We were using DragonFrame to produce out stop motion animations. The mac we were working on was already connected to the camera, which had been positioned on a stand, allowing it to face straight down onto the surface below; where we were going to be painting.
We started by adjusting the scale at which we were going to work, in order to create our desired macro effect. Since we were zoomed in quite a lot, we worked on a small scale.
The software is quite intuitive. We had no problems beginning our animation. We were using Acrylic paint, selected for the brightness of the colours and fast drying time, which makes for easy layering. We chose to use the colours directly out of the tube, in order to keep them as bright and bold as possible. As soon as you start mixing colours, not only does it get complicated (having to remix colours and getting them to match), but it dilutes their intensity, creating a more milky colour. We also felt that using the supplied primary colours, and not mixing them, fit with the mechanical style of the music; keeping the history of their mass production.
We used a paint brush and sponge to add the layers of paint, adding one ‘splodge’ at a time as to give the effect that the paint was appearing from nowhere. We created different types of marks with the paint, trying to explore different shapes and textures.
We chose not to work in direct response to the music at this stage. We knew we were going to be doing lots of jump-cuts to fit with the speed of the composition. However, we did upload the music into the software out of curiosity, and discovered some parts of the animation fit surprising the well to the rhythm of the music.