Pixilation

Pixilation was first used by the godfather of stop-motion animation Georges Melies, this was used in his short piece 'Le Diable Noir' (1905) although his technique of pausing a recording then continuing again was originally an accident whilst filming a passing bus on the street, Melies continuously explored the possibilities of this technique. However no one exployed the possibilities of Pixilation like British/Canadian film maker Malcolm McLaren did in his career during the 1950s the stop-motion technique once again uses the persistence of vision to make it look as though the subjects in the film are defying the laws of physics (i.e. floating/flying/skating/sliding etc.)

This is done by taking a photograph frame by frame moving the subjects (or props) as carefully as possible or as drastic as possible depending on the desired effect the film maker wants to utilize. When using an Apple Macintosh there is a programme called iStopMovie when taking pictures frame by frame an onion skin appears this shows where the subject appeared in the last image moving it as much or as little as you want while seeing exactly where the subject appeared in the last photo. By using the onion skin you can see the composition of your last photo frame, this gives you the availability to create your animation with pain staking accuracy.

Using human subjects (or puppets) instead of using illustration was one of Malcolm McLaren's most valuable gifts to stop-motion animation, creating a world of oppurtunities for film makers such as Jan Švankmajer and short feature animator Adam Pesapane commonly known as PES.

 

The subjects tend to be real life rendered subjects that move only slightly frame by frame using a tripod and video camera with the necessary software the pictures are taken and then played back again in a sequence to make it seem as though subjects are moving in a surreal way.