Stop motion

An animation technique that creates movement by photographing physical objects in successive positions and playing the images in sequence. Its motion comes from frame-by-frame changes made directly to tangible subjects.

Frame rate: The number of individual images displayed or recorded per second. The playback rate determines how the photographed poses appear to move.
Key frame: A frame marking a significant pose or event in an animation sequence. Stop-motion animators plan important poses before photographing the intervening changes.
The Humpty Dumpty Circus: A 1898 stop-motion film by J. Stuart Blackton and Albert E. Smith, now lost. It is frequently cited as an early film using frame-by-frame object animation.
Model animation: Animation that photographs physical models in successive poses to simulate movement. It is a common stop-motion approach for creatures, vehicles, and miniature effects.
Traditional animation: Animation created by drawing or painting successive images, traditionally on transparent cels or paper. It changes drawn images frame by frame rather than repositioning physical subjects.
Replacement animation: A stop-motion method that swaps interchangeable object parts between frames to change expression or shape. It creates precise changes, especially facial expressions, without reshaping one object.
In-betweening: The creation of intermediate poses between key poses to produce smoother movement. Small adjustments between planned poses determine the timing and smoothness of stop-motion movement.
Segundo de Chomón: A Spanish filmmaker and special-effects pioneer active in the early twentieth century. His trick films used stop-motion techniques to animate objects and create visual transformations.
Puppet animation: Animation made by photographing articulated puppets in successive poses. Puppet animation supports character performances with controllable physical figures.
Computer animation: Animation generated by manipulating digital models or images with computer software. Digital scenes can change without photographing physical objects.

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