the sprockets inside would advance the filmstrip to the next unexposed space for the next image to be captured. Exposing one frame of film with the touch of a button would open the shutter and expose light through the lens onto the film. The film would be registered with a series of sprockets that push the strip of film through a gate in front of a square window blocked by a shutter.
When stop-motion was shot on film, each frame would exist as its own separate image, strung together on a strip of 8mm, 16mm, or 35mm film (Figure 4.1).
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