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Blitheness technique in which frames are hand-drawn

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

Traditional blitheness (or classical animation, cel animation, hand-drawn animation, or second animation) is an animation technique in which each frame is drawn by paw. The technique was the dominant form of animation in movie theatre until reckoner blitheness.

Process [edit]

Writing and storyboarding [edit]

Animation product usually begins later a story is converted into an animation film script, from which a storyboard is derived. A storyboard has an advent somewhat like to comic book panels, and is a shot past shot breakdown of the staging, acting and whatever photographic camera moves that will be present in the film. The images allow the animation team to plan the flow of the plot and the limerick of the imagery. Storyboard artists will accept regular meetings with the director and may redraw or "re-board" a sequence many times before it meets final blessing.

Voice recording [edit]

Before blitheness begins, a preliminary soundtrack or scratch rail is recorded so that the animation may be more precisely synchronized to the soundtrack. Given the ho-hum manner in which traditional animation is produced, it is near always easier to synchronize animation to a pre-existing soundtrack than information technology is to synchronize a soundtrack to pre-existing animation. A completed cartoon soundtrack volition feature music, audio effects, and dialogue performed by vocalisation actors. The scratch track used during blitheness typically contains simply the voices, any songs to which characters must sing-along, and temporary musical score tracks; the concluding score and sound effects are added during mail service-production.

In the case of Japanese animation and virtually pre-1930 sound animated cartoons, the sound was post-synched; the soundtrack was recorded later the movie elements were finished past watching the movie and performing the dialogue, music, and sound furnishings required. Some studios, about notably Fleischer Studios, continued to mail-synch their cartoons through most of the 1930s, which allowed for the presence of the "muttered advertising-libs" present in many Popeye the Sailor and Betty Boop cartoons.^[i]

Design, timing, and layout [edit]

When storyboards are sent to the design departments, character designers prepare model sheets for whatsoever characters and props that appear in the picture show; and these are used to help standardize appearance, poses, and gestures. The model sheets volition oftentimes include "turnarounds" which show how a grapheme or object looks in three-dimensions along with standardized special poses and expressions and so that the artists accept a guide to refer to. Small statues known equally maquettes may be produced so that an animator can see what a graphic symbol looks like in three dimensions. Background stylists will practise similar work for any settings and locations present in the storyboard, and the art directors and colour stylists volition make up one's mind the fine art style and colour schemes to be used.

A timing director (who in many cases will be the primary director) volition accept the animatic and analyze exactly what poses drawings, and lip movements will be needed on what frames. An exposure sheet (or X-canvass) is created; this is a printed table that breaks down the activeness, dialogue, and sound frame-by-frame every bit a guide for the animators. If a film is based more strongly in music, a bar sheet may exist prepared in improver to or instead of an X-sheet.^[2] Bar sheets testify the relationship between the on-screen activity, the dialogue, and the actual musical notation used in the score.

Layout begins subsequently the designs are completed and approved by the manager. It is here that the groundwork layout artists determine the photographic camera angles, camera paths, lighting, and shading of the scene. Graphic symbol layout artists will make up one's mind the major poses for the characters in the scene and will make a cartoon to betoken each pose. For brusk films, character layouts are often the responsibility of the director. The layout drawings and storyboards are then spliced, forth with the sound and an animatic is formed (not to be confused with its predecessor, the leica reel).

While the animation is beingness washed, the background artists will paint the sets over which the action of each animated sequence will take place. These backgrounds are generally done in gouache or acrylic pigment, although some animated productions have used backgrounds washed in watercolor or oil paint. Background artists follow very closely the work of the background layout artists and color stylists (which is usually compiled into a workbook for their use) so that the resulting backgrounds are harmonious in tone with the character designs.

Animatic [edit]

Usually, an animatic or story reel is created after the soundtrack is recorded and before total blitheness begins. The term "animatic" was originally coined by Walt Disney Blitheness 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 be with the 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 be edited out of the film. Creating scenes that will eventually be edited out of the completed cartoon is avoided.

Animation [edit]

Sketch of an animation peg bar, and measurements of three types, Tiptop existence the about 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, 1 picture or "frame" at a time.^[3] A peg bar is an blitheness tool used in traditional animation to keep the drawings in place. A key animator or atomic number 82 animator will draw the key drawings or central frames in a scene, using the character layouts as a guide. The fundamental animator draws plenty of the frames to get across the major poses inside a grapheme 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 terminal animated scene (often devoid of many character details and color); 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 assistant animators, who volition 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 pb animator is ready to meet with the director and have their scene sweatboxed.

One time the key blitheness is approved, the lead animator forwards the scene on to the make clean-upwards department, made up of the clean-up animators and the inbetweeners. The clean-up animators take the pb and banana animators' drawings and trace them onto a new canvas of paper, making certain to include all of the details present on the original model sheets, so that the movie maintains a cohesiveness and consistency in art style. The inbetweeners volition depict in whatsoever 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 blessing.

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

This procedure is the same for both graphic symbol animation and special furnishings animation, which on most loftier-budget productions are done in separate departments. Often, each major character will have an animator or group of animators solely defended to drawing that graphic symbol. The group will exist made up of one supervising animator, a pocket-size group of key animators, and a larger group of assistant animators. Furnishings animators animate anything that moves and are not a graphic symbol, including props, vehicles, machinery and phenomena such as burn, pelting, and explosions. Sometimes, instead of drawings, a number of special processes are used to produce special effects in blithe films; rain, for instance, has been created in Disney blithe films since the tardily 1930s by filming wearisome-motility footage of water in front end of a black background, with the resulting moving picture superimposed over the animation.

Traditional ink-and-paint and camera [edit]

Once the clean-ups and in-between drawings for a sequence are completed, they are prepared for a process known every bit ink-and-pigment. Each drawing is then transferred from newspaper to a thin, clear canvass of plastic called a cel, a contraction of the material name celluloid (the original flammable cellulose nitrate was later replaced with the more than stable cellulose acetate). The outline of the drawing is inked or photocopied onto the cel, and gouache, acrylic or a like type of paint is used on the reverse sides of the cels to add colors in the advisable shades. The transparent quality of the cel allows for each grapheme or object in a frame to be animated on different cels, as the cel of one grapheme can be seen underneath the cel of another; and the opaque background volition 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 top of each other, with the background at the lesser of the stack. A piece of drinking glass is lowered onto the artwork in social club to flatten any irregularities, and the blended image is then photographed by a special animation photographic camera, besides chosen rostrum photographic camera.^[5] The cels are removed, and the procedure repeats for the next frame until each frame in the sequence has been photographed. Each cel has registration holes, modest holes along the top or bottom edge of the cel, which allow the cel to be placed on respective peg bars^[vi] before the camera to ensure that each cel aligns with the i before it; if the cels are not aligned in such a manner, the animation, when played at full speed, volition appear "jittery." Sometimes, frames may need to be photographed more than than one time, in lodge to implement superimpositions and other camera furnishings. Pans are created by either moving the cels or backgrounds ane step at a time over a succession of frames (the camera does not pan; it merely zooms in and out).

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

Dope sheets are created by the animators and used by the photographic camera operator to transfer each animation cartoon into the number of film frames specified by the animators, whether it is 1 (1s, ones) ii (2s, twos) or 3 (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 product has been photographed, the final film is sent for development and processing, while the final music and sound effects are added to the soundtrack.

Modernistic process [edit]

Digital ink and paint [edit]

The current process, termed "digital ink and paint", is the aforementioned every bit traditional ink and paint until later on the animation drawings are completed;^[vii] instead of existence transferred to cels, the animators' drawings are either scanned into a computer or drawn directly onto a estimator monitor via graphics tablets (such as Wacom Cintiq tablet), where they are colored and processed using one or more than of a diverseness of software packages. The resulting drawings are composited in the reckoner over their corresponding backgrounds, which have besides been scanned into the computer (if not digitally painted), and the calculator outputs the concluding film past either exporting a digital video file, using a video cassette recorder or printing to film using a high-resolution output device. Utilize of computers allows for easier exchange of artwork between departments, studios, and even countries and continents (in well-nigh depression-budget American animated productions, the bulk of the animation is actually done by animators working in other countries, including South korea, Taiwan, Nippon, China, Singapore, Mexico, India, and the Philippines). Equally the cost 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 up and the cost of doing the aforementioned matter digitally went downward, eventually, the digital ink-and-paint process became the standard for future blithe movies and TV programs.

Implementation [edit]

Hanna-Barbera was the kickoff American animation studio to implement a computer animation system for digital ink-and-paint usage.^[viii] Post-obit a commitment to the applied science in 1979, computer scientist Marc Levoy led the Hanna-Barbera Animation Laboratory from 1980 to 1983, developing an ink-and-paint system that was used in roughly a third of Hanna-Barbera's domestic production, starting in 1984 and continuing until replaced with third-party software in 1996.^[eight] ^[ix] In improver to a cost savings compared to traditional cel painting of 5 to 1, the Hanna-Barbera system also allowed for multiplane camera effects evident in H-B productions such equally 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 concluding rainbow shot in The Petty Mermaid. All subsequent Disney animated features were digitally inked-and-painted (starting with The Rescuers Down Under, which was too the first major characteristic motion picture to entirely use digital ink and paint), using Disney'south proprietary CAPS (Reckoner Animation Production Organisation) engineering science, developed primarily by Pixar Blitheness Studios. The CAPS system allowed the Disney artists to make use of colored ink-line techniques mostly lost during the xerography era, as well equally multiplane effects, blended shading, and easier integration with 3D CGI backgrounds (as in the ballroom sequence in the 1991 moving-picture show Beauty and the Creature), props, and characters.^[11] ^[12]

While Hanna-Barbera and Disney began implementing digital inking and painting, it took the rest of the industry longer to adapt. Many filmmakers and studios did not desire to shift to the digital ink-and-paint process because they felt that the digitally colored blitheness would look also synthetic and would lose the aesthetic entreatment of the non-computerized cel for their projects. Many animated television receiver series were still animated in other countries by using the traditionally inked-and-painted cel procedure as late as 2004, though well-nigh of them switched over to the digital process at some point during their run. The terminal major characteristic film to employ traditional ink and pigment was Satoshi Kon's Millennium Extra (2001); the final major animation productions in the westward to use the traditional procedure was Pull a fast one on's The Simpsons and Cartoon Network's Ed, Edd n Eddy, which switched to digital paint in 2002 and 2004 respectively,^[xiii] while the last major blithe production overall to abandon cel animation was the television adaptation of Sazae-san, which remained stalwart with the technique until September 29, 2013, when it switched to fully digital animation on Oct 6, 2013. Prior to this, the series adopted digital animation solely for its opening credits in 2009, but retained the apply of traditional cels for the master content of each episode.^[fourteen] Pocket-size productions, such equally Hair Loftier (2004) past Bill Plympton, have used traditional cels long afterwards the introduction of digital techniques. Most studios today apply one of a number of other high-end software packages, such every bit Toon Boom Harmony, Toonz (OpenToonz), Animo, and RETAS, or fifty-fifty consumer-level applications such equally Adobe Wink, Toon Boom Technologies and Idiot box Pigment.

Techniques [edit]

Cels [edit]

This prototype shows how ii transparent cels, each with a different character fatigued on them, and an opaque background are photographed together to form the composite image.

The cel animation process was invented past Earl Hurd and John Bray in 1915. The cel is an important innovation to traditional animation, as it allows some parts of each frame to be repeated from frame to frame, thus saving labor. A simple example would be a scene with 2 characters on screen, one of which is talking and the other standing silently. Since the latter character is not moving, it tin be displayed in this scene using only i drawing, on one cel, while multiple drawings on multiple cels are used to breathing the speaking character.

For a more than complex example, consider a sequence in which a person sets a plate upon a tabular array. The table stays notwithstanding for the entire sequence, so it can be drawn as office of the groundwork. The plate can be fatigued along with the character as the grapheme places it on the table. However, later on the plate is on the table, the plate no longer moves, although the person continues to move equally they draw their arm away from the plate. In this example, after the person puts the plate down, the plate can then be fatigued 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 same cel of the plate can be used in each remaining frame that it is notwithstanding upon the table. The cel paints were actually manufactured in shaded versions of each colour to recoup for the extra layer of cel added between the prototype and the camera; in this case, the all the same plate would be painted slightly brighter to compensate for existence moved ane layer down.

In TV and other low-budget productions, cels were oft "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, especially in the early days of blitheness, done clean and reused for the next film. In some cases, some of the cels were put into the "archive" to be used again and once again for future purposes in order to save money. Some studios saved a portion of the cels and either sold them in studio stores or presented them every bit 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 top of a ready frame.^[xv] This creates the illusion of depth, but not as much as a multiplane camera would. A special version of cel overlay is called line overlay, fabricated to consummate the groundwork instead of making the foreground, and was invented to deal with the sketchy appearance of xeroxed drawings. The groundwork was showtime painted as shapes and figures in flat colors, containing rather few details. Next, a cel with detailed black lines was laid direct 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 way, the visual style of the background will match that of the xeroxed character cels. As the xerographic process evolved, line overlay was left behind.

Pre-cel animation [edit]

How Animated Cartoons Are Fabricated (1919), showing characters fabricated from cut-out paper

In very early cartoons made before the utilise of the cel, such as Gertie the Dinosaur (1914), the unabridged frame, including the background and all characters and items, were drawn on a unmarried sail 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 i slightly different from the ane preceding it. The pre-cel blitheness was later improved by using techniques like the slash and tear organization invented by Raoul Barre; the background and the animated objects were fatigued on separate papers.^[16] A frame was fabricated by removing all the bare parts of the papers where the objects were fatigued earlier existence placed on top of the backgrounds and finally photographed.

Limited blitheness [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 torso of the person may exist the same in every frame; only their head is redrawn, or perhaps fifty-fifty their head stays the same while but their oral cavity moves. This is known as limited animation. ^[17] The procedure was popularized in theatrical cartoons by United Productions of America and used in most boob tube blitheness, peculiarly that of Hanna-Barbera. The end effect does not expect very lifelike, simply is cheap to produce, and therefore allows cartoons to exist made on small goggle box budgets.

"Shooting on twos" [edit]

Moving characters are often shot "on twos". One drawing is shown for every two frames of pic (which commonly runs at 24 frames per 2nd), meaning at that place are only 12 drawings per 2nd.^[xviii] Even though the image update charge per unit is low, the fluidity is satisfactory for near subjects. All the same, when a character is required to perform a quick movement, it is unremarkably necessary to revert to animative "on ones", as "twos" are too slow to convey the motion adequately. A blend of the ii techniques keeps the eye fooled without unnecessary product costs.

Academy Award-nominated animator Bill Plympton is noted for his manner of animation that uses very few in-betweens and sequences that are done "on threes" or "on fours", holding each drawing on the screen from 1/8 to one/half dozen of a 2d.^[xix] While Plympton uses near-constant three-frame holds, sometimes blitheness that just averages eight drawings per second is also termed "on threes" and is usually done to run across budget constraints, forth with other price-cutting measures like holding the aforementioned drawing of a character for a prolonged time or panning over a still image,^[20] techniques ofttimes used in low-upkeep Boob tube 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'due south employ the total range: from smoothen animation "on ones" in selected shots (usually quick action accents) to common animation "on threes" for regular dialogue and irksome-paced shots.

Animation loops [edit]

A equus caballus animated by rotoscoping from Eadweard Muybridge's 19th-century photos. The blitheness consists of viii drawings which are "looped", i.due east. repeated over and over. This example is too "shot on twos", i.east. shown at 12 drawings per 2nd.

Creating animation loops or animation cycles is a labor-saving technique for animative repetitive motions, such every bit a grapheme walking or a breeze blowing through the trees. In the case of walking, the character is blithe taking a step with its right pes, so a pace with its left pes. The loop is created so that, when the sequence repeats, the motion is seamless. In general, they are used but sparingly by productions with moderate or high budgets.

Ryan Larkin'south 1969 Academy Accolade-nominated National Film Board of Canada brusque Walking makes creative apply of loops. In addition, a promotional music video from Cartoon Network's Groovies featuring the Soul Coughing song "Circles" poked fun at animation loops equally they are often seen in The Flintstones, in which Fred and Barney (along with diverse Hanna-Barbera characters that aired on Cartoon Network), supposedly walking in a firm, wonder why they go along passing the same tabular array and vase over and over again.

Multiplane process [edit]

The multiplane process is a technique primarily used to give a sense of depth or parallax to two-dimensional animated films. To use this technique in traditional animation, the artwork is painted or placed onto divide layers called planes. These planes, typically constructed of planes of transparent drinking glass or plexiglass, are and then aligned and placed with specific distances between each plane.^[22] The gild 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's intended depth.^[23] A photographic 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 away from the photographic camera. This gives the viewer the impression that they are moving through the separate layers of fine art equally though in a three-dimensional infinite.

History [edit]

Predecessors of this technique and the equipment used to implement it 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 blitheness squad constructed one of the showtime multiplane animation structures, a device chosen a Tricktisch. Its peak-down, vertical pattern allowed for overhead adjusting of individual, stationary planes. The Tricktisch was used in the filming of The Adventures of Prince Achmed, one of Reiniger'due south near well-known works.^[26] Hereafter multiplane animation devices would generally use the same vertical blueprint as Reiniger's device. One notable exception to this trend was the Setback Camera, adult and used past Fleischer Studios. This device used miniature iii-dimensional models of sets, with blithe cels placed at various positions inside the set up. This placement gave the appearance of objects moving in front of and behind the animated characters, and was often referred to every bit the Tabletop Method.^[27]

Touch on [edit]

The spread and development of multiplane animation helped animators tackle problems 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 upshot for animators, too as what multiplane animation could practise to solve it. Using a two-dimensional still of an animated farmhouse at night, Disney demonstrated that zooming in on the scene, using traditional animation 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 trouble by separating the moon, farmhouse, and farmland into split planes, with the moon existence farthest away from the photographic camera. To create the zoom effect, the offset 2 planes were moved closer to the camera during filming, while the plane with the moon remained at its original distance.^[28] This provided a depth and fullness to the scene that was closer in resemblance to existent life, which was a prominent goal for many animation studios at the time.

Xerography [edit]

Applied to animation by Ub Iwerks at the Walt Disney studio during the late 1950s, the electrostatic copying technique chosen xerography allowed the drawings to be copied direct onto the cels, eliminating much of the "inking" portion of the ink-and-paint process.^[29] This saved time and coin, and it as well fabricated information technology possible to put in more details and to control the size of the xeroxed objects and characters. At commencement, it resulted in a more than sketchy wait, just the technique was improved upon over fourth dimension.

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

The xerographic method was first tested by Disney in a few scenes of Sleeping Dazzler and was first fully used in the curt film Goliath 2, while the kickoff feature entirely using this process was Ane Hundred and One Dalmatians (1961). The graphic style of this film was strongly influenced by the procedure. Some hand inking was still used together with xerography in this and subsequent films when distinct colored lines were needed. Subsequently, colored toners became available, and several distinct line colors could be used, even simultaneously. For example, in The Rescuers the characters' outlines are gray. White and blueish toners were used for special furnishings, such every bit snowfall and water.

The APT process [edit]

Invented by Dave Spencer for the 1985 Disney picture The Blackness Cauldron, the APT (Animation Photograph Transfer) process was a technique for transferring the animators' art onto cels. Basically, the procedure was a modification of a repro-photographic process; the artists' work was photographed on high-dissimilarity "litho" film, and the paradigm on the resulting negative was and 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. Modest and frail details were withal inked by hand if needed. Spencer received an Academy Award for Technical Achievement 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 actual film footage of actors and scenery.^[31] Traditionally, the alive-action will exist printed out frame past frame and registered. Another piece of paper is then placed over the live-action printouts and the action is traced frame by frame using a lightbox. The end result notwithstanding looks hand-drawn but the motility will be remarkably lifelike. The films Waking Life and American Pop are full-length rotoscoped films. Rotoscoped animation likewise appears in the music videos for A-ha'due south song "Take On Me" and Kanye West'due south "Heartless". In almost cases, rotoscoping is mainly used to assistance the animation of realistically rendered human beings, equally in Snow White and the Seven Dwarfs, Peter Pan, and Sleeping Beauty.

A method related to conventional rotoscoping was later invented for the blitheness of solid inanimate objects, such every bit cars, boats, or doors. A modest live-activeness model of the required object was congenital 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 photographic camera, or a combination of both, in existent-time or using stop-motion blitheness. The film frames were and so printed on paper, showing a model made upward of the painted black lines. Afterwards 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's car in Disney's One Hundred and One Dalmatians. The process of transferring 3D objects to cels was profoundly improved in the 1980s when estimator graphics advanced plenty to allow the creation of 3D estimator-generated objects that could exist manipulated in whatever mode the animators wanted, and and so printed as outlines on newspaper before being copied onto cels using Xerography or the APT procedure. This technique was used in Disney films such as Oliver and Company (1988) and The Piffling 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-activity footage, in club to achieve a very graphical look, like in Richard Linklater'southward film A Scanner Darkly.

Live-activeness 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-activity parts of these productions are commonly filmed offset, the actors pretending that they are interacting with the animated characters, props, or scenery; animation volition then exist added into the footage later to arrive announced equally if information technology has e'er been there. Like rotoscoping, this method is rarely used, but when information technology is, information technology can exist washed to terrific effect, immersing the audition 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'due south Alice Comedies (begun in 1923). Live-action and blitheness were later combined in features such as Mary Poppins (1964), Who Framed Roger Rabbit (1988), Infinite Jam (1996), and Enchanted (2007), among many others. The technique has likewise seen significant utilize in television commercials, peculiarly for breakfast cereals marketed to children to interest them and boost sales.

Special effects animation [edit]

Besides 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 animation, in general, a distinct visual appearance. Today special effects are mostly done with computers, but earlier they had to exist done by paw. To produce these effects, the animators used different 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 describe the techniques of an animation procedure that originally depended on cels in its final stages, simply painted cels are rare today as the reckoner 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 program on many transparent "layers" much the aforementioned mode every bit they are with cels,^[33] and made into a sequence of images which may then be transferred onto moving-picture show or converted to a digital video format.^[34]

Information technology is now too possible for animators to draw straight into a computer using a graphics tablet such as a Cintiq or a similar device, where the outline drawings are done in a similar manner as they would be on newspaper. The Goofy brusk How To Hook Up Your Home Theater (2007) represented Disney's starting time project based on the paperless engineering available 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 demand for photographing line tests and scanning.

Though traditional animation is at present normally done with computers, it is important to differentiate computer-assisted traditional blitheness from 3D calculator animation, such as Toy Story and Ice Age. Notwithstanding, frequently traditional blitheness and 3D computer blitheness will be used together, equally in Don Bluth's Titan A.E. and Disney's Tarzan and Treasure Planet. Well-nigh 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 equally, such as Spirit: Stallion of the Cimarron and Sinbad: Legend of the Seven Seas.

Many video games such as Viewtiful Joe, The Fable of Zelda: The Current of air Waker and others employ "cel-shading" blitheness filters or lighting systems to make their full 3D animation appear as though it were drawn in a traditional cel-style. This technique was as well used in the animated moving picture Appleseed, and cel-shaded 3D animation is typically integrated with cel animation in Disney films and in many television shows, such equally the Pull a fast one on animated series Futurama. In one scene of the 2007 Pixar movie 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'due south imagination; this scene is besides considered an example of cel-shading in an animated feature. More recently, animated shorts such equally Paperman, Banquet, and The Dam Keeper have used a more distinctive style of cel-shaded 3D animation, capturing a look and feel like to a 'moving painting'.

Computers and digital video cameras [edit]

Among the well-nigh common types of animation rostrum cameras was the Oxberry. Such cameras were always made of black anodized aluminum, and commonly had 2 peg confined, i at the top and 1 at the bottom of the lightbox. The Oxberry Master Series had 4 peg confined, 2 above and 2 beneath, and sometimes used a "floating peg bar" likewise. The acme of the column on which the camera was mounted determined the corporeality of zoom achievable on a slice of artwork. Such cameras were massive mechanical affairs that might counterbalance shut to a ton and take hours to break down or set up.

In the later years of the animation rostrum photographic camera, stepper motors controlled by computers were attached to the various axes of movement of the camera, thus saving many hours of hand cranking by human being 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 can likewise be used as tools in traditional cel animation without affecting the flick directly, profitable the animators in their work and making the whole procedure faster and easier. Doing the layouts on a estimator is much more effective than doing it past traditional methods.^[35] Additionally, video cameras requite the opportunity to see a "preview" of the scenes and how they volition await when finished, enabling the animators to right and improve upon them without having to consummate them first. This can exist considered a digital form of pencil testing.

The most famous device used for multiplane animation was the multiplane camera. This device, originally designed by sometime Walt Disney Studios animator/director Ub Iwerks, is a vertical, top-downward camera crane that shot scenes painted on multiple, individually adjustable drinking 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 photographic camera used for the film Snow White and the 7 Dwarfs utilized artwork painted on up to vii split up, movable planes, too as a vertical, height-downwards camera.^[36]

The final animated pic by Disney that featured the use of their multiplane camera was The Fiddling Mermaid, though the piece of work was outsourced equally Disney's equipment was inoperative at the time.^[37] Usage of the multiplane camera or similar devices declined due to production costs and the ascent of digital animation. First largely with the use of CAPS, digital multiplane cameras would assist streamline the process of adding layers and depth to animated scenes.

References [edit]

Citations [edit]

^ Sfetcu, Nicolae (vii May 2014). Animation & Cartoons. MultiMedia Publishing.
^ Laybourne 1998, pp. 202–203.
^ Laybourne 1998, p. xv.
^ Laybourne 1998, pp. 105–107.
^ Laybourne 1998, pp. 302–313.
^ "ANIMATO Animation Equipment". xiv May 2011. Archived from the original on 14 May 2011. Retrieved ane January 2017. {{cite web}}: CS1 maint: bot: original URL status unknown (link)
^ Laybourne 1998, p. 233.
^ ^a ^b Jones, Angie. (2007). Thinking blitheness : bridging the gap between 2D and CG. Boston, MA: Thomson Course Technology. ISBN978-1-59863-260-half-dozen. OCLC 228168598.
^ "1976 Charles Goodwin Sands Memorial Medal". graphics.stanford.edu . Retrieved 2020-08-20 .
^ Lewell, John (2017-07-03). "Behind the Screen at Hanna-Barbera" (PDF). Archived from the original (PDF) on 2017-07-03. Retrieved 2020-08-xx .
^ Robertson, Barbara (July 2002). "Part 7: Movie Retrospective". Reckoner Graphics World. 25 (7). December 1991 Although 3D graphics debuted in before Disney animations, Beauty and the Animate being is the first in which hand-fatigued characters appear in a 3D background. Every frame of the moving-picture show is scanned, created, or composited within Disney'southward computer animation production organisation (CAPS) co-adult with Pixar. (Premiere: (11/91)
^ "Timeline". Computer Graphics World. 35 (6). October–Nov 2012. December 1991: Dazzler and the Beast is the first Disney picture with paw-fatigued characters in a 3D background. Every frame is scanned, created, or composited inside CAPS.
^ "momotato.com - momotato Resources and Information". Retrieved one January 2017.
^ Sazae-san is Last TV Anime Using Cels, Not Computers—Anime News Network
^ Laybourne 1998, p. 168.
^ Thomas & Johnston 1995, p. xxx.
^ Culhane 1989, p. 212.
^ Laybourne 1998, p. 180.
^ Segall, Mark (1996). "Plympton'southward Metamorphoses". Animation World Mag.
^ LaMarre 2009, p. 187.
^ Maltin 1987, p. 277.
^ ^a ^b ^c ^d Walt Disney'southward MultiPlane Camera (Filmed Feb. 13, 1957) , retrieved 2019-09-17
^ Multi-Plane Animation Basics | Stop Movement , retrieved 2019-09-17
^ Maher, Michael (2015-09-30). "Visual Effects: How Matte Paintings are Composited into Motion-picture show". RocketStock . Retrieved 2019-09-18 .
^ "CONTENTdm". hrc.contentdm.oclc.org . Retrieved 2019-09-17 .
^ Malczyk, K. (2008-09-01). "Practicing Modernity: Female Creativity in the Weimar Democracy. Edited past Christiane Schonfeld. Würzburg: Konigshausen & Neumann, 2006. 353 pages. 48,00". Monatshefte. 100 (three): 439–440. doi:10.1353/monday.0.0033. ISSN 0026-9271. S2CID 142450235.
^ Sobchack, Vivian Carol (2000). Meta Morphing: Visual Transformation and the Culture of Quick-change. U of Minnesota Press. ISBN9780816633197.
^ ScreenPrism (23 Nov 2015). "How did the multiplane camera invented for "Snow White and the Seven Dwarfs" redefine animation | ScreenPrism". screenprism.com . Retrieved 2019-09-18 .
^ Laybourne 1998, p. 213.
^ "A. Moving-picture show L.A.: Nice Endeavor, Bill..." Retrieved 1 January 2017.
^ Laybourne 1998, p. 172.
^ Laybourne 1998, pp. xxx, 67.
^ Laybourne 1998, p. 176.
^ Laybourne 1998, pp. 354, 368.
^ Laybourne 1998, p. 241.
^ "Movie house: Mouse & Man". Time. 1937-12-27. ISSN 0040-781X. Retrieved 2019-09-eighteen .
^ Musker, John; Clements, Ron (2010). "Aladdin". 100 Animated Characteristic Films. doi:10.5040/9781838710514.0007. ISBN9781838710514.

Sources [edit]

Blair, Preston (1994). Drawing Blitheness. Laguana Hills, CA: Walter Foster Publishing. ISBN156-010084-ii.
Culhane, Shamus (1989). Blitheness from Script to Screen. New York: St. Martin's Griffin. ISBN031-205052-6.
LaMarre, Thomas (2009). The Anime Automobile. U of Minnesota Printing. ISBN978-0-8166-5154-2.
Laybourne, Kit (1998). The Animation Book : A Complete Guide to Animated Filmmaking—From Flip-Books to Audio Cartoons to 3-D Animation . New York: Three 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'south Survival Kit: A Transmission 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 Commons