Analyzing Animation Techniques: Little Talks

Multimedia animation is at the heat of the industry currently, and as time is progressing more and more emphasis is being placed on a fusion of different animation techniques as separate elements that perfectly create an aesthetic for a vigorous animation. However, one thing I've noticed is that the most versatile of techniques are used in the making of animated music videos that strike the media, most of which possess a brilliant opportunity for young animators such as myself to learn, analyze, and attempt, for the sake of eclecticism. The animated music video of Of Monsters And Men's "Little Talks" served as a perfect paragon of this notion, as well as a brilliant opportunity of inspiration. Considering that I'm in the middle of working on my animation for the module Applied Animation by blending stop-motion with post-rotoscoping 2D, I found this animation particularly interesting and bewildering as I can identify some techniques I have yet to try, but believe I have the knowledge to attempt. Initially, the animation reminded me of the vivacious Pythonesque technique of puppet animation where segments of images are bound together to be controlled and animated without re-drawing every consecutive frame - a technique I'm really keen on. However, this animation incorporated the technique digitally as to juxtapose it with the live-action heads of the characters which are stuck (through green screening) to the puppets. Furthermore, the animation reminded me of Kiszkiloszki, an animator that incorporates this style through the revival of old baroque art, but makes the movement of his characters much more flexible by adding motion blur. Nonetheless, in "Little Talks" this technique is perfectly blended with realistic green screened effects of sparks, explosions, and smoke that add color to the animation - perfectly juxtaposing the mise-en-scene elements in the shot. The FX go well with the animation since practically most of the elements are modified segments of fabricated live-action scenery (the trees, the gargoyle head, the monster) where they look like they are vested in reality due to their detail, but actually are not (except for the faces). To account for this, I researched that many animators had produced this animation, all of which had animated the separate and different techniques in the final output, once again, proving that different styles plus teamwork account for brilliant interdisciplinary art.

Kiszkiloszki's style as shown in a gif image