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The Art (and Science) of Stop-Motion Animation | Brian McLean | TED
Subtítulos (348 segmentos)
We spend great effort into trying to capture moments.
Freeze-frame memories,
drawings, paintings, sculptures,
photography and home movies
are all our attempts to remember something after it's gone.
But did you know that your brain and eyes are already hardwired to do this?
I'm not talking about memory.
I'm talking about the fact that your eye continues to see an object
for a split second after that object disappears.
I've been thinking about that fact for over 35 years.
(Video) Hi, I’m Brian McLean, and I’m doing my science fair project on
the principle of persistence of vision.
Many of you are probably wondering what is persistence of vision?
Well, it's really pretty neat.
Your eye is an amazing organ, but it has one little quirk.
It continues to see an object for a 10th of a second
after the object disappears.
Here's an example.
This principle is what makes movies,
cartoons and even TV possible.
Can't believe the sweater still fits.
(Laughter)
Brian McLean: Yep, that was me,
12 years old and going deep into the science of animation.
I didn't want to do my science fair project
on the principle of persistence of vision.
I was forced to.
I wanted to do my science fair project on claymation,
but my dad, he wouldn't let me.
He said, "Brian, this is a science fair.
If you want to do claymation, you have to focus on the science
that makes animation possible."
So I opened up my collection of encyclopedias and I got to work.
It was here that I learned about this strange optical phenomenon
called the principle of persistence of vision.
Of course, our brains play a huge role in this.
It's not just the quirk in the retina that allow us to see film and animation.
Our brains are hardwired to be imaginative,
to take in reality,
in this case a series of still images,
and create something new and innovative
out of what it was given.
But when I was in sixth grade, I wasn't thinking of any of that.
I just loved stop-motion animation.
King Kong, Rudolph the Red-Nose reindeer,
scenes from "Star Wars,"
"Nightmare Before Christmas" and Wallace and Gromit.
I spent my childhood wondering what types of tools these filmmakers use
to create movie magic.
Artists, technicians, cinematographers and animators
were creating groundbreaking visuals
using primitive tools compared to today's standards.
Audiences leaving the theaters
wondering how the heck those geniuses pulled it off.
That was me.
So I went to school to study art.
When I graduated college in 1999,
I barely knew how to write an email.
Computers were not something I was comfortable with, so I resisted.
Like many artists, I bounced from job to job.
My career path was not a straight line.
Eventually, I ended up at a design school
running their model shop.
It was here the trajectory of my life changed.
I was introduced to a 3D printer.
This amazing tool was like science fiction.
It bridged the digital world and the physical worlds together.
And for me, it made the digital world far less intimidating
and more approachable.
So I'd read the instruction manual at night
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