The Break-Down of Moving Images

After visiting the Museum of Moving Image, observing the many exhibits and participating in both the digital flip book, and stop animation workshops, I have a better understanding of the physical breakdown and mechanics of film and video. As a media artist, understanding the history and foundation of moving image is priceless and pertinent in any type of work. The common principle that the exhibits of picture books, Victorian toys, stop-motion animation and film illustrate is that moving images are an illusion of individual images placed together and shown in rapid succession. While this may seem rudimentary, seeing the break down of this optical illusion in its many forms highlights the importance of making every frame count; it offers a new perspective on the moving image as visual art.
The “Stop-Motion Animation” workshop highlighted the importance of each shot. Because for this project we had to actually break down each frame, taking a digital picture of the drawing with the progression of which ever drawn prop or character. Even though everything in the frames was already drawn and styled, some problems were inevitable, if the project was done hastily. For example moving the paper puppet character too fast too soon, translated poorly in to the final project. In addition, if taken to quickly hands and other unnatural items could end up in the final moving image. For the highest-quality result, the student has to consider every frame an individual piece of visual art. Although filming a documentary or making a TV Pilot does not present the same exact obstacles, the same principles are at work. Every frame counts, and putting together every detail of the shot makes the difference. Each shot and angle deserves the thought, focus and concentration of an individual work of visual art.