How Is Web Animation Differ From Typical Cel Animation?

Blitheness technique in which frames are hand-drawn

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

Traditional animation (or classical animation, cel animation, hand-fatigued animation, or second animation) is an blitheness technique in which each frame is drawn by hand. The technique was the dominant form of animation in picture palace until calculator animation.

Process [edit]

Writing and storyboarding [edit]

Animation production normally begins after a story is converted into an animation film script, from which a storyboard is derived. A storyboard has an appearance somewhat like to comic volume 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 allow the animation squad to plan the flow of the plot and the composition of the imagery. Storyboard artists volition have regular meetings with the director and may redraw or "re-board" a sequence many times before it meets last blessing.

Vox recording [edit]

Before animation begins, a preliminary soundtrack or scratch track is recorded and then that the animation may be more precisely synchronized to the soundtrack. Given the slow manner in which traditional blitheness is produced, it 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 characteristic music, sound effects, and dialogue performed past voice actors. The scratch track used during animation typically contains only the voices, any songs to which characters must sing-along, and temporary musical score tracks; the last score and sound effects are added during post-production.

In the case of Japanese animation and most pre-1930 audio animated cartoons, the sound was postal service-synched; the soundtrack was recorded later the film elements were finished by watching the picture show and performing the dialogue, music, and audio effects required. Some studios, about notably Fleischer Studios, continued to post-synch their cartoons through about of the 1930s, which allowed for the presence of the "muttered ad-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, grapheme designers set model sheets for whatever characters and props that appear in the pic; and these are used to help standardize advent, poses, and gestures. The model sheets will oft include "turnarounds" which show how a character or object looks in three-dimensions along with standardized special poses and expressions so that the artists have a guide to refer to. Modest statues known as maquettes may exist produced so that an animator can run into what a character looks like in three dimensions. Groundwork stylists volition practise similar work for any settings and locations present in the storyboard, and the art directors and colour stylists will determine the art fashion and color schemes to exist used.

A timing managing director (who in many cases will be the main director) will take the animatic and analyze exactly what poses, drawings, and lip movements will be needed on what frames. An exposure sheet (or X-sheet) is created; this is a printed table that breaks downward 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 canvas may exist prepared in addition to or instead of an 10-sheet.^[ii] Bar sheets show the relationship betwixt the on-screen action, the dialogue, and the bodily musical notation used in the score.

Layout begins later on the designs are completed and approved by the director. It is hither that the groundwork layout artists make up one's mind the camera angles, camera paths, lighting, and shading of the scene. Grapheme layout artists will decide the major poses for the characters in the scene and will make a cartoon to bespeak each pose. For short films, character layouts are often the responsibility of the managing director. The layout drawings and storyboards are then spliced, along with the sound and an animatic is formed (not to be confused with its predecessor, the leica reel).

While the blitheness is being washed, the groundwork artists will paint the sets over which the action of each blithe sequence will take place. These backgrounds are generally washed in gouache or acrylic paint, although some animated productions have used backgrounds done in watercolor or oil paint. Groundwork artists follow very closely the piece of work of the background layout artists and color stylists (which is normally compiled into a workbook for their utilize) and so that the resulting backgrounds are harmonious in tone with the grapheme designs.

Animatic [edit]

Commonly, an animatic or story reel is created after the soundtrack is recorded and before total animation begins. The term "animatic" was originally coined past 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 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 director until the storyboard meets the users' requirements. Editing the film at the animatic stage prevents the animation of scenes that would exist 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 3 types, Acme beingness the most common.

In the traditional animation process, animators will begin by drawing sequences of animation on sheets of transparent paper perforated to fit the peg confined in their desks, often using colored pencils, i picture or "frame" at a fourth dimension.^[3] A peg bar is an animation tool used in traditional animation to keep the drawings in place. A fundamental animator or pb animator will draw the key drawings or key frames in a scene, using the character layouts as a guide. The key animator draws enough of the frames to go across the major poses within a character operation.

While working on a scene, a key animator volition unremarkably gear up a pencil exam of the scene. A pencil test is a much rougher version of the last blithe scene (often devoid of many grapheme details and colour); the pencil drawings are quickly photographed or scanned and synced with the necessary soundtracks. This allows the animation to be reviewed and improved upon earlier passing the work on to their banana animators, who will add details and some of the missing frames in the scene. The work of the assistant animators is reviewed, pencil-tested, and corrected until the lead animator is gear up to meet with the manager and have their scene sweatboxed.

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

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

This process is the same for both character animation and special effects animation, which on virtually high-budget productions are washed in split up departments. Often, each major character will have an animator or group of animators solely dedicated to cartoon that graphic symbol. The group will be made up of one supervising animator, a small group of key animators, and a larger grouping of assistant animators. Effects animators animate anything that moves and are non a character, including props, vehicles, mechanism and phenomena such as burn, pelting, and explosions. Sometimes, instead of drawings, a number of special processes are used to produce special effects in animated films; rain, for example, has been created in Disney blithe films since the late 1930s by filming dull-motion footage of water in front of a black groundwork, with the resulting film superimposed over the animation.

Traditional ink-and-paint and camera [edit]

Once the make clean-ups and in-betwixt drawings for a sequence are completed, they are prepared for a process known as ink-and-paint. Each cartoon is then transferred from paper to a thin, clear sail of plastic called a cel, a contraction of the material name celluloid (the original combustible cellulose nitrate was later on replaced with the more stable cellulose acetate). The outline of the cartoon 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 unlike cels, equally the cel of one character can exist seen underneath the cel of some other; and the opaque background will be seen beneath all of the cels.

When an unabridged sequence has been transferred to cels, the photography process 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 composite image is then photographed past a special animation camera, too 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, small holes along the superlative or bottom edge of the cel, which allow the cel to be placed on respective peg bars^{[half dozen]} before the camera to ensure that each cel aligns with the 1 before it; if the cels are not aligned in such a way, the animation, when played at full speed, will announced "jittery." Sometimes, frames may demand to be photographed more than once, in order to implement superimpositions and other camera furnishings. Pans are created by either moving the cels or backgrounds 1 footstep at a fourth dimension over a succession of frames (the camera does not pan; it simply zooms in and out).

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

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

As the scenes come out of concluding photography, they are spliced into the Leica reel, taking the place of the pencil animation. Once every sequence in the production has been photographed, the last picture show is sent for development and processing, while the final music and sound effects are added to the soundtrack.

Modern process [edit]

Digital ink and pigment [edit]

The current procedure, termed "digital ink and paint", is the same as traditional ink and paint until later the animation drawings are completed;^[7] instead of being transferred to cels, the animators' drawings are either scanned into a reckoner or drawn directly onto a reckoner monitor via graphics tablets, where they are colored and candy using ane or more of a diverseness of software packages. The resulting drawings are composited in the computer over their respective backgrounds, which have also been scanned into the computer (if not digitally painted), and the computer outputs the final film by either exporting a digital video file, using a video cassette recorder or printing to film using a high-resolution output device. Use of computers allows for easier commutation of artwork between departments, studios, and even countries and continents (in most depression-budget American animated productions, the majority of the animation is actually done by animators working in other countries, including South korea, Taiwan, Japan, China, Singapore, Mexico, Republic of india, and the Philippines). As the price of both inking and painting new cels for animated films and TV programs and the repeated usage of older cels for newer animated Tv programs and films went upwardly and the toll of doing the aforementioned thing digitally went down, eventually, the digital ink-and-paint process became the standard for futurity animated movies and Television programs.

Implementation [edit]

Hanna-Barbera was the start American animation studio to implement a computer blitheness system for digital ink-and-pigment usage.^[8] Post-obit a commitment to the applied science in 1979, figurer scientist Marc Levoy led the Hanna-Barbera Blitheness Laboratory from 1980 to 1983, developing an ink-and-paint system that was used in roughly a third of Hanna-Barbera'due south domestic product, 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 system besides allowed for multiplane camera effects axiomatic in H-B productions such equally A Pup Named Scooby-Doo (1988).^[10]

Digital ink and pigment has been in use at Walt Disney Animation Studios since 1989, where it was used for the concluding rainbow shot in The Little Mermaid. All subsequent Disney blithe features were digitally inked-and-painted (starting with The Rescuers Down Under, which was besides the first major feature film to entirely utilise digital ink and pigment), using Disney's proprietary CAPS (Estimator Animation Product Arrangement) technology, developed primarily by Pixar Animation Studios. The CAPS organization allowed the Disney artists to make utilize of colored ink-line techniques mostly lost during the xerography era, also as multiplane effects, blended shading, and easier integration with 3D CGI backgrounds (as in the ballroom sequence in the 1991 film Beauty and the Beast), props, and characters.^{[11] [12]}

While Hanna-Barbera and Disney began implementing digital inking and painting, it took the remainder of the manufacture longer to conform. Many filmmakers and studios did not want to shift to the digital ink-and-pigment procedure because they felt that the digitally colored animation would wait too synthetic and would lose the aesthetic appeal of the not-computerized cel for their projects. Many animated television series were notwithstanding animated in other countries past using the traditionally inked-and-painted cel process every bit tardily as 2004, though nigh of them switched over to the digital process at some point during their run. The final major characteristic film to use traditional ink and paint was Satoshi Kon'southward Millennium Actress (2001); the final major animation productions in the westward to use the traditional process was Play a trick on's The Simpsons and Drawing Network's Ed, Edd north Eddy, which switched to digital pigment in 2002 and 2004 respectively,^[13] while the last major animated product overall to abandon cel animation was the television accommodation of Sazae-san, which remained stalwart with the technique until September 29, 2013, when it switched to fully digital animation on October half dozen, 2013. Prior to this, the series adopted digital animation solely for its opening credits in 2009, but retained the use of traditional cels for the main content of each episode.^[14] Minor productions, such as Hair Loftier (2004) by Bill Plympton, accept 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 equally Adobe Flash, Toon Nail Technologies and TV Paint.

Techniques [edit]

Cels [edit]

This image shows how two transparent cels, each with a dissimilar grapheme fatigued on them, and an opaque groundwork are photographed together to grade the blended image.

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

For a more complex example, consider a sequence in which a person sets a plate upon a table. The table stays nonetheless for the entire sequence, so it can exist drawn as part of the background. The plate can be fatigued along with the character equally the character places it on the table. Nonetheless, after the plate is on the table, the plate no longer moves, although the person continues to move as they depict their arm abroad from the plate. In this example, after the person puts the plate down, the plate can then be drawn on a separate cel from them. Farther frames feature new cels of the person, but the plate does non have to be redrawn as information technology is non moving; the same cel of the plate tin be used in each remaining frame that it is still upon the table. The cel paints were actually manufactured in shaded versions of each colour to compensate for the extra layer of cel added between the image and the camera; in this example, the still plate would exist painted slightly brighter to recoup for being moved 1 layer downwards.

In TV and other depression-budget productions, cels were often "cycled" (i.e., a sequence of cels was repeated several times), and even archived and reused in other episodes. After the film was completed, the cels were either thrown out or, specially in the early on days of blitheness, washed clean and reused for the adjacent film. In some cases, some of the cels were put into the "archive" to be used again and again for future purposes in society to save 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 requite the impression of a foreground when laid on top of a gear up frame.^[15] This creates the illusion of depth, just not every bit much equally a multiplane camera would. A special version of cel overlay is called line overlay, made to complete the groundwork instead of making the foreground, and was invented to deal with the sketchy appearance of xeroxed drawings. The background was offset 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 groundwork the complexity information technology needed. In this manner, the visual way of the groundwork will friction match 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 paper

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

Limited blitheness [edit]

In lower-budget productions, shortcuts bachelor 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 trunk of the person may be the aforementioned in every frame; only their caput is redrawn, or possibly even their head stays the aforementioned while simply their mouth moves. This is known equally express animation. ^[17] The process was popularized in theatrical cartoons by United Productions of America and used in most television animation, especially that of Hanna-Barbera. The end issue does not wait very lifelike, but is inexpensive to produce, and therefore allows cartoons to be made on small-scale television budgets.

"Shooting on twos" [edit]

Moving characters are oftentimes shot "on twos". One cartoon is shown for every 2 frames of film (which usually runs at 24 frames per 2d), meaning in that location are simply 12 drawings per second.^[xviii] Even though the image update rate is low, the fluidity is satisfactory for most subjects. However, when a character is required to perform a quick movement, it is usually necessary to revert to animative "on ones", as "twos" are too irksome to convey the motion adequately. A blend of the 2 techniques keeps the centre fooled without unnecessary production costs.

Academy Award-nominated animator Bill Plympton is noted for his style of animation that uses very few in-betweens and sequences that are done "on threes" or "on fours", holding each cartoon on the screen from ane/8 to i/6 of a second.^[19] While Plympton uses near-constant three-frame holds, sometimes blitheness that simply averages 8 drawings per second is too termed "on threes" and is unremarkably done to meet upkeep constraints, along with other cost-cutting measures like holding the same drawing of a character for a prolonged time or panning over a still image,^[twenty] techniques oftentimes used in low-budget Idiot box productions.^[21] It is also common 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 as Studio Ghibli'south employ the full range: from shine animation "on ones" in selected shots (commonly quick action accents) to common animation "on threes" for regular dialogue and slow-paced shots.

Animation loops [edit]

A horse blithe by rotoscoping from Eadweard Muybridge's 19th-century photos. The animation consists of 8 drawings which are "looped", i.e. repeated over and over. This example is also "shot on twos", i.east. shown at 12 drawings per 2nd.

Creating animation loops or animation cycles is a labor-saving technique for animating repetitive motions, such equally a character walking or a breeze bravado through the trees. In the instance of walking, the grapheme is animated taking a step with its correct human foot, then a step with its left foot. The loop is created and then that, when the sequence repeats, the motion is seamless. In general, they are used just sparingly past productions with moderate or high budgets.

Ryan Larkin's 1969 Academy Accolade-nominated National Flick Board of Canada brusque Walking makes creative utilize of loops. In addition, a promotional music video from Cartoon Network's Groovies featuring the Soul Cough song "Circles" poked fun at animation loops every bit 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 once more.

Multiplane process [edit]

The multiplane procedure is a technique primarily used to give a sense of depth or parallax to two-dimensional animated films. To employ this technique in traditional animation, the artwork is painted or placed onto separate layers chosen planes. These planes, typically synthetic of planes of transparent glass or plexiglass, are then aligned and placed with specific distances between each plane.^[22] The order in which the planes are placed, and the distance between them, is determined by what element of the scene is on the plane as well as the entire scene'due south intended depth.^[23] A camera, mounted above or in front of the planes, moves its focus toward or away from the planes during the capture of the individual blitheness frames. In some devices, the individual planes can be moved toward or abroad from the camera. This gives the viewer the impression that they are moving through the separate layers of art as though in a iii-dimensional space.

History [edit]

Predecessors of this technique and the equipment used to implement information technology began actualization in the late 19th century. Painted glass panes were often used in matte shots and 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 blitheness structures, a device called a Tricktisch. Its top-down, vertical design immune for overhead adjusting of individual, stationary planes. The Tricktisch was used in the filming of The Adventures of Prince Achmed, i of Reiniger'due south virtually well-known works.^[26] Futurity multiplane animation devices would generally apply the same vertical design as Reiniger's device. One notable exception to this trend was the Setback Camera, developed and used by Fleischer Studios. This device used miniature three-dimensional models of sets, with animated cels placed at various positions within the prepare. 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]

Bear on [edit]

The spread and development of multiplane animation helped animators tackle bug with motility 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 issue for animators, too as what multiplane animation could do to solve it. Using a two-dimensional still of an animated farmhouse at night, 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 not increase in size equally a viewer approached a farmhouse. Multiplane animation solved this problem past separating the moon, farmhouse, and farmland into separate planes, with the moon existence farthest away from the camera. To create the zoom result, the get-go two planes were moved closer to the camera during filming, while the airplane with the moon remained at its original distance.^[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 fourth dimension.

Xerography [edit]

Applied to animation by Ub Iwerks at the Walt Disney studio during the late 1950s, the electrostatic copying technique called xerography allowed the drawings to exist copied directly onto the cels, eliminating much of the "inking" portion of the ink-and-paint procedure.^[29] This saved time and money, and it likewise fabricated it possible to put in more details and to control the size of the xeroxed objects and characters. At showtime, it resulted in a more than sketchy look, but the technique was improved upon over time.

Disney animator and engineer Pecker Justice had patented a precursor of the Xerox procedure in 1944, where drawings fabricated with a special pencil would be transferred to a cel by pressure, and so fixing it. It is not known if the process was ever used in animation.^[xxx]

The xerographic method was start tested by Disney in a few scenes of Sleeping Beauty and was first fully used in the brusque pic Goliath Ii, while the get-go feature entirely using this process was One Hundred and Ane Dalmatians (1961). The graphic style of this movie was strongly influenced by the process. Some hand inking was however used together with xerography in this and subsequent films when distinct colored lines were needed. Later, colored toners became available, and several distinct line colors could exist used, even simultaneously. For instance, in The Rescuers the characters' outlines are gray. White and blue toners were used for special effects, such as snow and water.

The APT procedure [edit]

Invented by Dave Spencer for the 1985 Disney film The Blackness Cauldron, the APT (Blitheness Photo Transfer) procedure was a technique for transferring the animators' art onto cels. Basically, the process was a modification of a repro-photographic process; the artists' work was photographed on high-contrast "litho" motion-picture show, and the epitome 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 and then used to remove the unexposed portion. Small and delicate details were yet inked by hand if needed. Spencer received an Academy Laurels for Technical Accomplishment for developing this process.

Rotoscoping [edit]

Rotoscoping is a method of traditional animation invented by Max Fleischer in 1915, in which blitheness is "traced" over bodily movie footage of actors and scenery.^[31] Traditionally, the alive-action will be printed out frame by frame and registered. Some other piece of paper is and then placed over the live-action printouts and the action is traced frame by frame using a lightbox. The end consequence still looks hand-fatigued but the motility will be remarkably lifelike. The films Waking Life and American Pop are total-length rotoscoped films. Rotoscoped animation also appears in the music videos for A-ha's song "Take On Me" and Kanye West's "Heartless". In most cases, rotoscoping is mainly used to aid the animation of realistically rendered human beings, every bit in Snow White and the Vii Dwarfs, Peter Pan, and Sleeping Beauty.

A method related to conventional rotoscoping was later invented for the blitheness of solid inanimate objects, such as cars, boats, or doors. A minor alive-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 so filmed as required for the animated scene by moving the model, the camera, or a combination of both, in real-time or using stop-motion blitheness. The film frames were and then printed on paper, showing a model made up of the painted black lines. After the artists had added details to the object not present in the alive-action photography of the model, it was xeroxed onto cels. A notable example is Cruella de Vil'due south car in Disney's One Hundred and 1 Dalmatians. The procedure of transferring 3D objects to cels was greatly improved in the 1980s when figurer graphics advanced enough to let the creation of 3D computer-generated objects that could exist manipulated in any way the animators wanted, and and so printed as outlines on paper before existence copied onto cels using Xerography or the APT process. This technique was used in Disney films such as Oliver and Company (1988) and The Little Mermaid (1989). This process has more than or less been superseded by the use of cel-shading.

Related to rotoscoping are the methods of vectorizing live-action footage, in order to reach a very graphical await, like in Richard Linklater'due south film A Scanner Darkly.

Alive-action hybrids [edit]

Similar to the computer animation and traditional animation hybrids described above, occasionally a production will combine both live-action and animated footage. The live-action parts of these productions are unremarkably filmed first, the actors pretending that they are interacting with the animated characters, props, or scenery; blitheness volition then be added into the footage later to make it appear as if it has always been there. Similar rotoscoping, this method is rarely used, merely when it is, it tin can be done to terrific effect, immersing the audience in a fantasy earth where humans and cartoons co-be. 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-activeness and blitheness were afterwards combined in features such every bit Mary Poppins (1964), Who Framed Roger Rabbit (1988), Infinite Jam (1996), and Enchanted (2007), amidst many others. The technique has besides seen pregnant apply in television commercials, especially for breakfast cereals marketed to children to interest them and boost sales.

Special furnishings animation [edit]

As well traditionally animated characters, objects, and backgrounds, many other techniques are used to create special elements such as smoke, lightning and "magic", and to give the blitheness, in full general, a distinct visual advent. Today special effects are mostly done with computers, but earlier they had to exist done by hand. To produce these effects, the animators used different techniques, such as drybrush, airbrush, charcoal, grease pencil, backlit animation, diffusing screens, filters, or gels. For case, 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 above draw the techniques of an animation process that originally depended on cels in its final stages, but painted cels are rare today as the figurer moves into the animation studio, and the outline drawings are usually scanned into the computer and filled with digital pigment instead of being transferred to cels then colored by hand.^[32] The drawings are composited in a computer plan on many transparent "layers" much the aforementioned way every bit they are with cels,^[33] and fabricated into a sequence of images which may so be transferred onto film or converted to a digital video format.^[34]

It is at present also possible for animators to draw straight into a reckoner using a graphics tablet such equally a Cintiq or a similar device, where the outline drawings are washed in a like manner as they would exist on paper. The Goofy short How To Hook Upward Your Home Theater (2007) represented Disney's first project based on the paperless technology bachelor today. Some of the advantages are the possibility and potential of controlling the size of the drawings while working on them, drawing directly on a multiplane background and eliminating the need for photographing line tests and scanning.

Though traditional animation is at present commonly done with computers, it is of import to differentiate computer-assisted traditional blitheness from 3D estimator animation, such every bit Toy Story, Shrek and Water ice Historic period. However, often traditional blitheness and 3D figurer blitheness will be used together, as in Don Bluth's Titan A.Due east. and Disney's Tarzan and Treasure Planet. Near anime and many western animated series yet use traditional animation today. DreamWorks executive Jeffrey Katzenberg coined the term "tradigital animation" to depict animated films produced by his studio which incorporated elements of traditional and computer animation every bit, such equally Spirit: Stallion of the Cimarron and Sinbad: Legend of the Seven Seas.

Many video games such every bit Viewtiful Joe, The Legend of Zelda: The Current of air Waker and others use "cel-shading" animation filters or lighting systems to make their full 3D animation appear as though information technology were drawn in a traditional cel-style. This technique was also used in the animated movie Appleseed, and cel-shaded 3D animation is typically integrated with cel animation in Disney films and in many tv shows, such as the Fox animated series Futurama and the Nickelodeon animated serial Invader Zim. In one scene of the 2007 Pixar flick Ratatouille, an illustration 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 as well considered an example of cel-shading in an animated feature. More recently, animated shorts such every bit Paperman, Feast, and The Dam Keeper accept used a more distinctive manner of cel-shaded 3D blitheness, capturing a look and feel similar to a 'moving painting'.

Computers and digital video cameras [edit]

Amongst the virtually common types of blitheness rostrum cameras was the Oxberry. Such cameras were ever fabricated of black anodized aluminum, and unremarkably had 2 peg bars, 1 at the summit and i at the lesser of the lightbox. The Oxberry Chief Series had 4 peg bars, 2 above and 2 below, and sometimes used a "floating peg bar" besides. The height of the column on which the camera was mounted adamant the amount of zoom achievable on a slice of artwork. Such cameras were massive mechanical affairs that might counterbalance close to a ton and take hours to interruption down or set up.

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

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

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

The most famous device used for multiplane animation was the multiplane photographic camera. This device, originally designed by old Walt Disney Studios animator/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 within individual blithe scenes.^[22] In later years Disney Studios would adopt this technology for their own uses. Designed in 1937 by William Garity, the multiplane camera used for the moving-picture show Snow White and the Seven Dwarfs utilized artwork painted on up to seven split up, movable planes, equally well every bit a vertical, top-downwardly camera.^[36]

The final animated film by Disney that featured the use of their multiplane photographic camera was The Footling Mermaid, though the work was outsourced as Disney'due south equipment was inoperative at the time.^[37] Usage of the multiplane photographic camera or like devices declined due to production costs and the rising of digital blitheness. Start largely with the apply of CAPS, digital multiplane cameras would help streamline the process of calculation layers and depth to animated scenes.

Meet besides [edit]

• History of animation
• Animated cartoon
• Computer generated imagery
• Cease motion
• Paint-on-drinking glass blitheness
• Rubber hose blitheness
• Listing of animated feature-length films
• List of blithe short series
• List of animated television receiver series
• List of blitheness 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 Animation Equipment". 14 May 2011. Archived from the original on xiv 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 Grade Technology. ISBN978-one-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). "Function 7: Movie Retrospective". Computer Graphics Earth. 25 (vii). December 1991 Although 3D graphics debuted in earlier Disney animations, Beauty and the Brute is the first in which hand-drawn characters appear in a 3D groundwork. Every frame of the film is scanned, created, or composited inside Disney's computer blitheness production system (CAPS) co-developed with Pixar. (Premiere: (xi/91)
12. ^ "Timeline". Computer Graphics World. 35 (vi). Oct–Nov 2012. DECEMBER 1991: Beauty and the Beast is the get-go Disney flick with manus-drawn characters in a 3D background. Every frame is scanned, created, or composited within CAPS.
13. ^ "momotato.com - momotato Resources and Information". Retrieved ane January 2017.
14. ^ Sazae-san is Last TV Anime Using Cels, Not Computers—Anime News Network
15. ^ Laybourne 1998, p. 168.
16. ^ Thomas & Johnston 1995, p. thirty.
17. ^ Culhane 1989, p. 212.
18. ^ Laybourne 1998, p. 180.
19. ^ Segall, Mark (1996). "Plympton's Metamorphoses". Animation World Magazine.
20. ^ LaMarre 2009, p. 187.
21. ^ Maltin 1987, p. 277.
22. ^ ^{a b c d} Walt Disney's MultiPlane Camera (Filmed Feb. 13, 1957) , retrieved 2019-09-17
23. ^ Multi-Plane Blitheness Basics | Cease Motion , retrieved 2019-09-17
24. ^ Maher, Michael (2015-09-thirty). "Visual Effects: How Matte Paintings are Composited into Film". RocketStock . Retrieved 2019-09-eighteen .
25. ^ "CONTENTdm". hrc.contentdm.oclc.org . Retrieved 2019-09-17 .
26. ^ Malczyk, Chiliad. (2008-09-01). "Practicing Modernity: Female person Creativity in the Weimar Democracy. Edited by Christiane Schonfeld. Würzburg: Konigshausen & Neumann, 2006. 353 pages. 48,00". Monatshefte. 100 (3): 439–440. doi:ten.1353/mon.0.0033. ISSN 0026-9271. S2CID 142450235.
27. ^ Sobchack, Vivian Carol (2000). Meta Morphing: Visual Transformation and the Culture of Quick-modify. U of Minnesota Press. ISBN9780816633197.
28. ^ ScreenPrism (23 Nov 2015). "How did the multiplane photographic camera invented for "Snow White and the Vii Dwarfs" redefine animation | ScreenPrism". screenprism.com . Retrieved 2019-09-18 .
29. ^ Laybourne 1998, p. 213.
30. ^ "A. Motion-picture show 50.A.: Squeamish Try, Pecker..." Retrieved 1 January 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. ^ "Cinema: 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). Blitheness from Script to Screen. New York: St. Martin's Griffin. ISBN031-205052-half-dozen.
• LaMarre, Thomas (2009). The Anime Machine. U of Minnesota Printing. ISBN978-0-8166-5154-two.
• Laybourne, Kit (1998). The Animation Book : A Consummate Guide to Animated Filmmaking—From Flip-Books to Sound Cartoons to 3-D Animation . New York: 3 Rivers Press. ISBN051-788602-2.
• Maltin, Leonard (1987). Of Mice and Magic: A History of American Blithe Cartoons. Penguin Books. ISBN978-0-4522-5993-5.
• Thomas, Frank; Johnston, Ollie (1995). Disney Animation: The Illusion Of Life. Los Angeles: Disney Editions. ISBN078-686070-7.
• Williams, Richard (2002). The Animator's Survival Kit: A Transmission of Methods, Principles, and Formulas for Classical, Computer, Games, Stop Motility, and Internet Animators. London: Faber & Faber. ISBN057-120228-4.

External links [edit]

• Media related to Traditional animation at Wikimedia Commons

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

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