How To Printing Letters For Stop Motion Animation

Stop motion animation is something available to everyone from kids with iPhones to professional person animators. This is what makes it so interesting! If you can imagine it, you can make it.

The premise is unproblematic: Take a picture of an inanimate object, motion the object a scrap or write a tiny piece of a letter of the alphabet, take another picture, and repeat. And so compile all of your pictures into a video using a tool similar iMovie or Adobe Premiere Pro. I'chiliad going to share how I made my favorite stop motility animation to date, which is inspired by all of the beautiful colors in the produce section of the grocery store.

I'll cover just the basics. You can really practice as much or as piffling as you want to go to perfect. In fact, after I made my outset finish motion, my thirteen-year-old girl made a fantastic end motion animation about making s'mores using nothing but a very old iPhone and iMovie. The process is fun and you will be pretty amazed with the product, even if information technology's not perfect the start fourth dimension.

Swallow the Rainbow from Erica Everhart on Vimeo.

ten Steps to creating stop motion animation

1. Create a plan.

It'due south super important to programme out your cease movement video before you start. Information technology's also important to allow yourself the knowledge that no matter how much you program, you will exist irresolute that plan as you become. I typically spend a while (sometimes a long while) contemplating an idea. I sleep on it, I think about it while driving, I permit my listen do its thing. From there, I like to make a general storyboard then that I accept an idea of how many frames I want to shoot and what sorts of items I demand to exist gathering or making.

two. Summate the number of frames you lot'll demand.

Typically you are aiming for ten to 15 frames per second of video. The fewer frames per 2nd the jerkier your finish motion will look, which can create a fun, funky look, if that's what yous're going for. In normal video nosotros're used to seeing about 24 frames per second. For terminate motility video, I tend to do around 12 frames per second.

Instagram allows videos upwards to one minute in length, but a one-minute stop motion blitheness would take me a actually long fourth dimension to make. I tend to aim for xxx seconds or and then. At 12 frames per second, that means I'k shooting (and editing) 360 images. I break my storyboard into scenes and apportion an approximate number of frames to each scene.

3. Think about transitions.

Transitions are important to move us from one scene to the adjacent. It is important to call back well-nigh your transitions at the offset considering sometimes transitions can affect the club yous shoot a scene. For instance, if you are going to ball upwardly a slice of paper and then unfurl it to reveal a new scene, y'all need to make sure you're shooting the apartment paper to balled up newspaper sections in the right gild. (Once you brawl up a piece of newspaper, y'all're never flattening information technology out again.) You tin can always reverse the order of images in post production.

Transitions crave a lot of creativity to wait highly-seasoned. I sometimes struggle with transitions, so I similar to watch lots of stop movement animation videos to get ideas. Transitions definitely add a huge degree of professionalism to your videos.

4. Find the right attribute ratio and backdrop.

Are y'all shooting for Instagram? And then your video is best done as a foursquare (y'all can likewise post videos in other orientations on Instagram). Vimeo is fine with whatsoever aspect ratio. Are you going to shoot on a white groundwork? Black background? Awesome wood table? Find your sail and and then make some marks for yourself and then that you requite yourself a bounding box within which yous volition go along your entire scene. I tape down dowels of equal length in a square because I am normally shooting for optimal sharing on Instagram.

five. Create your props.

I generally piece of work on one scene at a time in case something from ane scene makes me want to alter course. I will create or assemble any props necessary for my shoot i scene at a fourth dimension. In the example video that involves fruits and vegetables, I cut upward i color of food at a time, shot that color, and so moved on to the next colour.

I too like to create paper props, which sometimes involves drawing, coloring, and and then cut. Sometimes I get to use my awesome Silhouette precision cutter to cut out shapes, eyeballs, letters, etc. In the photograph of my cute picayune lemon, I used my Silhouette to cut out the pieces of the eyeballs and glue dots to agree everything together. I had to make many different eyeballs then that the lemon could properly "emote."

six. Find or create fifty-fifty lighting.

At this point information technology is time to fix up to shoot. My offset consideration is lighting. Small variations in light tin result in flickering, and then y'all actually want to make sure you have a solid calorie-free source. A window adjacent to a table can piece of work, simply I would strongly consider using a reflector on the side opposite the window to fifty-fifty out your lighting. I do a lot of production photography so I have an awesome continuous lighting setup that works great for end motion. Simple LED panel lights also work great.

7. Gear up everything upward.

I shoot most of my stop motility from overhead, like a flat lay. Sometimes I will too shoot looking dead on for a 3D object (similar the lemons in my case video). I prefer to shoot on white, but I've done other backgrounds too. I begin by setting upwardly some white seamless paper so that information technology swoops onto the floor (or a very depression table). If I volition be shooting only flat lay, I sometimes just utilize a large piece of foam core board.

Next, I set up my tripod so that information technology is looking directly downwards on my canvas, which I've figured out in footstep 4, above. My tripod has a telescoping arm and so my camera can actually be looking straight down on the scene. Don't worry, this isn't necessary, but if you do use a telescoping arm, brand certain you weight your tripod down so that your photographic camera doesn't tip over and hit the footing.

Final, I like to take a shot with a grayness carte once I get the exposure perfect. The gray card helps with piece of cake color correction later on on. I always shoot with a remote shutter release and so that I'm non slightly bumping the photographic camera between shots.

8. Shoot your scenes as still frames.

When I'm ready to get started with shooting, I'll begin with i scene. I don't always start with the beginning. In fact, for my first scene I will typically pick the easiest to execute so that I can work out whatsoever kinks I encounter without adding complicating factors. I will also usually pull this scene into Lightroom, do a quick edit and and then compile it into a video so that I can get a sense for whether I'grand happy with 12 frames per 2nd or whether I'd rather shoot higher or lower.

To shoot: Set up your prop, take a shot, motion it a tiny bit, take another shot and repeat until you're washed. This is where your math skills come up in handy. If you know you need five seconds of this scene, y'all need 60 shots. If yous are making a lemon walk across a stage, for example, y'all need to move slowly enough that yous don't get there in 10 shots, but not so slow that it takes 120 shots. I do non treat this as a precise scientific discipline. If my video is 28 seconds or 32 seconds, that is ok. (Unless of class someone is paying me large bucks to make a precisely thirty second video!).

I important note: Make sure you and your shadow are all the way out of the frame before you lot accept a shot. It can be easy to become yourself into a rhythm of shoot, move, shoot, move. But you'll be a sad stop move animator when you lot're done with a scene and you realize yous were casting a shadow in some of your images and your exposure is all wonky.

9. Edit your nevertheless frames.

Editing a series of images isn't as much of a chore equally information technology sounds. With my lighting setup remaining stable, I can edit the starting time epitome in Lightroom and so sync the settings across all images to create a compatible look. It all sounds so easy but even the best laid plans seem to result in slightly dissimilar looks for dissimilar scenes. When I view all of the images in grid mode in Lightroom, I can normally recognize these subtle differences and then correct them.

Occasionally I will have to pull a serial of images into Photoshop i-by-one and clone something large out, like berry juice from a beautiful white background. That is time-consuming and I highly recommend thinking about correcting any problem while shooting instead of in mail service processing. The berry juice was unavoidable.

I've included a direct out of photographic camera prototype and the edited image then that you can run into how I aimed for a bright white clean background.

Before

Afterwards

x. Compile your nevertheless images into a video.

From Lightroom, I export all of my images at full resolution. You can use iMovie or Adobe Premiere Pro to compile your images into a movie. I'thousand certain at that place is a Windows based software like iMovie that works well also. I like to use Premiere Pro because it gives me more options than iMovie. With whatsoever software, the general idea is to import a series of images and tell the program to play them at a certain frame charge per unit. In iMovie you can practise that through the time setting, which is fix to 4 seconds by default. Y'all tin can change this to 0.1 2nd for 10 frames per second, or you can exercise more than math to effigy out the decimal that most closely approximates your chosen frame rate. Yous also demand to turn off the Ken Burns effect in iMovie.

Near commercial stop move videos include music, which definitely adds to the feel of the film. There are a few sites that you lot can use for royalty-free music, and many sites where you can buy licenses. I like Bensound and Free Music Archive for my personal work.

I as well similar to add together either a title, an end screen, or both to my films. Once you are happy with information technology, export your video and share!

Cease movement animation scratches so many itches: You lot tin arts and crafts until your heart's content, you tin be incredibly precise and perfect, you lot tin make things on paper that you can simply imagine in your wildest heed, y'all tin can take photographs, you lot can edit, you lot can search for hours for the perfect music to accompany your masterpiece – it has it all. I discover that cease motility blitheness is such a great rut buster and a wonderful excuse to spend more money on arts and crafts supplies.

Erica's finish motion animation gear

Photographic camera: Fujifilm XT-2 mirrorless camera
Lenses: Fujinon XF x-24mm f/4 (I adore this lens for about everything.)
Tripod: Manfrotto 190XP with pistol grip caput and a heavy sheet handbag to weigh downwards the tripod so it doesn't move.
Lighting: Westcott TD6 Spiderlites
Other important tools: Remote shutter release, completely charged battery, Sandisk Extreme Pro memory cards (64GB), gray carte du jour, groundwork paper or foam core, craft supplies, Silhouette Cameo
Editing software: Lightroom, Adobe Premiere Pro, and sometimes iMovie

PRO TIP: Use an adapter that allows you to plug your camera into the wall – you really don't want your photographic camera to movement at all once you go set up!

All images by Erica Everhart

Accept you created your ain stop motion animation? We wanna see! Share in the comments and so nosotros can all become follow you on Instagram.

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