Kommer Kleijn, father of Animoko motion control rig

Kommer Kleijn is a Stereographer and Director of Photography. As a DOP he is most often working for visual effects and special formats. He is also active in image technology research and standardization and consults for equipment manufacturers. He collaborated with the development of two specialty camera systems (one 3D), a motion control rig (The Animoko) and a stereo processor for live 3D capture.

This is an interview about Animoko, machine that just arrived to Chile to film “La noche boca arriba” by Hugo Covarrubias.

How the Animoko was born?

The director of the Brussels Animation film school I work for “La Cambre”, Mr Vincent Gilot, asked me to study the market for buying a motion control system for the students to use in the film school. I did this study and realized that I could not find a system that answered all the needs of the school. I also realized that this corresponded to a need in the animated movie industry as well.

I then went on describing these needs and subsequently designed a system concept myself. Having used motion control systems as a cinematographer for almost 20 years now, of course helped, and so did my experience as a stop-frame animation cinematographer and my technical background from before I became a cinematographer.

Knowing the Mark Robert Motion Control Company in England very well for many years, and having used their rigs so many times, I included in my concept the use of the MRMC FLAIR motion control software as I considered that the high level of user-friendly-ness of this package would allow easier teaching of students for using the system autonomously. The next logical step was to ask the Mark Robert Motion Control Company to design in detail and build the machine for us, based on my concept. And so it happened. We worked together on the design over a period of a year and in April 2008 we took possession of the first Animoko machine here in Brussels Belgium. It has been working fine since then and it is still fulfilling our expectations today.

What are its strengths?

The animoko strengths are  Low Cost, Light weight (easy to transport),  Small size. Thanks to the small size it can be used in smaller studios and sets where a full size rig can not be used, while still providing full XYZ movement. In tight space we previously has to resort to smaller systems that were limited to pan/tilt only or pan/tilt/track. The Animoko allows for full XYZ movement in a very small space.

Adapted to cameras actually used in animation shootings: Designed for cameras up to 1 Kilogram, which is a perfect fit for actual digital cameras like DSLR cameras or machine vision cameras.

- Easy to install and setup: It can be moved and installed by a single, relatively unexperienced person, like f.e. a film student, a cameraman or an animator. This is achieved by a combination of light weight, transportation wheels, and the absence of a track, avoiding the need to level a track.

- Out of the animators way: Thanks to the extending arm and general concept, including the absence of a track (the track function being executed by the extending arm, away from the floor) the Animoko can be installed in a way to minimally burden the work of the animator. No track he would have to avoid walking on, and the camera is suspended from above, leaving as much space as possible for the animators to work.

- Safe in its use: No risks for injuries of users: No need for an experienced operator or teacher to be present all the time, the machine can be used by an animator or even a student, without excessive health risks.

- Full High precision: spite low price and weight, the same precision as used on more classical rigs is achieved.

- Full target tracking thanks a complete set of axis allowing for full 3D movement in space of the camera. This enables the use of the Animoko Rig with full XYZ aware target tracking motion control software like the extremely powerful and user friendly MRMC Flair software. Also movement data exchange (movement files) between the Animoko and CGI software packages or pre-visualisation programs is possible, in both directions (export and import of movement data in compatible XYZ formats)

In short: Purpose build to the needs of modern puppet animation shooting. Al the facilities (except live action) of a full size rig, for much less money and much less burden.

What skills and abilities do you need to operate Animoko?

After one day of teaching, most of our film students manage to install the unit, create movements and execute (shoot) them. Some students need a little more help during the first few days. Creating of complex moves may require some additional training. A professional (Cinematographer, camera-assistant or animator) can be teached how to work with the Animoko in one or two days.

How much does It cost to make an Animoko rig?

This depends on options chosen, but the price is around 50.000 Euro for a complete working system, including the computer and software license, ready to put your camera on.

Available options include a roll axis, an extended lift column and/or arm, additional lens motors, model movers, and even a track. Adding a track allows for bigger moves, but requires the skills of leveling the track. Without the track it will be fine for most table top work.

How many units are there in the world?

There are now 6 units at this time (and hopefully more to come). Three of them are owned by the Aardman Animation company in Bristol (the makers of Wallace and Gromit).

Altough it is likely that more will come, stop frame animation is a small market and for new equipment to get out it takes some time to let the word out. Also, many studios are already equipped with earlier equipement and can not always re-invest before writing off the equipment they have. That is also a reason why progress is slow in a small market. Hopefully your article will help getting the word out about the Animoko.