animation stand

There it was-overlaying reality like a transparency laid on an animation stand.

An animation camera or animation stand, used for single frame shooting on film is similar.

This is quite easy to do on an animation stand, with the camera pointing down on to a flat board which supports the artwork.

Where possible, the crew simply took still pictures of the office background and had them enlarged and placed directly on the animation stand.

The titles were shot professionally by John Tollemach on a proper Oxberry animation stand.

He produced Polaroids that Kubrick approved off, and got the go-ahead to set up a kind of gigantic horizontal animation stand.

In 2006 Sergei Ryabov created at home the animation stand, on which he has shot a first film "Rybka" independently.

Ed makes an offer, buys the Master Series animation stand and orders from Bill Ferster the first "Cameraman" computer system.

Photoanimation is a technique as old as the motion picture industry, in which still photos, artwork, or other objects are filmed with the use of an animation stand.

First, they drew muscular warriors in ghostly forms onto cels and printed the images onto film with an Oxberry animation stand and contact printer.

Copy stands are sometimes recommended as a low-cost alternative to a full-featured animation stand for traditional cel animation, especially when using small film formats such as Super 8.

Though the round command module was built as a set, turned sideways, miniatures were used otherwise (and tiny models of the actors, photographed on an animation stand, for some long shots).

Today's C.G.I. processes are nothing more than technologically advanced versions of traditional animation techniques, with the computer console replacing the drawing board and animation stand of the past.

For Tony Snake, he wrote, directed and edited the commercial "Avoid the Chainsaw", using an old animation stand and the technique of photoanimation, combined with modern digital software.

With an animation stand consisting of a Bolex camera attached to a photo enlarger, constructed by instructor David Batchelder, she produced her first animated short, the three-minute, 16mm "Ducky".

The vertical positioning of the animation camera, always shooting down, is the main component that defines an animation stand, as opposed to a stop motion set-up, or other equipment arrangements for animation production.

An animation stand is a device assembled for the filming of any kind of animation that is placed on a flat surface, including cel animation, graphic animation, clay animation, and silhouette animation.

The first 'comet trail' star logo was created by Paul Johnson on an animation stand using a slit scan technique at R/Greenberg Associates (now R/GA Digital Studios) in Manhattan.

Since the distance and aperture remain the same, only more or less of the same picture is being shown, just as if a camera in a museum or on an animation stand were moving in and out on an oil painting.

Their wide availability on the used market (along with the continued manufacture of Super 8 film) make them a viable low-cost alternative to specialized animation cameras when paired with a suitable animation stand (copy stands are often adapted to this purpose).

The combination of an animation stand with a 35mm projector enabled the fast turnaround of film opticals and was a system popular with designers demanding precise title layouts by rotoscoping directly from the animation stand.

The origin of the name might also be related to the Acme company that built a fine line of animation stands and optical printers; however, the most likely explanation is the Sears house brand called Acme that appeared in their ubiquitous early 1900s mail-order catalogues.

On the Oxberry Master Series Stand, the compound (platform) of the animation stand moves East-West and North-South or varying degrees of these parameters and tilts at angles up to 45 degrees in any direction with combinations that cover the compass rose.

Here he was responsible for integrating the work of a who's-who of cinematographers and visual effects designers, (including Zoran Perisic, an animation stand crew member from 2001, who extended Kubrick's front projection technique for Superman) with the plausibility and sense of grandeur befitting a (mostly) reverent take on a superhero.