Shooting on "ones" vs. "twos" in stop motion animation | MISSING LINK | TIFF 2019

Summary

This video explores the nuances of stop-motion animation, with a focus on the choice between shooting on ones and twos. The speaker emphasizes the importance of fluid, naturalistic animation and the pursuit of nuanced performances, as seen in films like Coraline. While shooting on twos is a valid aesthetic choice, the preference is for shooting on ones to achieve a more sophisticated and lifelike result. The discussion also touches on the unique tactile quality of stop-motion, highlighting how technology aids storytelling without replacing the medium's distinctive charm.

Takeaways

• 😀 Shooting on ones (24 frames per second) results in more fluid and nuanced animation, while shooting on twos (12 frames per second) is used for slower or less significant movements.
• 😀 The pursuit of 'the illusion of life' in animation aims for naturalistic, smooth performances, which is why most modern stop-motion uses single-frame animation (ones).
• 😀 Different animation styles exist, such as pose-to-pose and straight-ahead, each with their own aesthetic. The choice of technique is based on the desired outcome.
• 😀 Some stop-motion studios, like Aardman, intentionally shoot on twos to achieve a specific, more tactile look that reflects the animators' thumbprints.
• 😀 The tactile nature of stop-motion, with real lights and objects, creates a sense of physicality and nostalgia, allowing audiences to feel they could touch the characters.
• 😀 Even with advancements in technology, stop-motion retains its distinctiveness and cannot be replaced by digital realism. The medium's authenticity remains its core strength.
• 😀 Photorealism is not the primary goal for most animators in stop-motion; instead, technology is used to enhance the storytelling and allow for more ambitious, creative narratives.
• 😀 Many animators, including those in CG animation, avoid realism and instead opt for stylized or exaggerated aesthetics to create unique visuals and emotions.
• 😀 Technology in animation is viewed as a tool to assist and expand storytelling possibilities, not as a replacement for traditional techniques.
• 😀 The stop-motion community values the personal, handcrafted elements of the medium, using technology to improve but never to substitute the physical artistry involved.

Q & A

What is the difference between shooting on ones and shooting on twos in animation?

Shooting on ones means taking a picture for every frame, typically 24 frames per second, resulting in a smooth animation. Shooting on twos means taking a picture for every two frames, which results in 12 frames per second and a slightly less fluid animation.

Why do most animators prefer to shoot on ones?

Most animators prefer shooting on ones because it produces a more fluid, sophisticated, and nuanced animation, closely aligning with the goal of achieving the 'illusion of life,' as described by Disney.

Are there exceptions to shooting on ones in animation?

Yes, there are exceptions. Animators may choose to shoot on twos if the character's movement is so small that it cannot be effectively captured on ones, or if the character is far from the camera, making their movements barely visible.

What role does aesthetic choice play in the decision to shoot on twos?

Shooting on twos can be an intentional aesthetic choice, as seen in studios like Aardman, where the use of twos helps create a unique look, including the visible thumbprints of the animator, which gives the animation a distinct style.

What is the significance of the 'illusion of life' in 2D animation?

The 'illusion of life' refers to the goal of achieving naturalistic animation that mimics the subtle and realistic movements of living beings, making the animation feel more lifelike and fluid.

Why is stop-motion animation considered special compared to other forms of animation?

Stop-motion animation is special because it uses real lights on real, handmade objects, creating a tactile, physical quality. This quality resonates with viewers, evoking a sense of nostalgia and the feeling that the characters are tangible, like toys coming to life.

How does technology impact the process of stop-motion animation?

While technology in stop-motion animation allows for larger sets, more characters, and more complicated stories, it is used to enhance and support the traditional medium, rather than replacing its fundamental tactile nature.

What is the relationship between realism and stop-motion animation?

While some animators may pursue photorealism in their work, stop-motion animation does not necessarily aim for ultimate realism. The medium embraces its unique aesthetic, and many animators choose stylized or exaggerated approaches over pure realism.

What is the role of technology in enhancing the aesthetic of stop-motion animation?

Technology is used to accentuate the aesthetic of stop-motion animation, enabling animators to tell more complex and bold stories. However, it does not replace the core tactile and handmade qualities of the medium.

How does stop-motion animation maintain its charm despite technological advances?

Stop-motion maintains its charm because of its handcrafted nature. Even as technology helps expand the scope and scale of projects, the physicality of the objects and the 'realness' of the animation continue to resonate with audiences.