Phil Tip­pett’s in­no­va­tions in stop mo­tion ex­tended to his own go-mo­tion tech­nique

3D Artist - - THE HUB -

Tip­pett’s ‘go-mo­tion’, which he pi­o­neered at ILM on Dragon­slayer (1981), was de­signed to add more re­al­is­tic mo­tion by at­tach­ing the usual an­i­ma­tion rig onto a mo­tion con­trol mover. “It al­lowed,” says Tip­pett, “for the pup­pet to ac­tu­ally move while the shut­ter of the cam­era was open, fa­cil­i­tat­ing mo­tion blur.” In the end, a num­ber of dif­fer­ent dragons were made at dif­fer­ent scales for the film, mean­ing stop mo­tion, tra­di­tional pup­petry and large scale an­i­ma­tron­ics pro­duced the fi­nal ef­fects.

Phil Tip­pett (right) an­i­mates the Vermithrax go-mo­tion pup­pet from Dragon­slayer as vis­ual ef­fects su­per­vi­sor Dennis Muren looks on

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