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Animation technique in which frames are hand-fatigued

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

Traditional animation (or classical animation, cel blitheness, hand-drawn blitheness, 2d blitheness or but 2D) is an animation technique in which each frame is drawn by manus. The technique was the ascendant class of animation in movie house until the advent of computer blitheness.

Process [edit]

Writing and storyboarding [edit]

Blitheness production commonly begins later on a story is conceived. The oral or literary source material must and then be converted into an animation motion-picture show script, from which the storyboard is derived. The storyboard has an advent somewhat similar to comic book panels, and is a shot by shot breakdown of the staging, interim and any photographic camera moves that will be present in the flick. The images let the blitheness squad to plan the menses of the plot and the composition of the imagery. The storyboard artists will have regular meetings with the manager and may have to redraw or "re-board" a sequence many times before information technology meets final approving.

Voice recording [edit]

Earlier truthful blitheness begins, a preliminary soundtrack or scratch track is recorded, so that the animation may exist more precisely synchronized to the soundtrack. Given the irksome, methodical way in which traditional animation is produced, it is almost e'er easier to synchronize animation to a pre-existing soundtrack than it is to synchronize a soundtrack to pre-existing animation. A completed cartoon soundtrack volition feature music, sound effects, and dialogue performed by phonation actors. Even so, the scratch track used during blitheness typically contains only the voices, any vocal songs to which characters must sing-along, and temporary musical score tracks; the final score and audio effects are added during post-production.

In the case of Japanese anime, also as most pre-1930 sound blithe cartoons, the audio was postal service-synched; that is, the soundtrack was recorded afterwards the flick elements were finished by watching the film and performing the dialogue, music, and sound effects required. Some studios, most notably Fleischer Studios, connected to post-synch their cartoons through near of the 1930s, which allowed for the presence of the "muttered ad-libs" present in many Popeye the Sailor and Betty Boop cartoons.

Animatic [edit]

Normally, an animatic or story reel is created after the soundtrack is recorded, merely before full animation begins. 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 current storyboard. The storyboard and soundtrack are amended if necessary, and a new animatic may be created and reviewed with the manager until the storyboard is perfected. Editing the picture at the animatic stage prevents the animation of scenes that would exist edited out of the picture show; equally traditional animation is a very expensive and fourth dimension-consuming process, creating scenes that will eventually exist edited out of the completed cartoon is strictly avoided.

Pattern and timing [edit]

The storyboards are then sent to the pattern departments. Character designers set model sheets for any characters and props that announced in the film; and these are used to help standardize appearance, poses, and gestures. The model sheets will often include "turnarounds" which prove how a character or object looks in three-dimensions along with standardized special poses and expressions so that the artists working on the project tin accept a guide to refer to in order to deliver consequent work. Sometimes, small statues known every bit maquettes may exist produced, so that an animator can see what a character looks like in three dimensions. Around the same fourth dimension, the background stylists will do like piece of work for any settings and locations present in the storyboard, and the fine art directors and color stylists will determine the fine art style and color schemes to be used.

While the pattern is going on, the timing director (who in many cases will be the main director) takes the animatic and analyzes exactly what poses drawings, and lip movements will be needed on what frames. An exposure sheet (or Ten-canvass for brusk) is created; this is a printed table that breaks down the action, dialogue, and audio frame-past-frame every bit a guide for the animators. If a moving-picture show is based more strongly in music, a bar canvas may be prepared in add-on to or instead of an X-sheet.^[1] Bar sheets show the relationship between the on-screen activeness, the dialogue, and the actual musical notation used in the score.

Layout [edit]

Layout begins after the designs are completed and approved by the director. The layout procedure is the same as the blocking out of shots by a cinematographer on a live-action motion-picture show. It is here that the background layout artists decide the camera angles, photographic camera paths, lighting, and shading of the scene. Grapheme layout artists will decide the major poses for the characters in the scene and volition brand a drawing to indicate each pose. For curt films, character layouts are often the responsibility of the managing director.

The layout drawings and storyboards are then spliced, along with the audio and an animatic is formed (not to be confused with its predecessor, the leica reel). The term "animatic" was originally coined by Walt Disney Animation Studios.

Animation [edit]

Sketch of an blitheness peg bar, and measurements of three types, Height being the most mutual.

Once the animatic is finally approved by the director, animation begins.

In the traditional animation procedure, animators will begin by drawing sequences of animation on sheets of transparent newspaper perforated to fit the peg confined in their desks, oft using colored pencils, one picture or "frame" at a time.^[2] A peg bar is an animation tool used in traditional animation to go along the drawings in identify. The pins in the peg bar match the holes in the newspaper. It is attached to the animation desk or low-cal table, depending on which is being used. A key animator or pb animator will describe the cardinal drawings or primal frames in a scene, using the graphic symbol layouts equally a guide. The key animator draws plenty of the frames to go beyond the major poses within a character performance; in a sequence of a character jumping across a gap, the key animator may draw a frame of the graphic symbol as they are virtually to leap, 2 or more frames as the grapheme is flying through the air and the frame for the graphic symbol landing on the other side of the gap.

Timing is important for the animators drawing these frames; each frame must lucifer exactly what is going on in the soundtrack at the moment the frame will appear, or else the discrepancy between audio and visual will be distracting to the audience. For example, in loftier-upkeep productions, extensive effort is given in making sure a speaking character'due south rima oris matches in shape the sound that the character'south histrion is producing as they speak.

While working on a scene, a key animator volition ordinarily fix a pencil test of the scene. A pencil test is a much rougher version of the terminal animated scene (often devoid of many graphic symbol details and color); the pencil drawings are chop-chop 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 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 pb animator is ready to encounter with the director and have their scene sweatboxed, or reviewed by the director, producer, and other primal artistic team members. Like to the storyboarding stage, an animator may be required to redo a scene many times before the director volition approve it.

In loftier-upkeep animated productions, often each major grapheme will take an animator or grouping of animators solely dedicated to drawing that character. The group will be fabricated upward of 1 supervising animator, a small grouping of key animators, and a larger group of assistant animators. For scenes where 2 characters collaborate, the primal animators for both characters volition decide which character is "leading" the scene, and that grapheme will be drawn first. The 2nd character will be animated to react to and support the actions of the "leading" character.

In one case the fundamental animation is canonical, the lead animator frontward the scene on to the clean-up section, made upwards of the make clean-upwards animators and the inbetweeners. The clean-upward animators take the lead and assistant animators' drawings and trace them onto a new sheet of newspaper, making certain to include all of the details nowadays on the original model sheets, so that the flick maintains a cohesiveness and consistency in fine art style. The inbetweeners volition draw in whatsoever frames are still missing in-between the other animators' drawings. This procedure is chosen tweening. The resulting drawings are once again pencil-tested and sweatboxed until they run across approval.

At each phase during pencil blitheness, approved artwork is spliced into the Leica reel.^[3]

This procedure is the same for both grapheme animation and special effects blitheness, which on most high-budget productions are washed in divide departments. Effects animators breathing annihilation that moves and are not a character, 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 animated films; rain, for example, has been created in Disney animated films since the tardily 1930s by filming slow-motion footage of water in front end of a black background, with the resulting film superimposed over the animation.

Pencil examination [edit]

Later all the drawings are cleaned up, they are then photographed on an animation camera, usually on blackness and white film stock.^[4] Nowadays, pencil tests tin can be fabricated using a video photographic camera and figurer software.

Backgrounds [edit]

While the animation is beingness washed, the background artists will paint the sets over which the action of each animated sequence will have identify. These backgrounds are generally done in gouache or acrylic paint, although some blithe 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 usually compiled into a workbook for their use) so that the resulting backgrounds are harmonious in tone with the graphic symbol designs.

Traditional ink-and-paint and camera [edit]

Once the clean-ups and in-between drawings for a sequence are completed, they are prepared for photography, a process known as ink-and-pigment. Each cartoon is then transferred from paper to a sparse, clear sheet of plastic called a cel, a contraction of the material proper noun celluloid (the original combustible cellulose nitrate was afterwards 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 opposite sides of the cels to add colors in the appropriate shades. In many cases, characters will take more than ane color palette assigned to them; the usage of each one depends upon the mood and lighting of each scene. 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 character tin exist seen underneath the cel of some other; and the opaque background volition be seen beneath all of the cels.

When an entire sequence has been transferred to cels, the photography process begins. Each cel involved in a frame of a sequence is laid on summit of each other, with the background at the bottom of the stack. A slice of glass is lowered onto the artwork in gild to flatten whatsoever irregularities, and the composite image is then photographed by a special animation camera, also chosen rostrum photographic 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-scale holes along the summit or lesser border of the cel, which permit the cel to be placed on respective peg bars^[6] before the photographic camera to ensure that each cel aligns with the ane before it; if the cels are not aligned in such a manner, the blitheness, when played at full speed, volition announced "jittery." Sometimes, frames may need to be photographed more than once, in guild to implement superimpositions and other camera effects. Pans are created by either moving the cels or backgrounds 1 step at a time over a succession of frames (the camera does not pan; it only zooms in and out).

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

Dope sheets are created by the animators and used by the camera operator to transfer each blitheness drawing into the number of movie frames specified by the animators, whether information technology is 1 (1s, ones) 2 (2s, twos) or 3 (3s, threes).

As the scenes come out of final photography, they are spliced into the Leica reel, taking the place of the pencil animation. One time every sequence in the production has been photographed, the final film is sent for development and processing, while the last music and audio effects are added to the soundtrack. Again, editing in the traditional live-activeness sense is generally not washed in animation, but if information technology is required information technology is done at this time, before the last print of the motion-picture show is ready for duplication or broadcast.

Among the most mutual types of animation rostrum cameras was the Oxberry. Such cameras were ever made of black anodized aluminum, and unremarkably had 2 peg bars, 1 at the acme and ane at the bottom of the lightbox. The Oxberry Master Series had 4 peg bars, 2 above and 2 below, and sometimes used a "floating peg bar" likewise. The height of the column on which the camera was mounted determined 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 suspension down or set upwardly.

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

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

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 figurer or drawn direct onto a figurer monitor via graphics tablets (such equally Wacom Cintiq tablet), where they are colored and processed using one or more of a diversity of software packages. The resulting drawings are composited in the computer over their respective backgrounds, which have likewise been scanned into the computer (if not digitally painted), and the computer outputs the final film past either exporting a digital video file, using a video cassette recorder or printing to film using a loftier-resolution output device. Apply of computers allows for easier exchange of artwork between departments, studios, and even countries and continents (in most low-budget American animated productions, the bulk of the animation is really done by animators working in other countries, including South korea, Taiwan, Japan, China, Singapore, Mexico, India, and the Philippines). Every bit the cost of both inking and painting new cels for animated films and Tv set programs and the repeated usage of older cels for newer animated TV programs and films went upwards and the cost of doing the same thing digitally went downwards, eventually, the digital ink-and-paint process became the standard for future animated movies and Boob tube programs.

Hanna-Barbera was the first American animation studio to implement a calculator animation system for digital ink-and-pigment usage.^[8] Following a commitment to the technology in 1979, estimator 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 tertiary-party software in 1996.^{[8] [ix]} In addition to a cost savings compared to traditional cel painting of 5 to ane, the Hanna-Barbera system also allowed for multiplane camera effects evident in H-B productions such as A Pup Named Scooby-Doo (1988).^[x]

Digital ink and pigment has been in apply at Walt Disney Animation Studios since 1989, where it was used for the final rainbow shot in The Fiddling Mermaid. All subsequent Disney animated features were digitally inked-and-painted (starting with The Rescuers Down Under, which was also the outset major feature motion-picture show to entirely utilize digital ink and paint), using Disney'south proprietary CAPS (Computer Animation Product Organization) technology, developed primarily by Pixar Animation Studios. The CAPS system allowed the Disney artists to brand use of colored ink-line techniques mostly lost during the xerography era, as well as multiplane furnishings, composite shading, and easier integration with 3D CGI backgrounds (as in the ballroom sequence in the 1991 film Beauty and the Brute), props, and characters.^{[xi] [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 want to shift to the digital ink-and-paint process because they felt that the digitally colored blitheness would look as well synthetic and would lose the aesthetic entreatment of the non-computerized cel for their projects. Many blithe goggle box series were nevertheless blithe in other countries by using the traditionally inked-and-painted cel process as tardily equally 2004, though most of them switched over to the digital process at some point during their run. The last major feature film to use traditional ink and paint was Satoshi Kon's Millennium Extra (2001); the final major animation productions in the west to use the traditional process was Play a joke on's The Simpsons and Cartoon Network'south Ed, Edd n Boil, which switched to digital paint in 2002 and 2004 respectively,^[thirteen] while the concluding major blithe production overall to carelessness 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 serial adopted digital animation solely for its opening credits in 2009, just retained the employ of traditional cels for the main content of each episode.^[xiv] Minor productions, such as Pilus Loftier (2004) by Bill Plympton, have used traditional cels long after the introduction of digital techniques. Nigh studios today use i of a number of other high-end software packages, such every bit Toon Boom Harmony, Toonz (OpenToonz), Animo, and RETAS, or even consumer-level applications such equally Adobe Wink, Toon Nail Technologies and TV Paint.

Computers and digital video cameras [edit]

Computers and digital video cameras tin as well be 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 estimator is much more than effective than doing it past traditional methods.^[fifteen] Additionally, video cameras give the opportunity to come across a "preview" of the scenes and how they will look when finished, enabling the animators to correct and improve upon them without having to consummate them first. This can be considered a digital class of pencil testing.

Techniques [edit]

Cels [edit]

This paradigm shows how two transparent cels, each with a unlike character drawn on them, and an opaque background are photographed together to form the blended epitome.

The cel is an important innovation to traditional blitheness, as it allows some parts of each frame to be repeated from frame to frame, thus saving labor. A elementary 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, information technology can exist displayed in this scene using only 1 drawing, on one cel, while multiple drawings on multiple cels are used to breathing the speaking character.

For a more complex 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 drawn along with the character as the character places information technology on the table. Even so, afterwards the plate is on the table, the plate no longer moves, although the person continues to move as they describe their arm away from the plate. In this example, after the person puts the plate downwards, the plate tin then be drawn on a separate cel from them. Further frames characteristic new cels of the person, merely the plate does not have to be redrawn as it is non moving; the aforementioned cel of the plate can be used in each remaining frame that it is still upon the table. The cel paints were actually manufactured in shaded versions of each color to recoup for the actress layer of cel added between the image and the camera; in this instance, the still plate would be painted slightly brighter to compensate for being moved i layer down. In TV and other low-budget productions, cels were often "cycled" (i.east., a sequence of cels was repeated several times), and fifty-fifty archived and reused in other episodes. After the film was completed, the cels were either thrown out or, especially in the early days of animation, done clean and reused for the next film. In some cases, some of the cels were put into the "archive" to be used once again and once more for future purposes in lodge 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.

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

In very early cartoons fabricated before 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 sail 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 mountain, each 1 slightly different from the one preceding information technology. The pre-cel animation was later on improved by using techniques like the slash and tear system invented by Raoul Barre; the background and the animated objects were fatigued on separate papers.^[16] A frame was made by removing all the bare parts of the papers where the objects were drawn earlier being placed on summit of the backgrounds and finally photographed. The cel animation process was invented past Earl Hurd and John Bray in 1915.

Limited animation [edit]

In lower-upkeep 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 body of the person may be the aforementioned in every frame; only their head is redrawn, or possibly fifty-fifty their head stays the aforementioned while but their oral cavity moves. This is known as express animation. ^[17] The process was popularized in theatrical cartoons by United Productions of America and used in nearly telly animation, particularly that of Hanna-Barbera. The end event does not look very lifelike, just is cheap to produce, and therefore allows cartoons to be fabricated on small television budgets.

"Shooting on twos" [edit]

Moving characters are often shot "on twos", that is to say, ane drawing is shown for every two frames of flick (which ordinarily runs at 24 frames per 2d), pregnant there are only 12 drawings per 2d.^[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, information technology is usually necessary to revert to animating "on ones", as "twos" are too slow to convey the motion fairly. A alloy of the two techniques keeps the eye fooled without unnecessary production costs.

Academy Award-nominated animator Nib Plympton is noted for his manner of animation that uses very few in-betweens and sequences that are done on 3s or on 4s, property each drawing on the screen from ane/8 to 1/half dozen of a 2nd.^[19] While Plympton uses near-constant 3-frame holds, sometimes animation that simply averages viii drawings per second is also termed "on threes" and is usually washed to meet budget constraints, forth with other cost-cut measures similar property the same cartoon of a character for a prolonged time or panning over a still image,^[twenty] techniques often used in low-budget TV productions.^[21] It is also common in anime, where fluidity is sacrificed in lieu of a shift towards complication 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's employ the total range: from smooth blitheness "on ones" in selected shots (usually quick action accents) to mutual animation "on threes" for regular dialogue and tedious-paced shots.

Animation loops [edit]

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

Creating animation loops or blitheness cycles is a labor-saving technique for animating repetitive motions, such equally a character walking or a cakewalk blowing through the trees. In the case of walking, the character is animated taking a footstep with its right foot, so a step with its left foot. The loop is created so that, when the sequence repeats, the motion is seamless. All the same, considering an animation loop essentially uses the same bit of animation over and over once again, it is easily detected and can, in fact, go distracting to an audience. In general, they are used but sparingly past productions with moderate or loftier budgets.

Ryan Larkin's 1969 University Accolade-nominated National Film Lath of Canada brusque Walking makes artistic use of loops. In addition, a promotional music video from Cartoon Network'southward Groovies featuring the Soul Coughing song "Circles" poked fun at animation loops as they are often seen in The Flintstones, in which Fred and Barney (forth with various Hanna-Barbera characters that aired on Cartoon Network), supposedly walking in a house, wonder why they continue passing the same table and vase over and once again.

Multiplane process [edit]

The multiplane process is a technique primarily used to give a sense of depth or parallax to 2-dimensional animated films. To utilize this technique in traditional blitheness, the artwork is painted or placed onto split 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 guild in which the planes are placed, and the distance between them, is determined by what chemical element of the scene is on the plane as well equally the entire scene'southward intended depth.^[23] A photographic camera, mounted above or in front end of the planes, moves its focus toward or abroad from the planes during the capture of the individual animation frames. In some devices, the individual planes tin exist moved toward or away from the photographic camera. This gives the viewer the impression that they are moving through the divide layers of art every bit though in a three-dimensional space.

History [edit]

Predecessors of this technique and the equipment used to implement it began appearing in the late 19th century. Painted glass panes were ofttimes used in matte shots and glass shots,^[24] equally seen in the work of Norman Dawn.^[25] In 1923, Lotte Reiniger and her animation team constructed one of the offset multiplane animation structures, a device called a Tricktisch. Its pinnacle-down, vertical design allowed for overhead adjusting of private, stationary planes. The Tricktisch was used in the filming of The Adventures of Prince Achmed, one of Reiniger's most well-known works.^[26] Futurity multiplane animation devices would more often than not use the same vertical design as Reiniger's device. One notable exception to this trend was the Setback Camera, adult and used past Fleischer Studios. This device used miniature three-dimensional models of sets, with animated cels placed at various positions within the set. This placement gave the appearance of objects moving in front of and behind the animated characters, and was often referred to equally the Tabletop Method.^[27]

The most famous device used for multiplane animation was the multiplane camera. This device, originally designed by onetime Walt Disney Studios animator/director Ub Iwerks, is a vertical, top-down camera crane that shot scenes painted on multiple, individually adaptable glass planes.^[22] The movable planes allowed for changeable depth within individual animated scenes.^[22] In later years Disney Studios would adopt this engineering science for their own uses. Designed in 1937 by William Garity, the multiplane camera used for the film Snow White and the Seven Dwarfs utilized artwork painted on upwards to seven carve up, movable planes, as well as a vertical, height-down photographic camera.^[28]

The final animated picture by Disney that featured the utilize of their multiplane camera was The Little Mermaid, though the piece of work was outsourced as Disney'due south equipment was inoperative at the time.^[29] Usage of the multiplane camera or similar devices declined due to production costs and the rise of digital animation. Beginning largely with the use of CAPS, digital multiplane cameras would assist streamline the procedure of adding layers and depth to animated scenes.

Impact [edit]

The spread and development of multiplane blitheness helped animators tackle problems with move 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, every bit well as what multiplane animation could do to solve information technology. 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 existent-life experience, the moon would not increase in size equally a viewer approached a farmhouse. Multiplane blitheness solved this trouble by separating the moon, farmhouse, and farmland into separate planes, with the moon being uttermost away from the photographic camera. To create the zoom outcome, the first ii planes were moved closer to the camera during filming, while the airplane with the moon remained at its original distance.^[30] This provided a depth and fullness to the scene that was closer in resemblance to real life, which was a prominent goal for many blitheness studios at the time.

Xerography [edit]

Applied to animation past Ub Iwerks at the Walt Disney studio during the late 1950s, the electrostatic copying technique chosen xerography allowed the drawings to be copied directly onto the cels, eliminating much of the "inking" portion of the ink-and-paint process.^[31] This saved fourth dimension and coin, and it also made it possible to put in more than details and to command the size of the xeroxed objects and characters (this replaced the little known, and seldom used, photographic lines technique at Disney, used to reduce the size of animation when needed). At showtime, it resulted in a more sketchy look, but the technique was improved upon over time.

Disney animator and engineer Bill Justice had patented a precursor of the Xerox process in 1944, where drawings made with a special pencil would be transferred to a cel by pressure, and and then fixing it. Information technology is not known if the process was ever used in animation.^[32]

The xerographic method was first tested past Disney in a few scenes of Sleeping Dazzler and was first fully used in the curt picture show Goliath 2, while the showtime characteristic entirely using this procedure was One Hundred and One Dalmatians (1961). The graphic style of this motion picture was strongly influenced by the process. Some mitt inking was still used together with xerography in this and subsequent films when singled-out colored lines were needed. Later, colored toners became bachelor, and several singled-out line colors could be used, even simultaneously. For instance, in The Rescuers the characters' outlines are gray. White and bluish toners were used for special effects, such as snow and water.

The APT process [edit]

Invented past Dave Spencer for the 1985 Disney film The Blackness Cauldron, the APT (Blitheness Photo 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" picture, 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 fragile details were still inked by hand if needed. Spencer received an Academy Accolade for Technical Achievement for developing this process.

Cel overlay [edit]

A cel overlay is a cel with inanimate objects used to give the impression of a foreground when laid on elevation of a fix frame.^[33] This creates the illusion of depth, only not every bit much equally a multiplane camera would. A special version of cel overlay is called line overlay, fabricated to complete the background instead of making the foreground, and was invented to deal with the sketchy advent of xeroxed drawings. The background was kickoff painted every bit shapes and figures in flat colors, containing rather few details. Next, a cel with detailed black lines was laid directly over information technology, each line is fatigued to add more information to the underlying shape or effigy and give the background the complexity it needed. In this way, the visual style of the groundwork will match that of the xeroxed character cels. As the xerographic process evolved, line overlay was left backside.

Computers and traditional animation [edit]

The methods mentioned in a higher place draw the techniques of an blitheness process that originally depended on cels in its final stages, merely painted cels are rare today as the figurer moves into the blitheness studio, and the outline drawings are usually scanned into the computer and filled with digital pigment instead of being transferred to cels and then colored by mitt.^[34] The drawings are composited in a reckoner program on many transparent "layers" much the aforementioned way as they are with cels,^[35] and made into a sequence of images which may then be transferred onto motion picture or converted to a digital video format.^[36]

Information technology is now also possible for animators to describe directly into a computer using a graphics tablet such as a Cintiq or a like device, where the outline drawings are washed in a like manner as they would be on newspaper. The Goofy short How To Hook Upward Your Abode Theater (2007) represented Disney's first projection based on the paperless applied science bachelor today. Some of the advantages are the possibility and potential of controlling the size of the drawings while working on them, cartoon directly on a multiplane background and eliminating the need for photographing line tests and scanning.

Though traditional animation is now commonly washed with computers, it is important to differentiate computer-assisted traditional blitheness from 3D computer animation, such as Toy Story and Ice Age. Nevertheless, often traditional animation and 3D calculator animation will be used together, as in Don Bluth's Titan A.Due east. and Disney's Tarzan and Treasure Planet. Most anime and many western animated series still employ traditional blitheness today. DreamWorks executive Jeffrey Katzenberg coined the term "tradigital blitheness" to draw animated films produced past his studio which incorporated elements of traditional and computer blitheness equally, such as Spirit: Stallion of the Cimarron and Sinbad: Legend of the Vii Seas.

Many video games such equally Viewtiful Joe, The Legend of Zelda: The Wind Waker and others utilise "cel-shading" blitheness filters or lighting systems to make their total 3D animation appear every bit though it were drawn in a traditional cel-style. This technique was likewise used in the blithe movie Appleseed, and cel-shaded 3D blitheness is typically integrated with cel animation in Disney films and in many television shows, such as the Fox animated series Futurama. In ane scene of the 2007 Pixar moving-picture show 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 as well considered an instance of cel-shading in an blithe feature. More recently, blithe shorts such equally Paperman, Feast, and The Dam Keeper have used a more distinctive style of cel-shaded 3D animation, capturing a look and feel similar to a 'moving painting'.

Rotoscoping [edit]

Rotoscoping is a method of traditional blitheness invented by Max Fleischer in 1915, in which animation is "traced" over actual moving picture footage of actors and scenery.^[37] Traditionally, the live-action will be printed out frame past frame and registered. Some other piece of paper is then placed over the live-activity printouts and the action is traced frame by frame using a lightbox. The end consequence still looks mitt-fatigued but the motion volition 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'southward vocal "Take On Me" and Kanye Due west'southward "Heartless". In well-nigh cases, rotoscoping is mainly used to help the animation of realistically rendered human beings, as in Snowfall White and the Seven Dwarfs, Peter Pan, and Sleeping Beauty.

A method related to conventional rotoscoping was later invented for the animation of solid inanimate objects, such as cars, boats, or doors. A small-scale alive-action 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 camera, or a combination of both, in real-time or using stop-movement animation. The film frames were then printed on paper, showing a model fabricated up of the painted black lines. After the artists had added details to the object not present in the live-action photography of the model, it was xeroxed onto cels. A notable instance is Cruella de Vil'south car in Disney's One Hundred and I Dalmatians. The process of transferring 3D objects to cels was profoundly improved in the 1980s when computer graphics advanced enough to allow the cosmos of 3D computer-generated objects that could be manipulated in whatsoever way the animators wanted, and and then 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 Little Mermaid (1989). This process has more than or less been superseded past the employ of cel-shading.

Related to rotoscoping are the methods of vectorizing live-action footage, in social club to achieve a very graphical wait, like in Richard Linklater's film A Scanner Darkly.

Alive-action hybrids [edit]

Similar to the reckoner animation and traditional animation hybrids described higher up, occasionally a production will combine both live-action and animated footage. The live-action parts of these productions are ordinarily filmed first, the actors pretending that they are interacting with the blithe characters, props, or scenery; blitheness volition then exist added into the footage later to make it appear as if it has ever been there. Like rotoscoping, this method is rarely used, just when it is, it tin 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-action and animation were subsequently combined in features such as Mary Poppins (1964), Who Framed Roger Rabbit (1988), Space Jam (1996), and Enchanted (2007), among many others. The technique has also seen meaning employ in television commercials, especially for breakfast cereals marketed to children to interest them and boost sales.

Special effects animation [edit]

As well traditionally blithe characters, objects, and backgrounds, many other techniques are used to create special elements such as fume, lightning and "magic", and to give the animation, in general, a distinct visual appearance. Today special effects are generally washed with computers, but earlier they had to be done by manus. To produce these effects, the animators used different techniques, such as 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.

Run into also [edit]

• History of blitheness
• Animated cartoon
• Computer generated imagery
• Stop motion
• Paint-on-drinking glass animation
• Condom hose animation
• List of animated feature-length films
• List of animated brusk series
• List of animated boob tube series
• List of animation studios

References [edit]

Citations [edit]

1. ^ Laybourne 1998, pp. 202–203.
2. ^ Laybourne 1998, p. xv.
3. ^ Laybourne 1998, pp. 105–107.
4. ^ Laybourne 1998, p. 339.
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 blitheness : bridging the gap betwixt 2D and CG. Boston, MA: Thomson Course Technology. ISBN978-1-59863-260-6. OCLC 228168598.
9. ^ "1976 Charles Goodwin Sands Memorial Medal". graphics.stanford.edu . Retrieved 2020-08-twenty .
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). "Part vii: Motion picture Retrospective". Figurer Graphics World. 25 (7). Dec 1991 Although 3D graphics debuted in earlier Disney animations, Beauty and the Creature is the first in which paw-fatigued characters appear in a 3D groundwork. Every frame of the flick is scanned, created, or composited within Disney'due south computer animation production system (CAPS) co-developed with Pixar. (Premiere: (11/91)
12. ^ "Timeline". Estimator Graphics World. 35 (6). Oct–Nov 2012. Dec 1991: Beauty and the Beast is the get-go Disney picture with mitt-fatigued characters in a 3D background. Every frame is scanned, created, or composited within CAPS.
13. ^ "momotato.com - momotato Resource and Information". Retrieved ane January 2017.
14. ^ Sazae-san is Final TV Anime Using Cels, Not Computers—Anime News Network
15. ^ Laybourne 1998, p. 241.
16. ^ Thomas & Johnston 1995, p. thirty.
17. ^ Culhane 1989, p. 212.
18. ^ Laybourne 1998, p. 180.
19. ^ Segall, Marker (1996). "Plympton'south Metamorphoses". Animation World Mag.
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-Aeroplane Animation Nuts | End 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, K. (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 (iii): 439–440. doi:10.1353/mon.0.0033. ISSN 0026-9271. S2CID 142450235.
27. ^ Sobchack, Vivian Carol (2000). Meta Morphing: Visual Transformation and the Civilization of Quick-change. U of Minnesota Printing. ISBN9780816633197.
28. ^ "Movie house: Mouse & Homo". Time. 1937-12-27. ISSN 0040-781X. Retrieved 2019-09-eighteen .
29. ^ Musker, John; Clements, Ron (2010). "Aladdin". 100 Blithe Feature Films. doi:10.5040/9781838710514.0007. ISBN9781838710514.
30. ^ ScreenPrism (23 November 2015). "How did the multiplane camera invented for "Snow White and the 7 Dwarfs" redefine animation | ScreenPrism". screenprism.com . Retrieved 2019-09-18 .
31. ^ Laybourne 1998, p. 213.
32. ^ "A. Flick L.A.: Overnice Try, Bill..." Retrieved 1 January 2017.
33. ^ Laybourne 1998, p. 168.
34. ^ Laybourne 1998, pp. thirty, 67.
35. ^ Laybourne 1998, p. 176.
36. ^ Laybourne 1998, pp. 354, 368.
37. ^ Laybourne 1998, p. 172.

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. ISBN031-205052-6.
• LaMarre, Thomas (2009). The Anime Machine. 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 Sound Cartoons to iii-D Blitheness . New York: Three Rivers Press. ISBN051-788602-ii.
• 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 Manual of Methods, Principles, and Formulas for Classical, Computer, Games, Stop Motion, and Net Animators. London: Faber & Faber. ISBN057-120228-four.

External links [edit]

• Media related to Traditional animation at Wikimedia Commons

dentonbeirds.blogspot.com

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

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