Compose Your Vision - Satisfying stop-motion loops

Entdecken Sie den kreativen Workflow von professionellen Fotografen und Filmemachern. Ansprechende Stop-Motion-Schleifen: lernen Sie das Kompositionsprojekt von Koen Berkhout kennen.

Konzept

Kreativität ist ein ganz besonderes Gefühl. Es lässt mich aufgeregt und konzentriert sein und kann, wenn alles gut läuft, magische Dinge bewirken. Kreativität ist nicht etwas, das die ganze Zeit eingeschaltet ist. Ich muss in der richtigen Stimmung sein, um meine kreative Ader in Gang zu setzen. Aber wenn das der Fall ist, versuche ich, dieses Gefühl so lange wie möglich zu halten.

Dieses Projekt ist eine visuelle Hommage an diese kreative Stimmung. Ein spielerisches typografisches Experiment, das zu einer befriedigenden Stop-Motion-Schleife führte. Die Sie sich wieder und wieder ansehen können... und wieder.

Und auch wenn dies wie eine 3D-gerenderte Animation aussieht, ist alles, was Sie sehen, in Handarbeit und in meinem Filmstudio mit den Arbeitsgeräten von Manfrotto gedreht worden. Ja, wirklich echt!

Warum sollte man sich die Mühe machen, etwas Reales zu schaffen?

Ich glaube, dass es in einer Zeit, in der KI in der Lage ist, alles zu kreieren, was Sie sich vorstellen können (und noch mehr), wichtig ist, das tatsächliche Handwerk und die Fähigkeiten zu schützen, die für echte Kreationen von menschlichen Künstlern benötigt werden.

Die Herausforderung für mich besteht darin, diese Idee noch weiter zu erforschen, indem ich das Aussehen und das Gefühl von computergenerierten Bildern nachbilde. Aber erst dann im echten Leben. Es gibt mir eine großartige Gelegenheit, mit Kameratechniken, Beleuchtung, Set-Design, Stop-Motion und physischen Materialien zu experimentieren. Ich lasse alles, was ich gerne mache, in diese Stop-Motion-Loops einfließen und lerne dabei eine Menge.

Composition

I always try to capture as much of the final image in camera, as this gives me the most believable end result. Lighting, shadows, objects and set-design naturally play together and this sells the effect that I’m going for.

The real kicker is that everything you see is actually handmade. Which adds an element of surprise and a sense of wonder. It’s important for me to document that process and give a look behind-the-scenes, as proof that it’s all actually real.

The question I get asked most is ‘Which software/render engine do you use?’. My go-to answer is ‘Real life’. 

Sketches/techniques

Capturing an imaginary world in-camera is only possible with careful planning and preparation. I love working in a studio environment, as it allows me to have complete control over the image I want to create.

But before I jump into the studio, I make digital sketches of the composition and make frame-by-frame animations using Procreate on my iPad. Which I can later use as an on-screen guide when I’m shooting the actual stop-motion in my studio.

Stop-motion is essentially real life frame-by-frame animation. Figuring out the motion digitally beforehand, saves me a lot of time tinkering in the studio. 

Materials

I go out of my way to source objects and materials that have interesting characteristics. For this project I found colourful rings and balls made of silicone, that almost look too good to be true. For the background elements I had shapes lasercut out of frosted plexiglas. Which produce a nice gradient when you shine light trough it. 

To suspend the silicone rings in the air, while also being able to rotate them, I made a custom rig with aluminum wire. On the backside I stuffed a flat aluminum wire into the ring, which allows me to squeeze and hold its shape.

It doesn’t look pretty, but it works great. That’s showbiz!

Set-up and shooting

All the preparations I take before a shoot, basically come down to making my life as easy as possible during the shoot.

I want to have anything within reach and carefully make my way around the studio, without bumping into any lights or into my camera. If that happens, it basically means I’have to start all over again (I’ve learned my lesson the hard way). So I rely on sturdy clamps, stands and camera-support to keep everything in place. 

The , paired with a might be the most versatile tool in my studio. I never build a setup without using at least on of them.

My current studio is fairly small, so I have to make good use of the limited space that I do have. The flat and stackable design of the are a game changer for me. Not only during my shoots but also for saving storage space in the studio. 

The is placed as a roof above my set. Providing me with a huge soft light source, while not taking up a lot of space. I’m able to stand up straight at my shooting table without bumping my head. My back is also thankful for that! 

Having my laptop close to me at all times is crucial, as I’m constantly pixel- peeping to get my frames lined up just right. The is a perfect companion on set and never gets in my way.

Most of the time I’m not even looking at the set, but only at my laptop screen. That’s where I have a live-view of what my camera is seeing. And that’s the angle where everything has to look right. 

Knowing that I can build any set that I can think of makes me feel confident in the studio. And allows me to focus on all other aspects of my production. The last thing I want to worry about is if my equipment is up to the task.

I have no worries when I’m using the studio tools from Manfrotto. I trust them for any production that I do. Having the right tools in my studio gives me total creative freedom. 

Timelapse of the stop-motion shoot

Post-production

Even though I try to capture everything in-camera, I don’t shy away from using VFX. Post-production is an essential part of my work, as it allows me to elevate the images that I captured in the studio to another level.

I use compositing techniques to combine all separate takes into one final animation. Most of my time is spent on cleaning up the stop-motion rigs, by carefully masking out the objects and replacing the background with a clean- plate*.

*a shot of the set without any objects or rigs in frame.

My favourite step has to be color-grading, this is where I can really dial in the look and feel I’m going for.

No video is complete without audio. For the finishing touch I’ve asked sound designer Lars van Leeuwen to create a fitting soundscape for my animation. He captured the mood perfectly! 

Watch the behind-the-scenes video