(Skip ahead to 4:58) The idea is to fill the air with such a profusion of fragmented elements that you can't tell what phase of the action you're looking at.
The Road Runner / Wile E. Coyote cartoons that Chuck Jones directed for Warner Brothers played with the same idea.
The flurry frames stay on the screen for just a fraction of a second, long enough to give the viewer an impression of crazy action.
Jones would occasionally freeze-frame one of these when he was introducing the characters, which blew my mind when I first saw it as a kid.
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Getting Blur into Stop Motion
Elongated In Betweens
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