‘It’s exhilarating to wrap reality and see an inanimate object come to life!’
GLEN BILTZ
Skateboard Stop Motion Animator
October 2024
On your LinkedIN account it says that you create commercials, music videos, animations, short movies, and high-resolution photographs. What do you like doing best?
This was all true when I lived in NYC, however, I barely etched a living out of the crafts and mostly supplemented my income with freelance carpentry skills: artist assistant; two different art gallery renovations; home renovations; hanging art, running art in auctions; building STURDY outdoor benches for selective businesses in East Village; AirBnBing my studio in the Financial District while illegally staying at another studio 7 blocks up in a now longtime demolished building in TriBeCa., etc. With every moment in between survival mode, I was creating videos, animations, commercials, photographs, and music videos for very little compensation just to get the experience. One of these days I’ll get around to updating that darn account. Regarding my preference within the crafts, I really gravitate toward animation and have since I was a kid watching Ray Harryhausen films. The craft of animation encompasses photography, story- telling, and overall surrealism which I find quite appealing.
You explain the process it takes in some of your IG posts. Can you give us a recap on how it all works?
Initially I mentally map out the first trick sequence. Then I snap photographs frame by-frame while moving or not moving my Canon 7D along with the character supported by an articulated rig from below or above. Afterward the sequence of photos is ingested from the camera’s SD card straight into PS motion mode as a sequence. On average each trick is about 30 frames so when every frame is cleaned up (rigging removed) and adjustments are made I finally adjust the sequence mode to 32-bits/channel and generate a movie as individual EXR files. Next, I import everything into Premier Pro and continue to make additional adjustments. If sequences aren’t flowing properly in PP I’ll make additional changes in PS, then resave the sequence with the same name which automatically synchronizes with PP.
How many hours go into a one-minute clip?
Typically, 4 to 6 weeks averaging probably 10 to12 hour days.
‘I rode with a lot of 2nd generation mid-80s pros so a lot of tricks and styles within the characters of my skate animations are created from the memories of seeing them skate.’
Your work reminds me of Peter Gabriel’s Sledgehammer music video which was mind-blowing at the time. What inspired you to work on stop-motion animation?
WOW. Thank you! To be compared to Aaardman Animations/Brothers Quay blows my mind! ‘Sledgehammer’ is fantastic and is actually claymation, pixilation, and stop motion animation! Regarding inspiration: I’ve always been a fan of the original ‘Rudolph the Red Nose Reindeer’, ‘Jason and the Argonauts’, and even Gumby ever since I can remember. (Laughing). But mostly it’s exhilarating to wrap reality and see an inanimate object come to life!
As your work is skateboard-inspired can you share some insights about your relationship with skateboarding?
I started skateboarding in the Midwest 60s and by mid 70s I lived in California vicariously through Skateboarder magazine. At my peak of skating I localized Del Mar Skate Ranch, worked at a company (Uncle Wiggley Skateboards) laminating skateboards and Sims snowboards, and competitively rode pool and ramp contests as a sponsored amateur. Also, I rode with a lot of 2nd generation mid-80s pros so a lot of tricks and styles within the characters of my skate animations are created from the memories of seeing them skate.
Which 2nd generation mid-80ies skaters were you hanging out most?
Oh wow! So many throughout the 80s. At different points of time I lived, worked, and road tripped with Steve Steadham and Reese Simpson. And Tony Magnussen was our (Uncle Wiggley Skates) boss and also my team manager. Additionally Pat Clark and Daniel Sturt worked at UWS too. I localized Del Mar Skate Ranch, so I skated semi regularly with Billy Ruff, Mike Smith, Tony Hawk, Mike McGill, Owen Neider, Chris Miller, Lester Kasai, Neil Blender, and so many more. As a sponsored amateur I competitively skated against Jeff Grosso, Eric Nash, Dave Bedore, Adrian Demain, Spidey, Dave Swift, Todd Swank, John Schultes, Bruno Herzog, Josh Nelson, Chris Black, Don Pollard, etc. Also, I lived with Steve Steadham so by proxy I skated with Hosoi and Eddie Reatigui occasionally when they visited or came down to skate DMSR.
‘The craft of animation encompasses photography, story-telling, and overall surrealism which I find quite appealing.’
I am sure you have tons of cool stories to tell about that time. Is there one you can share with us?
Oh, just a flood of memories: Scouring every page of Skateboarder Magazine and dreaming of California in the mid-seventies… then skating a tiny, banked curb behind my parents’ house for hours. Spending the night at Scot White’s parents’ house (before driver’s license) then sneaking out at 230am to skate to a nearby grocery store that had freshly painted curbs we ground until sunrise… but only after hours of discussion how tricks were landed using only Skateboarder photographs as clues. Seeing the Variflex Team visit Apple Skate Park (Columbus, OH maybe 1979?) was a mindblower. Endless skate trips in the 80s. Skating the DMSR keyhole —the night after the coping was replaced— alone with Gator (who completely annihilated it). Working at and surviving off the food at the DMSR concession stand. Skate trips with friends all up and down the California coast navigated by Thomas Guide maps and memory or secondhand info. Uncle Wiggley team rent-a-wreck from San Diego to wherever! An incredible late-night session at Upland Pipeline’s combi. An incredible session in DMSR keyhole. Using my skate as a mode of transportation. All the stories really boil down to one thing and that is hella FUN!
If you could interview any person in the world, who would it be and why?
I interview a couple handful of friends on a semi-regular basis. It’s always wonderful to hear their stories.
