Stop Motion Short Cuts
Analog animation techniques by students in the Hagenberg Technical College’s Digital Media and Media Technology & Design programs.

2007

Lukas Anzengruber
Pia Auteried
Julia Kristin Brandstetter
Andreas Brandstötter
Andrea Maria Dietrich
Johannes Michael Eichberger
Christoph Herbert Einfalt
Katja Fenzl
Andreas Gessl
Dominik Pascal Gottherr
Dominik Gruber
Christian Hanl
Florian Hausberger
Claus Helfenschneider
Jürgen Hoog (AT)
Nicole Hornek
Martina Karan
Iris Maria Kern
Katharina Maria Keßler
Alexander Kuales
Daniel Kuales
Florian Landerl (AT)
Markus Sebastian Lauterjung
Martin Lenzelbauer
Doris Musikar
Andreas Opferkuch
Paul Pammesberger
Alexander Piringer
Remo Rauscher
Ingrid Rauscher
Monika Rohrweck
Gabriele Schneglberger
Miriam Schneider
Sonja Katharina Schuster
Thomas Seifried
Stefan Unterhuber
Birgit Weißmar
Ralph Windischhofer
Johannes Wohlgemuth
Mathias Zauner
David Zuderstorfer
Jürgen Hagler (AT)
Roland Keil
Sabine Retschitzegger

From kiddie shows to Hollywood blockbusters—animated films are a part of what we experience daily on TV and at the movies. “Stop Motion Short Cuts” is a compilation of works of analog animated filmmaking by students at Hagenberg Technical College.

The spectrum of analog animation techniques includes the use of puppets and collages as well as conventional hand-rendered animation. They’re applied in a wide variety of genres including commercials, motion design work and short films.

One classic is so-called clay animation in which artists work with a malleable material like plastiline. Complex metal constructions inside the clay figures facilitate the movements. This is comparable to puppet animation in which a metal skeleton sheathed in any number of different materials is manipulated frame by frame.

Another animation possibility is so-called rotoscoping in which an actual video serves as the basis for drawn animation. Stop motion technique makes it possible to breathe life into just about any sort of material—sand, textiles, paper, foodstuffs, metal or fluids.

Combining digital and analog elements as well as computerized post-processing give rise to a whole series of potential variations. For example, the film “Ruhestörung” (Disturbing the Peace) sets an animated puppet before a drawn animated background. “Anima” is a short film that combines a computer-generated character with clay animation.

Analog animation techniques, due to their lively character, the improvisational options they open up and the flexibility inherent in their production, are currently experiencing a renaissance alongside already-established computer animation techniques.

Special thanks to Professor Jürgen Hagler of Hagenberg Technical College’s Digital Media program.
www.fh-ooe.at.