IDK what’s weirder, that A) This porno-spoof of Flash Gordon by the name of “Flesh Gordon” has some shockingly good stop-motion animation, B) That this puppet is from a wholly different unproduced stop-motion-monster movie painted gold or C) that this porno spoof was so well-received that it actually paved the way for production of the real Flash Gordon movie…

anonymous asked:

the nightmare before christmas

never seen | want to see | terrible | boring | okay | good | great | a favorite

Stop motion animation holds such a big part of my heart and this movie is like the trailblazer!! I think I have watched this movie like three times in the past couple months lmaoooo a true classic in my book!

Originally posted by horrorandhalloween

Making of Out of the Darkness insights

The film was made entirely in stop motion and is an excerpt from the feature screenplay the director wrote about Faceless Neil’s adventures; the dark tale of a boy who was cursed to remain faceless between the world of the living and the dead.

The short aims to be a teaser that will help finding funds for a feature film.

The short was partially funded by kickstarter and cost a total of approximately 20k. The director invested her own money to fund half of the short.

The film started production in January 2013 and was delivered in May 2014.
The shoot of the film took approximately 6 months. The director was the sole animator on the set.

Stop motion is very tedious and labor intensive, the short took a lot of planing and the director was able to shoot about 1 second per hour which is actually considered fast in the stop motion world. The short was shot mostly on one at a 24 frame per second rate. She was able to shoot between 2 to 4 scenes a day.

The film had a total of 129 scenes.

The dance scene after the credits was shot as a promotion tool for the short, and to showcase one special attribute of the character who happens to love dancing. The sky in the final scene was made thanks to a technique called “cloud tank” which is basically filming reaction of ink or paint introduced in a tank filled with a third of salted water. The director shoot 2 cloud tanks session to generate enough footages to select from.

The director wanted to avoid as much as possible post production work therefore no green screen was used, only a Blue screen for the final scene in order to replace the sky. She used rigs in the actual set and then a team of post production artists helped erasing holes and rigs from each individual picture.

Neil has hole under his feet that weren’t erased from a couple scene. Those holes allow to screw and hold the character steadily on surface. The director storyboarded the entire short herself, when she was in the middle of the shoot she realized looking at the boards some scenes were unnecessary and deleted about 4 scenes from the original storyboard. The director hired people to build the sets as well as the puppets since making good animatable people takes a lot of experience in that peculiar manufacture.

Manny used replaceable heads for speech. The director could only afford 12 heads so his expressions were limited. He had replacement eyes as well that she sculpted and painted herself. Manny’s body was made out of silicone with a wire armature, the heads were plastic. Neil was entirely silicone, with a part wire armature and part ball socket armature. Neil also had replacement eyelids to make blinks and expressions.

The puppet of the main character (Neil) cost about 6k, his sidekick Manny cost about 5k.

The making of Neil’s puppet run into problems, the first puppet she commissioned to be made was a disaster and cost 3k. It was un-animatable and far from the original character design. Noella then hired a new sculptor based in CA who worked on the film Coraline. He agreed to make the puppet using the same technique for a lower price but the making of the puppet dragged over 6 months and had to be finished by another puppet maker in NY. Noella started shooting scenes with only Neil’s body completed. She shot scenes with a Headless Neil that didn’t require his face in the shot such as close up on his feet etc… The director originally choose to animate this scene from the screenplay as it would be the less costly. Only 2 characters and 2 sets.

The score was an original by Daniel Caldwell who offered to work for free on the short film.

For a while the director debated whether we should hear what Neil mutters or if his voice should be completely muffled. In the end She decided to muffle completely the character’s voice (recorded by an 11 year old) in order to stay truer to her original vision of the character.

She believes that great films need little to no dialogs and it is even truer in animation since the action can tell the story. If done properly.

Part of what makes stop motion great is the light, which is crucial to make a good stop motion animated film. Noella was lucky to work with an experienced Director of Photography (John Donnelly) who had experience working on film and animated shorts.

The director is obviously influence by the work of Tim Burton, Henry Selick, Jamie Hewlett and David Lynch among many.

The original idea for Faceless Neil was a college homework assignment: “We were asked to draw 4 images from 4 sentences, I ended up drawing a kid on a bed, not facing the camera, with crawling monsters surrounding him and getting closer. As the boy turned around, he was faceless and shared a strange resemblance with the monster. I then though it would made a nite little cartoon and used the characters for my first animation class that same year. From then on I kept on developing the characters and the story. I was listening a lot to Andrew Bird’s music at the time and it was a direct inspiration for the story and the global mood of Faceless Neil. 5 years later, I made 3 short films, countless animated teasers, hundreds of daily comics and written a 110 screenplay as well as a tv pilot around the universe of Faceless Neil."  She hopes people will enjoy the film and want to see more about what happens to Neil. 

Faceless Neil is a project that’s been developed by the director for over 5 years now, she hopes it won’t take more than another 5 to get little Neil on the big screen for a feature.

Tumblr Tuesday: Stop Motion Animation

Cardboard Life (cardboardlife)
Yarn has never been more animated.

Mind Game Studios (mindgamestudios)
Some tight Lego-centric cinema, as well as previews for a documentary about that whole thing

GIF Bros (gifbros)
Enjoyable perversions of everyday objects.

Jethro Adams (jethroames)
Mostly sponsored content, all really fucking good. 

Don’t Stop Motion (dontstopmotion)
Rachel Ryle’s blog is a hub for all things adorable and colored with pencils. That’s one of the top 10 nice hub situations I can think of. 

GIF by cardboardlife 

Alright, one last thing on Ghostbusters

There’s no clear rolls in this movie. They’re all interchangeable.

In the original, Egon was the straight man and the “brains” of the team. Ray was the enthusiastic “heart” of the team, approaching the paranormal with child-like wonderment. Venkman was… VENKMAN! the “mouth” of the team, the wit, the attitude, and also a sceptic. And Winston was the everyman. He wasn’t a scientist like the others (despite what the new trailer seems to think), he didn’t have experience with the paranormal, he was just a normal dude, like us, the viewers. He was the one we were meant to relate to.

But this new movie?

Sassy skinny one 
Sassy fat one
Sassy blonde skinny one
Sassy black one

And then there’s the CGI ghosts. The original movie didn’t use CGI ghosts. They used practical effects, and it still looks good today (except one stop-motion scene towards the end of the movie). When 1980′s practical effects look more convincing than fucking 2016 CGI, you’ve got a fucking problem, dude.

And while I like the idea of them having additional weaponry (I mean, come on, it’s been 30 years, technology advances), it just makes me wonder Why the fuck the ghost trap looks like shit. It’s this huge, bulky bear trap looking thing.
The trap in the original films was this little hand-held box thing. How do you advance a technology and then take major steps BACKWARDS with one of the most crucial pieces of equipment? How the hell do they even lug that thing around?

You could say “But Hoody, it’s just a trailer” No, fuck you. A trailer is supposed to give you an idea of what the movie will be like, it’s supposed to make you want more, and the “more” is the film itself.

If THIS is what they’re putting out as a representation of their film to make viewers want to see it, then I can only assume that it’s going to be a really bad movie. Mediocre at best. And it sure as FUCK has nothing to do with sexism.

I’m gonna go watch the original movie to wash this bullshit out of my eyes


Markiplier Animated | The Itch

Iyami won’t stop haunting my dreams

Usually it’s some dumb little in-character thing where he’s trying to somehow scam me (the best being one where I THOUGHT we were working together to escape a deserted island but he was planning to ditch me the whole time), but last night he showed up as an honest-to-goodness poorly-stop-motion-animated Eldritch monstrosity screaming across a landscape