I LOVE the photographic reference, and I can see some great possibilities for integrating differing techniques across the stills for an integrated print and motion piece.
All of these effects and transitions can be achieved in camera, by shooting with stills cameras and stroboscopic flash, with plenty of room for manipulation in post.
The benefits are very high pixel dimensions so each frame is good for print usage and/or output to Ultra High Definition screens if need be.
This abundance of pixels will also allow for a huge range of reframing and resizing in post to create very dynamic shots and framing without image loss in video renders.
These stills are an example of the technique used on a similar project, shooting on white which made for simple composites and clean transitions.
The animated moving image version demonstrates the type of stop motion speed achievable at maximum frame rate on a stills camera, approximately 10-12 frames per second.
Compositing animated stop motion photographs
The project was animated using the white background, neutral backgrounds are very useful for simplicity in motion compositing and also for multiple exposure effects transitions. The cleaner the background the less complicated the post production. The darker background was a variation used for a stills composite that was used for print.
It is also possible to shoot to black, as in this Adidas project, using a similar technique. The extra elements were CGI additions in post.
These images below, from the reference video, use simple dissolves and jump edits. The video demonstrates the type of stop motion speed achievable when shot at much slower frame rates.
The integration of the atmospheric elements could be achieved in camera and / or in post.
Real world atmospherics vs CGI
The reference imagery demonstrates 'real world or in camera' atmospheric elements.
CGI or illustration, as in the reference below, has some advantages over integrated 'real world' atmospherics and in camera' elements for this project.
Integrated as separately layered elements in post allows for greater experimentation and treatment in post.
This may also be an advantage for creating interactivity - allowing for independent control and functionality of just just those elements as separate layers to the camera footage layers in post.
Real world atmospherics can be problematic in stop frame animation, as they don’t render very smoothly in stop motion (with speeds of up to 12 frames per second achievable in stills cameras).
They tend to render to greater effect at higher frame rates, as in video and high speed motion cameras.
Higher frame rates slows the action and makes for smoother action.
We could also shoot some high speed footage and integrate it as melodic interludes in contrast to the rhythmic beat of the stop motion. Particularly, with reference to the closing shot, as the final slowing of the action (as in frames 1:14 to 1:21 of the Gaultier reference video above.
“We transition back to our two hands from the first shot, now alone the applause echoes throughout an empty performance space”.
Shooting video would require a different type of 'constant source' lighting set-up, rather than the stroboscopic flash that the other imagery requires.
It is possible to create both lighting scenarios on the same set.
As an alternative to Atmospherics ?
Bringing in illustration as an alternative to 'real' atmospherics
The pink ‘branding’ - as colourful elements may be introduced through illustrations integrated with the camera footage as animation.
In the example below -
The 'pink' could be integrated by ‘replacing’ the white - of the female abstract form.
The black lines could be representative of the live action elements of the camera footage.
Perhaps narrative elements, such as some of the props, could be introduced as illustrations rather than as real objects.
The concept could also be further developed by considering such a technique, and another example below uses a 'wall surface' for the location of the illustrations relative to the live footage.
Multiple exposures & time exposures
In camera multiple exposure
In the images below, an editorial I shot quite some time ago, the multiple exposure is done in camera.
This technique could be used for the still images, for the motion piece it makes more sense for the imagery to overlay over time through video transitions.
The stroboscopic imagery (in the second image below) and the multiple exposure imagery (in the first and fourth images) can be reproduced using the techniques discussed.
The time exposures (as in the third image) demonstrate the motion blur effect, it can also be re-created, but would require a different type of 'constant' lighting set-up, similar to the type that would be required for any high speed video work.
It is also possible to create motion blur in post production, although it doesn't look as natural.