Present stop motion animators

Aardman vs Burton

Aardman and Burton are at either sides of the spectrum, yet both use similar basic techniques to create an impressive, effective display. Though both use an average 24 frame per second animation rate, Burton's molded structures are easily distinguished from the recognizable Aardman clay figures; this ties in with the stop-motion techniques. As with many other stop motion pieces, the frame retention allows perception of movement for the animation to be effective. However, Burton uses armature for his characters, meaning that the movement seen on screen was restricted to a very human and realistic way. Aardman do not use armatures for the models, resulting in a looser and cartoon-y appearence on-screen. This is the main stop motion technique difference used by the two.

   



On a basic level, movement is created by both Aardman and Burton by the perception of motion - the retention of a frame when a latter frame is also being seen. A picture is taken, the models are slightly adjusted, and then another picture is taken. This process is repeated until the story has been fully told or they get to the end of the scene. When the pictures are shown in fast succession, it will appear as in motion.

On a more advanced level, Aardman and Burton use microscopic changes to slightly alter each frame and sometimes subconsciously making an opinion from these. An example of this is Jacks eyelids in The Nightmare Before Christmas - a model designer explains that the number of frames taken for Jack to blink can affect views on him. Say, in example, 3 frames were taken up by a blink. This would tell us that he is a relatively heavy blinker, and that because of this he could be considered a 'relaxed' character. Though an abstract conclusion from a millisecond of film, this can be adapted to a vast number of different things throughout the animation. This will not only create movement in an advanced sense, but effect the outcome of the rest of the movement to come. Stop motion in other genres is less common than comedy and family.

                                             

Burton's characters are very different to Aardman's. Aardman's are normally cheery, relateable and family friendly, seen in films like 'Chicken Run' and 'A Close Shave'. Burton's are normally very dark, mysterious and almost surreal, seen in films like 'A Nightmare Before Christmas' and 'Vincent'. The set used by Aardman is generally made up of fitting family colours - light blues,  greens, yellows and browns. They normally confirm the assumption of a positive film by Aardman. Burton, however, frequently uses contrasting colours with dark browns and blacks upon orange and lilac. This is normal to a Burton standard, due his aim of the film being strange and odd. Storylines used in both Aardman and Burton films are similar - a hero saving something; however, Burton chooses a slightly alternative route - it's just his style, seen in his early animation Vincent.

Burton's impact changes from project to project, whereas Aardman's is normally the same. As Aardman focus on a family friendly plot and conclusion, the impact is usually ultimately a motto or life lesson. Burton's impact normally comprises of speculation and theoretical thinking, caused by a metaphorical story told indirectly.

Overall, both Aardman and Burton gain my respect. The grueling 24 frame-per-second animations are realistic, detailed and impressive. Though different styles are used by the two, the hard work link them together to make commendable pieces. Aardman's to-the-point stories contrast with Burton's deeper ones, yet both are brilliant in technicality and structure.