1.animation
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This document provides an overview of animation techniques including traditional animation, stop motion, and computer animation. It defines animation as the rapid display of images to create an illusion of movement. Traditional animation involves drawing frames by hand and photographing drawn cels. Stop motion uses physical manipulation of objects frame by frame. Computer animation uses software to generate animated sequences by changing object positions, sizes, colors or other parameters over time. Key frames define positions and in-betweens generate intermediate frames.
1.animation
- 1. MULTIMEDIA ASSIGNMENT Submitted By- SHIVAM RASTOGI Roll No. 14 (CSE) B.Tech 5th Sem.
- 3. Animation Animation is the rapid display of a sequence of images of 2-D or 3-D artwork or model positions in order to create an illusion of movement. It is an optical illusion of motion due to the phenomenon of persistence of vision, and can be created and demonstrated in a number of ways. The most common method of presenting animation is as a motion picture or video program, although several other forms of presenting animation also exist
- 4. What are Animation Techniques?
- 5. 1. Traditional animation 2. Stop motion 3. Computer animation
- 7. Traditional Animation Traditional animation (also called cel animation or hand-drawn animation) was the process used for most animated films of the 20th century. The individual frames of a traditionally animated film are photographs of drawings, which are first drawn on paper. To create the illusion of movement, each drawing differs slightly from the one before it. The animators' drawings are traced or photocopied onto transparent acetate sheets called “cels”, which are filled in with paints in assigned colors or tones on the side opposite the line drawings. The completed character cels are photographed one-by-one onto motion picture film against a painted background by a rostrum camera.
- 8. The traditional cel animation process became obsolete by the beginning of the 21st century. Today, animators' drawings and the backgrounds are either scanned into or drawn directly into a computer system. Various software programs are used to color the drawings and simulate camera movement and effects. The final animated piece is output to one of several delivery media, including traditional 35 mm film and newer media such as digital video. The "look" of traditional cel animation is still preserved, and the character animators' work has remained essentially the same over the past 70 years.
- 9. Full animation refers to the process of producing high- quality traditionally animated films, which regularly use detailed drawings and plausible movement. Fully animated films can be done in a variety of styles, from more realistically animated works such as those produced by the Walt Disney studio (Beauty and the Beast, Aladdin, Lion King) to the more "cartoony" styles of those produced by the Warner Bros. animation studio (Iron Giant, Quest for Camelot, Cats Don't Dance). Many of the Disney animated features are examples of full animation, as are non-Disney works such as The Secret of NIMH (US, 1982) and The Iron Giant (US, 1999), Nocturna (Spain, 2007)
- 10. Limited animation involves the use of less detailed and/or more stylized drawings and methods of movement. Pioneered by the artists at the American studio United Productions of America, limited animation can be used as a method of stylized artistic expression, as in Gerald McBoing Boing (US, 1951), Yellow Submarine (UK, 1968), and much of the anime produced in Japan. Its primary use, however, has been in producing cost-effective animated content for media such as television (the work of Hanna-Barbera, Filmation, and other TV animation studios) and later the Internet (web cartoons). Some examples are; Spongebob Squarepants (USA, 1999–present), The Fairly OddParents (USA, 2001–present) and Invader Zim (USA, 2001–2006).
- 11. Rotoscoping is a technique, patented by Max Fleischer in 1917, where animators trace live- action movement, frame by frame. The source film can be directly copied from actors' outlines into animated drawings, as in The Lord of the Rings (US, 1978), used as a basis and inspiration for character animation, as in most Disney films, or used in a stylized and expressive manner, as in Waking Life (US, 2001) and A Scanner Darkly (US, 2006). Some other examples are: Fire and Ice (USA, 1983) and Heavy Metal (1981).
- 12. Live-action/animation is a technique, when combining hand-drawn characters into live action shots. One of the earlier uses of it was Koko the Clown when Koko was drawn over live action footage. Other examples would include Who Framed Roger Rabbit? (USA, 1988), Space Jam (USA, 1996) and Osmosis Jones (USA, 2002).
- 13. STOP MOTION
- 14. Stop Motion Stop-motion animation is used to describe animation created by physically manipulating real-world objects and photographing them one frame of film at a time to create the illusion of movement. There are many different types of stop-motion animation, usually named after the type of media used to create the animation. Computer software is widely available to create this type of animation. Puppet animation typically involves stop-motion puppet figures interacting with each other in a constructed environment, in contrast to the real-world interaction in model animation. The puppets generally
- 15. have an armature inside of them to keep them still and steady as well as constraining them to move at particular joints. Examples include The Tale of the Fox (France, 1937), Nightmare Before Christmas (US, 1993), Corpse Bride (US, 2005), Coraline (US, 2009), the films of Jiří Trnka and the TV series Robot Chicken (US, 2005– present). Puppetoon, created using techniques developed by George Pal, are puppet-animated films which typically use a different version of a puppet for different frames, rather than simply manipulating one existing puppet.
- 16. Clay animation, or Plasticine animation often abbreviated as claymation, uses figures made of clay or a similar malleable material to create stop-motion animation. The figures may have an armature or wire frame inside of them, similar to the related puppet animation (below), that can be manipulated in order to pose the figures. Alternatively, the figures may be made entirely of clay, such as in the films of Bruce Bickford, where clay creatures morph into a variety of different shapes. Examples of clay-animated works include The Gumby Show (US, 1957–1967) Morph shorts (UK, 1977–2000), Wallace and Gromit shorts (UK, as of 1989), Jan Švankmajer's Dimensions of Dialogue (Czechoslovakia, 1982), The Trap Door (UK, 1984). Films include Wallace and Gromit: Curse of the Were-Rabbit, Chicken Run and The Adventures of Mark Twain
- 18. Computer Animation Some typical applications of computer-generated animation are entertainment (motion pictures and cartoons),advertising,scientific and engineering studies,and training and education.although we tend to think of animation as implying object motions,the term “computer animation” generally refers to any time sequence of visual changes in a scene. In addition to changing object position with translations or rotations,a computer-generated animation could display time variations in object size,color,transparency, or surface texture.Advertising
- 19. animations often transition one object shape into another,for example, transforming a can of motor oil into an automobile engine.Computer animations can also be generated by changing camera parameters, such as, position, orientation, and focal length and we can produce computer animations by changing lighting effects or other parameters
- 20. In general,an animation sequence is designed with the following steps: 1. Storyboard layout. 2. Object definitions. 3. Key-frame specifications. 4. Generation of in-between frames. The “storyboard” is an outline of the action.It defines the motion sequence as a set of basic events that are to take place.Depending on the type of animation to be produced,the storyboard could consist of a set of rough sketches or it could be a list of the basic ideas for the motion.
- 21. An “object definition” is given for each participant in the action.Objects can be defined in terms of basic shapes,such as polygons or splines.In addition,the associated movements for each object are specified along with the shape. A “key-frame” is a detailed drawing of the scene at a certain time in the animation sequence.Within each key-frame,each object is positioned according to the time for that frame.Some key frames are chosen at
- 22. extreme positions in the action; others are spaced so that time interval between key frames is not too great. More key frames are specified for intricate motions than for simple, slowly varying motions. “In-betweens” are the intermediate frames between the key frames.The number of in-betweens needed is determined by the media to be used to display the animation.Film requires 24 frames per second, and graphic terminals are refreshed at the rate of 30 to 60 frames per second. Typically, the time intervals for the motion are set up so that there are from three to five
- 23. in-betweens for each pair of key frames.Depending on the speed specified for the motion, some key frames can be duplicated. For a 1-minute film sequence with no duplication, we would need 1440 frames.With five in-betweens for each pair of key frames,we would need 288 key frames.If the motion is not too complicated,we could space the key frames a little farther apart.
- 24. THANK YOU……