Editing Claymation (section)

==Types==
Claymation can take several forms:

"Freeform" claymation is an informal term referring to the process in which the shape of the clay changes radically as the animation progresses, such as in the work of [[Eli Noyes]]  and [[Ivan Stang]]'s animated films. Clay can also take the form of "character" claymation, where the clay maintains a recognizable character throughout a shot,<ref>{{Cite web|url=http://www.revver.com/video/1103986/gumbo-claymation/|title=Gumbo (2003)|access-date=2008-08-13|archive-date=2009-01-24|archive-url=https://web.archive.org/web/20090124032335/http://www.revver.com/video/1103986/gumbo-claymation/|url-status=live}}</ref> as in [[Art Clokey]]'s and Will Vinton's films.<ref>{{Cite web|url=https://oddballfilms.blogspot.com/2013/08/stop-motion-explosion-iii-thur-aug-15.html|title=Oddball Films: Stop-Motion Explosion III - Thur. Aug 15 - 8PM|access-date=2018-10-13|archive-date=2019-05-13|archive-url=https://web.archive.org/web/20190513011835/http://oddballfilms.blogspot.com/2013/08/stop-motion-explosion-iii-thur-aug-15.html|url-status=live}}</ref>

One variation of claymation is [[strata-cut animation]], in which a long bread-like loaf of clay, internally packed tight and loaded with varying imagery, is sliced into thin sheets, with the camera taking a frame of the end of the loaf for each cut, eventually revealing the movement of the internal images within. Pioneered in both clay and blocks of wax by German animator [[Oskar Fischinger]] during the 1920s and 1930s, the technique was revived and highly refined in the mid-1990s by David Daniels, an associate of [[Will Vinton]], in his 16-minute [[Short subject|short film]] "Buzz Box".

Another clay-animation technique, one that blurs the distinction between stop motion and traditional flat animation, is called [[clay painting]] (also a variation of the [[direct manipulation animation]] process), wherein clay is placed on a flat surface and moved like wet oil paints (as on a traditional artist's canvas) to produce any style of images, but with a clay look to them.

A sub variation claymation can be informally called "clay melting".<ref>{{cite web |title=Clay Animation – Clay Animation History |url=http://caworld3.wordpress.com/tag/clay-melting/ |work=Wordpress |access-date=26 February 2013 |archive-date=27 November 2015 |archive-url=https://web.archive.org/web/20151127044330/https://caworld3.wordpress.com/tag/clay-melting/ |url-status=live }}</ref>  Any kind of heat source can be applied on or near (or below) clay to cause it to melt while an [[animation camera]] on a [[time-lapse]] setting slowly films the process. For example, consider Vinton's early short clay-animated film ''[[Closed Mondays]]'' (co produced by animator [[Bob Gardiner (animator)|Bob Gardiner]]) at the end of the computer sequence. A similar technique was used in the climax scene of ''[[Raiders of the Lost Ark]]'' to "melt" the face of one of the antagonists.

The term "hot set" is used amongst animators during production. It refers to a set where an animator is filming. The clay characters are set in a perfect position where they can continue shooting where they left off. If an animator calls his set a "hot set," then no one is allowed to touch the set or else the shoot would be ruined. Certain scenes must be shot rather quickly. If a scene is left unfinished and the weather is perhaps humid, then the set and characters have an obvious difference. The clay puppets may be deformed from the humidity or the air pressure could have caused the set to shift slightly. These small differences can create an obvious flaw to the scene. To avoid these disasters, scenes normally have to be shot in one day or less.