Unit introduction
Animation has become an increasingly important media form and examples can be seen in formats as different
as advertising, feature films, mobile phone content, the internet and television.
The industry includes both large and small production companies working on stop motion animation projects
using a range of formats and for a variety of purposes. Animation on all scales requires people with fresh,
exciting ideas for new work, whilst larger companies will also need individuals with specialist skills, such as
model making.
This unit aims to extend learners’ competence in all stages of the stop motion animation of models (the term
‘model’ being used in this unit to include the objects, puppets or figures used as characters in a stop motion
animation). Learners will work on design, character, setting and narrative, whilst also developing a range of
production techniques. Point of view, lighting and movement, such as walking and lip synching, are key issues
in this unit. Stop motion animation involves developing creative ideas for character, setting and storyline
which will engage the chosen audience. Learners will be encouraged to experiment with both content and
technique.
As essential background, learners need to research the content and production techniques used in both
historical and contemporary examples of work, and to understand such things as persistence of vision, frame
rates, stop-frame techniques, model making and sets.
As they follow the unit, learners will increasingly recognise the need to keep their intended audience
constantly in mind, and to take into account, at all stages, the role of animation as communication. To
encourage this recognition their animation work will be exhibited to audiences after completion and audience
responses evaluated.
Animation has become an increasingly important media form and examples can be seen in formats as different
as advertising, feature films, mobile phone content, the internet and television.
The industry includes both large and small production companies working on stop motion animation projects
using a range of formats and for a variety of purposes. Animation on all scales requires people with fresh,
exciting ideas for new work, whilst larger companies will also need individuals with specialist skills, such as
model making.
This unit aims to extend learners’ competence in all stages of the stop motion animation of models (the term
‘model’ being used in this unit to include the objects, puppets or figures used as characters in a stop motion
animation). Learners will work on design, character, setting and narrative, whilst also developing a range of
production techniques. Point of view, lighting and movement, such as walking and lip synching, are key issues
in this unit. Stop motion animation involves developing creative ideas for character, setting and storyline
which will engage the chosen audience. Learners will be encouraged to experiment with both content and
technique.
As essential background, learners need to research the content and production techniques used in both
historical and contemporary examples of work, and to understand such things as persistence of vision, frame
rates, stop-frame techniques, model making and sets.
As they follow the unit, learners will increasingly recognise the need to keep their intended audience
constantly in mind, and to take into account, at all stages, the role of animation as communication. To
encourage this recognition their animation work will be exhibited to audiences after completion and audience
responses evaluated.
task 1 essay (1000 words) Understand the techniques and development of stop motion animation
Understand the techniques and development of stop motion animation
Techniques: persistence of vision; stop-frame; frame rates
Development: pioneers, eg Joseph Plateau (phenakitoscope), William Horner (zoetrope), Emile Reynaud
(praxinoscope), Edward Muybridge, Edison (kinetoscope), Lumière brothers, George Pal; developers,
eg Willis O’Brien, Ray Harryhausen, Jan Švankmajer; contemporary work, eg the brothers Quay, Tim
Burton, Aardman Animations; genres and forms, eg TV animation, channel idents, cinema, advertising,
music videos, computer games, mobile phones, websites
Watch in class examples of animation from many genres and techniques.
Discuss in groups:
a) how productions were created and for what type of audience.
b) principles of animation
c) techniques, formats and styles
d) range and development of stop motion
Research the history of animation up to the present day. include stills from animations which have been significant in the history of stop motion animation.
Techniques: persistence of vision; stop-frame; frame rates
Development: pioneers, eg Joseph Plateau (phenakitoscope), William Horner (zoetrope), Emile Reynaud
(praxinoscope), Edward Muybridge, Edison (kinetoscope), Lumière brothers, George Pal; developers,
eg Willis O’Brien, Ray Harryhausen, Jan Švankmajer; contemporary work, eg the brothers Quay, Tim
Burton, Aardman Animations; genres and forms, eg TV animation, channel idents, cinema, advertising,
music videos, computer games, mobile phones, websites
Watch in class examples of animation from many genres and techniques.
Discuss in groups:
a) how productions were created and for what type of audience.
b) principles of animation
c) techniques, formats and styles
d) range and development of stop motion
Research the history of animation up to the present day. include stills from animations which have been significant in the history of stop motion animation.
deadline 11th november
task 2 treatment
Use of possible formats: eg stop-frame techniques, time lapse photography, plasticine animation,
claymation, using found objects, modelling, puppetry, combined formats
Generation of concepts: subject; characters; visualisation; awareness of technical limitations; exploiting
format potential
Generation of production ideas: storylines; sets; backgrounds; scenarios; audio
Audience: definition of audience, eg by age, by gender, by interests; taste; viewing context
Planning: drawings; storyboarding; consideration of movement; continuity; frames per second;
perspective; soundtrack design; point of view; set or background; lighting: colour
Breakdown of treatment
Rationale (intentions)
Outline your vision for the project, consider:
Target Audience
Here you must consider the processes you will need to undertake in order to realise your vision:
You must link your intended product FULLY to this audience and demonstrate how it will match the assumption you make about this audience.
Treatment
Here you must consider the processes you will need to undertake in order to realise your vision, use these as sub headings.0
claymation, using found objects, modelling, puppetry, combined formats
Generation of concepts: subject; characters; visualisation; awareness of technical limitations; exploiting
format potential
Generation of production ideas: storylines; sets; backgrounds; scenarios; audio
Audience: definition of audience, eg by age, by gender, by interests; taste; viewing context
Planning: drawings; storyboarding; consideration of movement; continuity; frames per second;
perspective; soundtrack design; point of view; set or background; lighting: colour
Breakdown of treatment
Rationale (intentions)
Outline your vision for the project, consider:
- Working title
- Introduction
- How it fulfils the brief and how it relates to your stimulus/research texts
- The target audience
- The value and ideological stance you will take and how you hope to influence your audience
- The context in which you media text will reach its audience
Target Audience
Here you must consider the processes you will need to undertake in order to realise your vision:
- Age
- Gender
- Interests
- Prior knowledge
- Values
- Institutions
- Etc
You must link your intended product FULLY to this audience and demonstrate how it will match the assumption you make about this audience.
Treatment
Here you must consider the processes you will need to undertake in order to realise your vision, use these as sub headings.0
- Short Synopsis.
- Long Synopsis.
- Genre/Form
- Length.
- Format (input and output inc ratio) PAL
- Style/Pace.
- characters?
- Crew.
- Lighting.
- Schedules
- Feasibilty.
- Sound.
- Deadline
- Equipment.
- Shot list
- Storyboards
deadline 18th november
task 3 production. 5 seconds and over.
Produce a stop motion animation in the medium you have chosen. Use at least 12 frames a second but results will be better at 18 or over.
Components of production: format; narrative; music; special effects; cuts; transitions; timing; frame
numbers; dope sheets
Construction elements: character; models; props; lighting; set, eg three wall set, blue screen, location
Movement: eg walking, lip synching, expression, securing puppets to set, flying a puppet
Camera: framing; access to set; angle; movement; lighting; appropriate point of view; focus; perspective
Post-production editing: adding visual effects; compositing different elements into one shot; removing rigs
Post-production audio: soundtrack; dialogue; synchronisation; levels scanning; use of editing software; key
frames
Components of production: format; narrative; music; special effects; cuts; transitions; timing; frame
numbers; dope sheets
Construction elements: character; models; props; lighting; set, eg three wall set, blue screen, location
Movement: eg walking, lip synching, expression, securing puppets to set, flying a puppet
Camera: framing; access to set; angle; movement; lighting; appropriate point of view; focus; perspective
Post-production editing: adding visual effects; compositing different elements into one shot; removing rigs
Post-production audio: soundtrack; dialogue; synchronisation; levels scanning; use of editing software; key
frames
deadline 24th november
task 4 evaluation (and audience response) 300 words
Showing work to audience.
Reporting findings via questionnaire for feedback: genre; content; style; narrative; character; techniques; technical qualities;
aesthetic qualities; creative qualities
Evaluate UNIT and audience response.
Reporting findings via questionnaire for feedback: genre; content; style; narrative; character; techniques; technical qualities;
aesthetic qualities; creative qualities
Evaluate UNIT and audience response.