Animation Art From Pencil to Pixel the History of Cartoon Animeãœâ Cgi Pdf

Animation technique in which frames are hand-drawn

Painting with acrylic paint on the opposite side of an already inked cel, here placed on the original animation cartoon

Traditional blitheness (or classical animation, cel animation, hand-drawn animation, or 2D blitheness) is an animation technique in which each frame is drawn past hand. The technique was the dominant course of animation in movie theatre until computer animation.

Process [edit]

Writing and storyboarding [edit]

Animation product usually begins after a story is converted into an animation film script, from which a storyboard is derived. A storyboard has an appearance somewhat similar to comic book panels, and is a shot by shot breakdown of the staging, acting and whatsoever camera moves that will be present in the film. The images permit the animation team to plan the flow of the plot and the limerick of the imagery. Storyboard artists will take regular meetings with the director and may redraw or "re-board" a sequence many times before information technology meets final approval.

Voice recording [edit]

Before animation begins, a preliminary soundtrack or scratch runway is recorded so that the blitheness may be more than precisely synchronized to the soundtrack. Given the slow manner in which traditional animation is produced, information technology is almost always easier to synchronize animation to a pre-existing soundtrack than it is to synchronize a soundtrack to pre-existing animation. A completed drawing soundtrack will feature music, sound effects, and dialogue performed by voice actors. The scratch track used during blitheness typically contains only the voices, any songs to which characters must sing-forth, and temporary musical score tracks; the final score and sound effects are added during post-production.

In the instance of Japanese animation and most pre-1930 sound animated cartoons, the sound was postal service-synched; the soundtrack was recorded subsequently the film elements were finished by watching the film and performing the dialogue, music, and sound effects required. Some studios, nearly notably Fleischer Studios, continued to mail-synch their cartoons through most of the 1930s, which allowed for the presence of the "muttered advertisement-libs" present in many Popeye the Sailor and Betty Boop cartoons.^[1]

Design, timing, and layout [edit]

When storyboards are sent to the design departments, character designers prepare model sheets for any characters and props that appear in the movie; and these are used to help standardize advent, poses, and gestures. The model sheets will often include "turnarounds" which bear witness how a character or object looks in 3-dimensions forth with standardized special poses and expressions and then that the artists take a guide to refer to. Minor statues known equally maquettes may exist produced and then that an animator tin see what a character looks like in three dimensions. Groundwork stylists will exercise similar work for whatsoever settings and locations present in the storyboard, and the art directors and color stylists will determine the art way and color schemes to be used.

A timing director (who in many cases volition be the main manager) will take the animatic and analyze exactly what poses drawings, and lip movements will exist needed on what frames. An exposure sheet (or 10-sheet) is created; this is a printed table that breaks down the action, dialogue, and sound frame-past-frame as a guide for the animators. If a film is based more strongly in music, a bar sheet may exist prepared in addition to or instead of an X-sheet.^[2] Bar sheets show the human relationship betwixt the on-screen activity, the dialogue, and the actual musical notation used in the score.

Layout begins after the designs are completed and approved by the director. Information technology is hither that the background layout artists determine the camera angles, photographic camera paths, lighting, and shading of the scene. Character layout artists will decide the major poses for the characters in the scene and will make a drawing to indicate each pose. For brusque films, grapheme layouts are often the responsibility of the director. The layout drawings and storyboards are and then spliced, along with the sound and an animatic is formed (non to be dislocated with its predecessor, the leica reel).

While the animation is being done, the background artists will paint the sets over which the action of each blithe sequence will accept identify. These backgrounds are more often than not done in gouache or acrylic paint, although some animated productions have used backgrounds done in watercolor or oil paint. Groundwork artists follow very closely the work of the background layout artists and color stylists (which is normally compiled into a workbook for their apply) then that the resulting backgrounds are harmonious in tone with the character designs.

Animatic [edit]

Usually, an animatic or story reel is created later on the soundtrack is recorded and before total animation begins. The term "animatic" was originally coined by Walt Disney Animation Studios. An animatic typically consists of pictures of the storyboard timed and cut together with the soundtrack. This allows the animators and directors to piece of work out any script and timing issues that may exist with the electric current storyboard. The storyboard and soundtrack are amended if necessary, and a new animatic may be created and reviewed with the managing director until the storyboard meets the users' requirements. Editing the picture show at the animatic phase prevents the animation of scenes that would be edited out of the motion-picture show. Creating scenes that will eventually exist edited out of the completed cartoon is avoided.

Animation [edit]

Sketch of an animation peg bar, and measurements of three types, Acme being the most common.

In the traditional animation procedure, animators will begin by drawing sequences of animation on sheets of transparent newspaper perforated to fit the peg bars in their desks, frequently using colored pencils, one picture or "frame" at a time.^[3] A peg bar is an blitheness tool used in traditional animation to continue the drawings in place. A key animator or pb animator volition draw the cardinal drawings or central frames in a scene, using the character layouts as a guide. The cardinal animator draws enough of the frames to become across the major poses within a character performance.

While working on a scene, a key animator will unremarkably prepare a pencil test of the scene. A pencil examination is a much rougher version of the last animated scene (often devoid of many character details and colour); the pencil drawings are speedily photographed or scanned and synced with the necessary soundtracks. This allows the blitheness to be reviewed and improved upon before passing the work on to their assistant animators, who will add details and some of the missing frames in the scene. The piece of work of the assistant animators is reviewed, pencil-tested, and corrected until the lead animator is ready to meet with the director and take their scene sweatboxed.

Once the fundamental animation is approved, the lead animator forwards the scene on to the clean-up department, made up of the clean-upward animators and the inbetweeners. The make clean-upward animators take the lead and banana animators' drawings and trace them onto a new sheet of newspaper, making certain to include all of the details present on the original model sheets, so that the film maintains a cohesiveness and consistency in art style. The inbetweeners will draw in whatever frames are still missing in-between the other animators' drawings. This procedure is called tweening. The resulting drawings are again pencil-tested and sweatboxed until they meet approval.

At each stage during pencil animation, canonical artwork is spliced into the Leica reel.^[4]

This procedure is the same for both character animation and special furnishings animation, which on most high-upkeep productions are washed in divide departments. Often, each major grapheme will have an animator or group of animators solely dedicated to drawing that character. The group will be made upwardly of one supervising animator, a small group of key animators, and a larger group of assistant animators. Furnishings animators breathing annihilation that moves and are not a graphic symbol, including props, vehicles, machinery and phenomena such equally fire, rain, and explosions. Sometimes, instead of drawings, a number of special processes are used to produce special effects in animated films; rain, for instance, has been created in Disney animated films since the late 1930s past filming slow-motion footage of water in front of a black background, with the resulting flick superimposed over the animation.

Traditional ink-and-paint and photographic camera [edit]

Once the clean-ups and in-between drawings for a sequence are completed, they are prepared for a procedure known every bit ink-and-paint. Each drawing is then transferred from paper to a sparse, clear sail of plastic chosen a cel, a contraction of the material name celluloid (the original flammable cellulose nitrate was later replaced with the more stable cellulose acetate). The outline of the drawing is inked or photocopied onto the cel, and gouache, acrylic or a similar type of paint is used on the reverse sides of the cels to add colors in the appropriate shades. The transparent quality of the cel allows for each character or object in a frame to be blithe on different cels, every bit the cel of ane grapheme can be seen underneath the cel of some other; and the opaque background will be seen beneath all of the cels.

When an entire sequence has been transferred to cels, the photography procedure begins. Each cel involved in a frame of a sequence is laid on acme of each other, with the background at the bottom of the stack. A piece of glass is lowered onto the artwork in order to flatten any irregularities, and the blended epitome is then photographed past a special animation camera, also called rostrum camera.^[5] The cels are removed, and the process repeats for the next frame until each frame in the sequence has been photographed. Each cel has registration holes, modest holes forth the top or bottom border of the cel, which allow the cel to be placed on respective peg bars^[6] before the photographic camera to ensure that each cel aligns with the one before it; if the cels are not aligned in such a manner, the animation, when played at full speed, volition announced "jittery." Sometimes, frames may demand to be photographed more than in one case, in order to implement superimpositions and other photographic camera effects. Pans are created by either moving the cels or backgrounds i step at a time over a succession of frames (the camera does not pan; information technology only zooms in and out).

A camera used for shooting traditional animation. See also Aerial image.

Dope sheets are created past the animators and used by the camera operator to transfer each animation drawing into the number of film frames specified by the animators, whether it is i (1s, ones) two (2s, twos) or 3 (3s, threes).

Every bit the scenes come out of concluding photography, they are spliced into the Leica reel, taking the identify of the pencil animation. One time every sequence in the production has been photographed, the final flick is sent for evolution and processing, while the final music and sound effects are added to the soundtrack.

Modern process [edit]

Digital ink and paint [edit]

The current process, termed "digital ink and pigment", is the same every bit traditional ink and paint until after the animation drawings are completed;^[vii] instead of being transferred to cels, the animators' drawings are either scanned into a estimator or drawn directly onto a computer monitor via graphics tablets, where they are colored and processed using one or more of a diversity of software packages. The resulting drawings are composited in the calculator over their corresponding backgrounds, which take also been scanned into the reckoner (if non digitally painted), and the computer outputs the final film by either exporting a digital video file, using a video cassette recorder or printing to motion picture using a high-resolution output device. Use of computers allows for easier exchange of artwork between departments, studios, and even countries and continents (in most low-upkeep American animated productions, the bulk of the animation is actually done by animators working in other countries, including South Korea, Taiwan, Japan, People's republic of china, Singapore, Mexico, Republic of india, and the Philippines). As the cost of both inking and painting new cels for animated films and Television set programs and the repeated usage of older cels for newer blithe Boob tube programs and films went up and the cost of doing the same thing digitally went down, eventually, the digital ink-and-paint procedure became the standard for future animated movies and Tv set programs.

Implementation [edit]

Hanna-Barbera was the kickoff American animation studio to implement a reckoner blitheness organisation for digital ink-and-paint usage.^[8] Following a delivery to the technology in 1979, computer scientist Marc Levoy led the Hanna-Barbera Animation Laboratory from 1980 to 1983, developing an ink-and-paint organization that was used in roughly a 3rd of Hanna-Barbera's domestic production, starting in 1984 and continuing until replaced with third-party software in 1996.^{[8] [9]} In addition to a cost savings compared to traditional cel painting of five to 1, the Hanna-Barbera organization also allowed for multiplane photographic camera effects axiomatic in H-B productions such as A Pup Named Scooby-Doo (1988).^[10]

Digital ink and paint has been in use at Walt Disney Animation Studios since 1989, where it was used for the terminal rainbow shot in The Little Mermaid. All subsequent Disney animated features were digitally inked-and-painted (starting with The Rescuers Downwardly Nether, which was also the first major feature pic to entirely use digital ink and paint), using Disney's proprietary CAPS (Estimator Animation Production System) engineering, developed primarily past Pixar Animation Studios. The CAPS system allowed the Disney artists to make use of colored ink-line techniques by and large lost during the xerography era, equally well as multiplane effects, composite shading, and easier integration with 3D CGI backgrounds (as in the ballroom sequence in the 1991 film Dazzler and the Creature), props, and characters.^{[xi] [12]}

While Hanna-Barbera and Disney began implementing digital inking and painting, it took the residue of the manufacture longer to accommodate. Many filmmakers and studios did not want to shift to the digital ink-and-paint process considering they felt that the digitally colored animation would wait also synthetic and would lose the aesthetic appeal of the non-computerized cel for their projects. Many animated television series were all the same blithe in other countries by using the traditionally inked-and-painted cel process as late equally 2004, though most of them switched over to the digital procedure at some betoken during their run. The concluding major feature flick to use traditional ink and pigment was Satoshi Kon'due south Millennium Actress (2001); the last major animation productions in the west to use the traditional process was Fox's The Simpsons and Cartoon Network'southward Ed, Edd n Eddy, which switched to digital paint in 2002 and 2004 respectively,^[13] while the concluding major animated production overall to abandon cel animation was the television adaptation of Sazae-san, which remained stalwart with the technique until September 29, 2013, when information technology switched to fully digital animation on October 6, 2013. Prior to this, the series adopted digital animation solely for its opening credits in 2009, only retained the utilise of traditional cels for the main content of each episode.^[fourteen] Minor productions, such equally Hair High (2004) past Bill Plympton, have used traditional cels long after the introduction of digital techniques. Most studios today use one of a number of other high-end software packages, such as Toon Boom Harmony, Toonz (OpenToonz), Animo, and RETAS, or even consumer-level applications such as Adobe Flash, Toon Boom Technologies and Television receiver Pigment.

Techniques [edit]

Cels [edit]

This image shows how 2 transparent cels, each with a dissimilar character drawn on them, and an opaque background are photographed together to form the composite image.

The cel animation process was invented by Earl Hurd and John Bray in 1915. The cel is an important innovation to traditional animation, as information technology allows some parts of each frame to be repeated from frame to frame, thus saving labor. A unproblematic example would be a scene with ii characters on screen, 1 of which is talking and the other standing silently. Since the latter character is not moving, it can be displayed in this scene using but one drawing, on one cel, while multiple drawings on multiple cels are used to animate the speaking grapheme.

For a more than circuitous example, consider a sequence in which a person sets a plate upon a table. The table stays still for the entire sequence, so it can be drawn as part of the background. The plate tin be fatigued forth with the character as the character places information technology on the table. However, after the plate is on the table, the plate no longer moves, although the person continues to move as they depict their arm away from the plate. In this example, subsequently the person puts the plate downwardly, the plate can so exist drawn on a separate cel from them. Further frames feature new cels of the person, only the plate does not have to be redrawn as it is non moving; the aforementioned cel of the plate can exist used in each remaining frame that information technology is however upon the tabular array. The cel paints were actually manufactured in shaded versions of each color to compensate for the actress layer of cel added between the paradigm and the camera; in this example, the notwithstanding plate would exist painted slightly brighter to compensate for being moved one layer downwards.

In TV and other low-budget productions, cels were often "cycled" (i.due east., a sequence of cels was repeated several times), and even archived and reused in other episodes. Later on the flick was completed, the cels were either thrown out or, especially in the early days of animation, done clean and reused for the side by side film. In some cases, some of the cels were put into the "archive" to exist used again and over again for future purposes in order to relieve money. Some studios saved a portion of the cels and either sold them in studio stores or presented them as gifts to visitors.

Cel overlay [edit]

A cel overlay is a cel with inanimate objects used to give the impression of a foreground when laid on peak of a ready frame.^[15] This creates the illusion of depth, but not every bit much equally a multiplane camera would. A special version of cel overlay is chosen line overlay, made to complete the background instead of making the foreground, and was invented to deal with the sketchy appearance of xeroxed drawings. The background was starting time painted as shapes and figures in flat colors, containing rather few details. Next, a cel with detailed black lines was laid directly over it, each line is drawn to add more information to the underlying shape or figure and give the background the complexity it needed. In this manner, the visual style of the groundwork will lucifer that of the xeroxed character cels. As the xerographic process evolved, line overlay was left backside.

Pre-cel animation [edit]

How Blithe Cartoons Are Made (1919), showing characters made from cut-out newspaper

In very early cartoons fabricated earlier the use of the cel, such every bit Gertie the Dinosaur (1914), the entire frame, including the background and all characters and items, were drawn on a single canvas of paper, and so photographed. Everything had to be redrawn for each frame containing movements. This led to a "jittery" advent; imagine seeing a sequence of drawings of a mount, each one slightly different from the one preceding it. The pre-cel animation was later improved past using techniques like the slash and tear system invented by Raoul Barre; the background and the blithe objects were drawn on divide papers.^[16] A frame was made by removing all the blank parts of the papers where the objects were drawn before being placed on top of the backgrounds and finally photographed.

Limited animation [edit]

In lower-budget productions, shortcuts available through the cel technique are used extensively. For example, in a scene in which a person is sitting in a chair and talking, the chair and the body of the person may be the same in every frame; merely their head is redrawn, or maybe even their head stays the aforementioned while only their oral cavity moves. This is known equally limited animation. ^[17] The procedure was popularized in theatrical cartoons by United Productions of America and used in nearly television animation, peculiarly that of Hanna-Barbera. The end outcome does not look very lifelike, but is inexpensive to produce, and therefore allows cartoons to be made on modest television budgets.

"Shooting on twos" [edit]

Moving characters are often shot "on twos". I drawing is shown for every two frames of film (which ordinarily runs at 24 frames per 2d), meaning there are simply 12 drawings per second.^[xviii] Fifty-fifty though the prototype update rate is low, the fluidity is satisfactory for most subjects. Notwithstanding, when a character is required to perform a quick motility, it is usually necessary to revert to animating "on ones", as "twos" are also wearisome to convey the motion adequately. A blend of the two techniques keeps the eye fooled without unnecessary production costs.

Academy Award-nominated animator Bill Plympton is noted for his mode of animation that uses very few in-betweens and sequences that are washed "on threes" or "on fours", holding each drawing on the screen from 1/8 to 1/6 of a second.^[19] While Plympton uses nigh-constant three-frame holds, sometimes animation that but averages eight drawings per second is too termed "on threes" and is normally washed to meet budget constraints, along with other cost-cutting measures like holding the same drawing of a character for a prolonged time or panning over a notwithstanding epitome,^[20] techniques ofttimes used in low-budget TV productions.^[21] It is also mutual in anime, where fluidity is sacrificed in lieu of a shift towards complexity in the designs and shading (in contrast with the more functional and optimized designs in the Western tradition); even high-budget theatrical features such every bit Studio Ghibli's employ the full range: from smoothen animation "on ones" in selected shots (usually quick activity accents) to common animation "on threes" for regular dialogue and slow-paced shots.

Animation loops [edit]

A horse animated by rotoscoping from Eadweard Muybridge's 19th-century photos. The animation consists of viii drawings which are "looped", i.east. repeated over and over. This instance is also "shot on twos", i.east. shown at 12 drawings per second.

Creating animation loops or animation cycles is a labor-saving technique for animative repetitive motions, such as a grapheme walking or a cakewalk blowing through the copse. In the instance of walking, the character is animated taking a step with its correct foot, and then a step with its left foot. The loop is created so that, when the sequence repeats, the motion is seamless. In general, they are used only sparingly by productions with moderate or high budgets.

Ryan Larkin'south 1969 Academy Accolade-nominated National Pic Board of Canada short Walking makes creative utilise of loops. In improver, a promotional music video from Cartoon Network's Groovies featuring the Soul Cough song "Circles" poked fun at animation loops as they are often seen in The Flintstones, in which Fred and Barney (along with various Hanna-Barbera characters that aired on Cartoon Network), supposedly walking in a house, wonder why they keep passing the aforementioned table and vase over and over once again.

Multiplane process [edit]

The multiplane process is a technique primarily used to give a sense of depth or parallax to ii-dimensional animated films. To use this technique in traditional animation, the artwork is painted or placed onto carve up layers called planes. These planes, typically constructed of planes of transparent glass or plexiglass, are then aligned and placed with specific distances between each airplane.^[22] The order in which the planes are placed, and the distance between them, is determined past what element of the scene is on the plane also as the entire scene's intended depth.^[23] A camera, mounted above or in front of the planes, moves its focus toward or abroad from the planes during the capture of the individual animation frames. In some devices, the private planes can exist moved toward or away from the camera. This gives the viewer the impression that they are moving through the separate layers of art as though in a three-dimensional space.

History [edit]

Predecessors of this technique and the equipment used to implement information technology began appearing in the late 19th century. Painted drinking glass panes were often used in matte shots and drinking glass shots,^[24] as seen in the work of Norman Dawn.^[25] In 1923, Lotte Reiniger and her animation team constructed i of the offset multiplane animation structures, a device called a Tricktisch. Its top-downwardly, vertical design allowed for overhead adjusting of individual, stationary planes. The Tricktisch was used in the filming of The Adventures of Prince Achmed, ane of Reiniger'due south almost well-known works.^[26] Future multiplane animation devices would generally apply the aforementioned vertical blueprint as Reiniger's device. I notable exception to this tendency was the Setback Photographic camera, developed and used by Fleischer Studios. This device used miniature three-dimensional models of sets, with animated cels placed at various positions inside the set. This placement gave the appearance of objects moving in front of and behind the blithe characters, and was often referred to as the Tabletop Method.^[27]

Impact [edit]

The spread and development of multiplane animation helped animators tackle problems with motion tracking and scene depth, and reduced production times and costs for animated works.^[22] In a 1957 recording, Walt Disney explained why motion tracking was an effect for animators, too as what multiplane animation could do to solve information technology. Using a two-dimensional still of an animated farmhouse at dark, Disney demonstrated that zooming in on the scene, using traditional blitheness techniques of the time, increased the size of the moon. In real-life experience, the moon would non increase in size as a viewer approached a farmhouse. Multiplane animation solved this problem by separating the moon, farmhouse, and farmland into separate planes, with the moon being farthest away from the camera. To create the zoom event, the first two planes were moved closer to the camera during filming, while the plane with the moon remained at its original altitude.^[28] This provided a depth and fullness to the scene that was closer in resemblance to real life, which was a prominent goal for many animation studios at the time.

Xerography [edit]

Applied to blitheness past Ub Iwerks at the Walt Disney studio during the late 1950s, the electrostatic copying technique called xerography immune the drawings to be copied directly onto the cels, eliminating much of the "inking" portion of the ink-and-paint process.^[29] This saved fourth dimension and money, and it besides fabricated it possible to put in more details and to control the size of the xeroxed objects and characters. At get-go, it resulted in a more sketchy look, but the technique was improved upon over time.

Disney animator and engineer Bill Justice had patented a forerunner of the Xerox process in 1944, where drawings made with a special pencil would exist transferred to a cel past pressure, and so fixing it. It is not known if the procedure was e'er used in animation.^[30]

The xerographic method was offset tested by Disney in a few scenes of Sleeping Dazzler and was first fully used in the brusque moving picture Goliath II, while the kickoff feature entirely using this process was One Hundred and One Dalmatians (1961). The graphic style of this film was strongly influenced by the process. Some hand inking was still used together with xerography in this and subsequent films when distinct colored lines were needed. Later on, colored toners became available, and several distinct line colors could exist used, even simultaneously. For instance, in The Rescuers the characters' outlines are grey. White and blueish toners were used for special effects, such as snow and water.

The APT process [edit]

Invented by Dave Spencer for the 1985 Disney motion-picture show The Black Cauldron, the APT (Animation Photo Transfer) process was a technique for transferring the animators' art onto cels. Basically, the process was a modification of a repro-photographic procedure; the artists' work was photographed on loftier-contrast "litho" film, and the image on the resulting negative was then transferred to a cel covered with a layer of light-sensitive dye. The cel was exposed through the negative. Chemicals were then used to remove the unexposed portion. Small and frail details were all the same inked by hand if needed. Spencer received an Academy Honour for Technical Accomplishment for developing this process.

Rotoscoping [edit]

Rotoscoping is a method of traditional animation invented by Max Fleischer in 1915, in which animation is "traced" over bodily film footage of actors and scenery.^[31] Traditionally, the live-action will be printed out frame past frame and registered. Some other slice of newspaper is so placed over the live-action printouts and the activeness is traced frame past frame using a lightbox. The end result still looks paw-drawn but the motion will be remarkably lifelike. The films Waking Life and American Pop are full-length rotoscoped films. Rotoscoped animation as well appears in the music videos for A-ha'southward song "Take On Me" and Kanye W's "Heartless". In nigh cases, rotoscoping is mainly used to aid the animation of realistically rendered man beings, as in Snow White and the Seven Dwarfs, Peter Pan, and Sleeping Dazzler.

A method related to conventional rotoscoping was later invented for the animation of solid inanimate objects, such equally cars, boats, or doors. A minor live-action model of the required object was built and painted white, while the edges of the model were painted with thin black lines. The object was then filmed as required for the animated scene by moving the model, the camera, or a combination of both, in real-time or using finish-move animation. The film frames were then printed on paper, showing a model made up of the painted blackness lines. After the artists had added details to the object non present in the live-action photography of the model, it was xeroxed onto cels. A notable example is Cruella de Vil'south motorcar in Disney's One Hundred and One Dalmatians. The process of transferring 3D objects to cels was greatly improved in the 1980s when computer graphics advanced enough to allow the creation of 3D computer-generated objects that could exist manipulated in whatsoever way the animators wanted, and so printed equally outlines on paper before beingness copied onto cels using Xerography or the APT process. This technique was used in Disney films such as Oliver and Company (1988) and The Trivial Mermaid (1989). This process has more or less been superseded by the use of cel-shading.

Related to rotoscoping are the methods of vectorizing live-activeness footage, in order to attain a very graphical look, similar in Richard Linklater'south film A Scanner Darkly.

Live-action hybrids [edit]

Similar to the computer blitheness and traditional animation hybrids described above, occasionally a product will combine both live-action and animated footage. The live-action parts of these productions are usually filmed commencement, the actors pretending that they are interacting with the animated characters, props, or scenery; animation will so be added into the footage afterward to arrive appear as if it has always been in that location. Similar rotoscoping, this method is rarely used, but when information technology is, it can exist done to terrific effect, immersing the audience in a fantasy globe where humans and cartoons co-exist. Early examples include the silent Out of the Inkwell (begun in 1919) cartoons by Max Fleischer and Walt Disney's Alice Comedies (begun in 1923). Live-activity and animation were later combined in features such as Mary Poppins (1964), Who Framed Roger Rabbit (1988), Space Jam (1996), and Enchanted (2007), amongst many others. The technique has also seen significant utilize in tv commercials, especially for breakfast cereals marketed to children to interest them and boost sales.

Special effects blitheness [edit]

Besides traditionally animated characters, objects, and backgrounds, many other techniques are used to create special elements such every bit fume, lightning and "magic", and to requite the animation, in general, a distinct visual advent. Today special furnishings are mostly done with computers, simply earlier they had to exist done past hand. To produce these effects, the animators used unlike techniques, such every bit drybrush, airbrush, charcoal, grease pencil, backlit animation, diffusing screens, filters, or gels. For instance, the Nutcracker Suite segment in Fantasia has a fairy sequence where stippled cels are used, creating a soft pastel look.

Modern techniques [edit]

The methods mentioned to a higher place draw the techniques of an animation process that originally depended on cels in its last stages, but painted cels are rare today as the computer moves into the animation studio, and the outline drawings are normally scanned into the reckoner and filled with digital pigment instead of being transferred to cels and then colored by mitt.^[32] The drawings are composited in a calculator program on many transparent "layers" much the same manner as they are with cels,^[33] and made into a sequence of images which may then exist transferred onto moving picture or converted to a digital video format.^[34]

It is now likewise possible for animators to depict directly into a computer using a graphics tablet such every bit a Cintiq or a like device, where the outline drawings are done in a similar manner as they would exist on paper. The Goofy short How To Hook Upwards Your Home Theater (2007) represented Disney's offset projection based on the paperless applied science available today. Some of the advantages are the possibility and potential of decision-making the size of the drawings while working on them, drawing straight on a multiplane background and eliminating the need for photographing line tests and scanning.

Though traditional animation is now normally washed with computers, it is important to differentiate calculator-assisted traditional blitheness from 3D figurer animation, such as Toy Story and Ice Age. However, ofttimes traditional blitheness and 3D calculator animation volition exist used together, as in Don Bluth'due south Titan A.East. and Disney'due south Tarzan and Treasure Planet. Most anime and many western animated series nonetheless use traditional blitheness today. DreamWorks executive Jeffrey Katzenberg coined the term "tradigital animation" to draw blithe films produced by his studio which incorporated elements of traditional and computer animation equally, such as Spirit: Stallion of the Cimarron and Sinbad: Legend of the 7 Seas.

Many video games such as Viewtiful Joe, The Fable of Zelda: The Air current Waker and others use "cel-shading" animation filters or lighting systems to make their full 3D animation appear as though information technology were fatigued in a traditional cel-way. This technique was likewise used in the blithe movie Appleseed, and cel-shaded 3D animation is typically integrated with cel animation in Disney films and in many television shows, such every bit the Fox animated series Futurama. In one scene of the 2007 Pixar movie Ratatouille, an analogy of Gusteau (in his cookbook), speaks to Remy (who, in that scene, was lost in the sewers of Paris) as a figment of Remy's imagination; this scene is also considered an example of cel-shading in an blithe characteristic. More than recently, animated shorts such as Paperman, Feast, and The Dam Keeper have used a more distinctive manner of cel-shaded 3D animation, capturing a expect and feel similar to a 'moving painting'.

Computers and digital video cameras [edit]

Among the most mutual types of blitheness rostrum cameras was the Oxberry. Such cameras were always made of black anodized aluminum, and normally had ii peg bars, 1 at the superlative and ane at the bottom of the lightbox. The Oxberry Principal Series had 4 peg confined, ii above and 2 below, and sometimes used a "floating peg bar" besides. The height of the cavalcade on which the photographic camera was mounted determined the amount of zoom achievable on a piece of artwork. Such cameras were massive mechanical diplomacy that might weigh shut to a ton and have hours to break downwardly or ready.

In the afterwards years of the animation rostrum camera, stepper motors controlled by computers were attached to the diverse axes of movement of the photographic camera, thus saving many hours of manus cranking by homo operators. Gradually, motion control techniques were adopted throughout the industry.

Digital ink and paint processes gradually made these traditional animation techniques and equipment obsolete.

Computers and digital video cameras tin can also exist used as tools in traditional cel animation without affecting the film directly, assisting the animators in their work and making the whole process faster and easier. Doing the layouts on a figurer is much more effective than doing it by traditional methods.^[35] Additionally, video cameras requite the opportunity to meet a "preview" of the scenes and how they volition look when finished, enabling the animators to right and amend upon them without having to complete them first. This can be considered a digital form of pencil testing.

The most famous device used for multiplane animation was the multiplane camera. This device, originally designed by former Walt Disney Studios animator/managing director Ub Iwerks, is a vertical, top-down camera crane that shot scenes painted on multiple, individually adjustable glass planes.^[22] The movable planes allowed for changeable depth inside individual animated scenes.^[22] In subsequently years Disney Studios would adopt this technology for their own uses. Designed in 1937 past William Garity, the multiplane camera used for the film Snow White and the 7 Dwarfs utilized artwork painted on up to seven divide, movable planes, equally well as a vertical, top-downwards camera.^[36]

The final animated film by Disney that featured the use of their multiplane camera was The Little Mermaid, though the piece of work was outsourced as Disney'south equipment was inoperative at the time.^[37] Usage of the multiplane camera or similar devices declined due to product costs and the rising of digital animation. Beginning largely with the use of CAPS, digital multiplane cameras would aid streamline the procedure of adding layers and depth to blithe scenes.

See too [edit]

• History of animation
• Animated cartoon
• Computer generated imagery
• Stop motion
• Paint-on-glass animation
• Rubber hose animation
• Listing of animated feature-length films
• List of blithe short series
• List of animated boob tube serial
• Listing of animation studios

References [edit]

Citations [edit]

1. ^ Sfetcu, Nicolae (7 May 2014). Animation & Cartoons. MultiMedia Publishing.
2. ^ Laybourne 1998, pp. 202–203.
3. ^ Laybourne 1998, p. xv.
4. ^ Laybourne 1998, pp. 105–107.
5. ^ Laybourne 1998, pp. 302–313.
6. ^ "ANIMATO Blitheness Equipment". 14 May 2011. Archived from the original on 14 May 2011. Retrieved 1 January 2017. {{cite spider web}}: CS1 maint: bot: original URL status unknown (link)
7. ^ Laybourne 1998, p. 233.
8. ^ ^{a b} Jones, Angie. (2007). Thinking animation : bridging the gap between 2D and CG. Boston, MA: Thomson Form Technology. ISBN978-1-59863-260-6. OCLC 228168598.
9. ^ "1976 Charles Goodwin Sands Memorial Medal". graphics.stanford.edu . Retrieved 2020-08-20 .
10. ^ Lewell, John (2017-07-03). "Behind the Screen at Hanna-Barbera" (PDF). Archived from the original (PDF) on 2017-07-03. Retrieved 2020-08-20 .
11. ^ Robertson, Barbara (July 2002). "Role 7: Movie Retrospective". Computer Graphics Earth. 25 (7). December 1991 Although 3D graphics debuted in before Disney animations, Beauty and the Beast is the start in which hand-drawn characters appear in a 3D background. Every frame of the film is scanned, created, or composited inside Disney'southward computer animation production arrangement (CAPS) co-developed with Pixar. (Premiere: (11/91)
12. ^ "Timeline". Computer Graphics World. 35 (6). Oct–Nov 2012. Dec 1991: Beauty and the Beast is the first Disney film with hand-drawn characters in a 3D groundwork. Every frame is scanned, created, or composited inside CAPS.
13. ^ "momotato.com - momotato Resource and Information". Retrieved 1 January 2017.
14. ^ Sazae-san is Terminal TV Anime Using Cels, Not Computers—Anime News Network
15. ^ Laybourne 1998, p. 168.
16. ^ Thomas & Johnston 1995, p. xxx.
17. ^ Culhane 1989, p. 212.
18. ^ Laybourne 1998, p. 180.
19. ^ Segall, Mark (1996). "Plympton's Metamorphoses". Blitheness World Magazine.
20. ^ LaMarre 2009, p. 187.
21. ^ Maltin 1987, p. 277.
22. ^ ^{a b c d} Walt Disney's MultiPlane Camera (Filmed Feb. xiii, 1957) , retrieved 2019-09-17
23. ^ Multi-Plane Blitheness Basics | Cease Motion , retrieved 2019-09-17
24. ^ Maher, Michael (2015-09-30). "Visual Effects: How Matte Paintings are Composited into Film". RocketStock . Retrieved 2019-09-18 .
25. ^ "CONTENTdm". hrc.contentdm.oclc.org . Retrieved 2019-09-17 .
26. ^ Malczyk, Chiliad. (2008-09-01). "Practicing Modernity: Female Inventiveness in the Weimar Republic. Edited by Christiane Schonfeld. Würzburg: Konigshausen & Neumann, 2006. 353 pages. 48,00". Monatshefte. 100 (3): 439–440. doi:10.1353/mon.0.0033. ISSN 0026-9271. S2CID 142450235.
27. ^ Sobchack, Vivian Carol (2000). Meta Morphing: Visual Transformation and the Civilisation of Quick-change. U of Minnesota Press. ISBN9780816633197.
28. ^ ScreenPrism (23 Nov 2015). "How did the multiplane photographic camera invented for "Snowfall White and the Vii Dwarfs" redefine blitheness | ScreenPrism". screenprism.com . Retrieved 2019-09-18 .
29. ^ Laybourne 1998, p. 213.
30. ^ "A. Flick Fifty.A.: Overnice Try, Nib..." Retrieved 1 Jan 2017.
31. ^ Laybourne 1998, p. 172.
32. ^ Laybourne 1998, pp. 30, 67.
33. ^ Laybourne 1998, p. 176.
34. ^ Laybourne 1998, pp. 354, 368.
35. ^ Laybourne 1998, p. 241.
36. ^ "Movie theater: Mouse & Man". Time. 1937-12-27. ISSN 0040-781X. Retrieved 2019-09-18 .
37. ^ Musker, John; Clements, Ron (2010). "Aladdin". 100 Animated Characteristic Films. doi:10.5040/9781838710514.0007. ISBN9781838710514.

Sources [edit]

• Blair, Preston (1994). Cartoon Animation. Laguana Hills, CA: Walter Foster Publishing. ISBN156-010084-2.
• Culhane, Shamus (1989). Animation from Script to Screen. New York: St. Martin's Griffin. ISBN031-205052-half dozen.
• LaMarre, Thomas (2009). The Anime Machine. U of Minnesota Press. ISBN978-0-8166-5154-2.
• Laybourne, Kit (1998). The Animation Book : A Complete Guide to Blithe Filmmaking—From Flip-Books to Sound Cartoons to 3-D Animation . New York: 3 Rivers Printing. ISBN051-788602-2.
• Maltin, Leonard (1987). Of Mice and Magic: A History of American Animated Cartoons. Penguin Books. ISBN978-0-4522-5993-5.
• Thomas, Frank; Johnston, Ollie (1995). Disney Animation: The Illusion Of Life. Los Angeles: Disney Editions. ISBN078-686070-seven.
• Williams, Richard (2002). The Animator'due south Survival Kit: A Manual of Methods, Principles, and Formulas for Classical, Computer, Games, Stop Motion, and Internet Animators. London: Faber & Faber. ISBN057-120228-4.

External links [edit]

• Media related to Traditional animation at Wikimedia Eatables

jacobsextooke.blogspot.com

Source: https://en.wikipedia.org/wiki/Traditional_animation

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