The 12 Basic Principles of Animation from the "Illusion of Life" by Frank Thomas & Ollie Johnston
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Animation: Types
Animation: Animation is a dynamic medium in which images or objects are manipulated to appear as moving images. In traditional animation, images are drawn or painted by hand on transparent celluloid sheets to be photographed and exhibited on film. Today most animations are made with computer generated (CGI). Commonly the effect of animation is achieved by a rapid succession of sequential images that minimally differ from each other. Apart from short films, feature films, animated gifs and other media dedicated to the display moving images, animation is also heavily used for video games, motion graphics and special effects. The history of animation started long before the development of cinematography. Humans have probably attempted to depict motion as far back as the Paleolithic period. Shadow play and the magic lantern offered popular shows with moving images as the result of manipulation by hand and/or some minor mechanics Computer animation has become popular since toy story (1995), the first feature-length animated film completely made using this technique. Types: 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, 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 against a painted background by rostrum camera onto motion picture film. -
Computerising 2D Animation and the Cleanup Power of Snakes
Computerising 2D Animation and the Cleanup Power of Snakes. Fionnuala Johnson Submitted for the degree of Master of Science University of Glasgow, The Department of Computing Science. January 1998 ProQuest Number: 13818622 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818622 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 GLASGOW UNIVERSITY LIBRARY U3 ^coji^ \ Abstract Traditional 2D animation remains largely a hand drawn process. Computer-assisted animation systems do exists. Unfortunately the overheads these systems incur have prevented them from being introduced into the traditional studio. One such prob lem area involves the transferral of the animator’s line drawings into the computer system. The systems, which are presently available, require the images to be over- cleaned prior to scanning. The resulting raster images are of unacceptable quality. Therefore the question this thesis examines is; given a sketchy raster image is it possible to extract a cleaned-up vector image? Current solutions fail to extract the true line from the sketch because they possess no knowledge of the problem area. -
The University of Chicago Looking at Cartoons
THE UNIVERSITY OF CHICAGO LOOKING AT CARTOONS: THE ART, LABOR, AND TECHNOLOGY OF AMERICAN CEL ANIMATION A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY HANNAH MAITLAND FRANK CHICAGO, ILLINOIS AUGUST 2016 FOR MY FAMILY IN MEMORY OF MY FATHER Apparently he had examined them patiently picture by picture and imagined that they would be screened in the same way, failing at that time to grasp the principle of the cinematograph. —Flann O’Brien CONTENTS LIST OF FIGURES...............................................................................................................................v ABSTRACT.......................................................................................................................................vii ACKNOWLEDGMENTS....................................................................................................................viii INTRODUCTION LOOKING AT LABOR......................................................................................1 CHAPTER 1 ANIMATION AND MONTAGE; or, Photographic Records of Documents...................................................22 CHAPTER 2 A VIEW OF THE WORLD Toward a Photographic Theory of Cel Animation ...................................72 CHAPTER 3 PARS PRO TOTO Character Animation and the Work of the Anonymous Artist................121 CHAPTER 4 THE MULTIPLICATION OF TRACES Xerographic Reproduction and One Hundred and One Dalmatians.......174 -
Re-Imagining Animation the Changing Face of The
RiA cover UK AW.qxd 6/3/08 10:40 AM Page 1 – – – – – – Chapter 05 Chapter 04 Chapter 03 Chapter 02 Chapter 01 The disciplinary shift Approaches and outlooks The bigger picture Paul Wells / Johnny Hardstaff Paul Wells Re-imagining Animation RE-IMAGINING RE-IMAGINING ANIMATION ANIMATION – The Changing Face of the Moving Image The Changing Face Professor Paul Wells is Director of the Re-imagining Animation is a vivid, insightful Re-imagining Animation Other titles of interest in AVA's Animation Academy at Loughborough and challenging interrogation of the animated addresses animation’s role at the heart THE CHANGING THEAcademia CHANG range include: University, UK, and has published widely film as it becomes central to moving image of moving-image practice through an in the field of animation, including practices in the contemporary era. engagement with a range of moving-image Visible Signs: The Fundamentals of Animation and Animation was once works – looking at the context in which FACE OF THE FACEAn introduction OF to semiotics THE Basics Animation: Scriptwriting. constructed frame-by-frame, one image they were produced; the approach to their following another in the process of preparation and construction; the process of Visual Research: Johnny Hardstaff is an internationally constructing imagined phases of motion, their making; the critical agenda related to MOVING IMAGE MOVINGAn introduction to research IM established, award-winning designer, film- but now the creation and manipulation the research; developmental and applied methodologies in graphic design maker and artist. He is the creator of The of the moving image has changed. aspects of the work; the moving-image History of Gaming and The Future of With the digital revolution outcomes; and the status of the work within Visual Communication: Gaming, and innovative popular music videos, invading every creative enterprise and form contemporary art and design practices. -
The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator. -
Pose Controlled Physically-Based Motion
Volume xx (200y), Number z, pp. 1–11 Pose Controlled Physically-Based Motion Raanan Fattal† Dani Lischinski‡ School of Computer Science and Engineering The Hebrew University of Jerusalem Abstract In this paper we describe a new method for generating and controlling physically-realistic motion of complex articulated characters. Our goal is to create motion from scratch, where the animator provides a small amount of input and gets in return a highly detailed and physically plausible motion. Our method relieves the animator from the burden of enforcing physical plausibility, but at the same time provides full control over the internal DOFs of the articulated character via a familiar interface. Control over the global DOFs is also provided by supporting kinematic constraints. Unconstrained portions of the motion are generated in real time, since the character is driven by joint torques generated by simple feedback controllers. Although kinematic constraints are satisfied using an iterative search (shooting), this process is typically inexpensive, since it only adjusts a few DOFs at a few time instances. The low expense of the optimization, combined with the ability to generate unconstrained motions in real time yields an efficient and practical tool, which is particularly attractive for high inertia motions with a relatively small number of kinematic constraints. Categories and Subject Descriptors (according to ACM CCS): I.3.7 [Computer Graphics]: Three-Dimensional Graphics and RealismAnimation 1. Introduction Generating and controlling physically realistic motion of complex articulated characters is a longstanding grand chal- lenge in computer graphics. In today’s animation houses such characters are typically animated by keyframing, which gives animators complete control over each degree of free- dom at any point in time. -
Learn from the Bests to Be the Best Dd
DD School of Arts World- Class Education on new media art in Bangladesh www.dreamerdonkey.com LEARN FROM THE BESTS TO BE THE BEST DD School of Arts World-class education on new media art in Bangladesh DD oers exclusive training on new media art to prepare you for the fast growing media industry. The philosophy of DD School of arts is centered on close friendly interaction between teacher and students and one-to-one mentoring. We also believe in Instruc- tion with personalized care, a process that motivates students to discover their own personal objectiv and to develop and polish their own individual artistic expressions. We encourage students to be self-motivated, passionate, and deeply committed to their work. We believe in providing a sort of training to our students, which has problem based learning and that is totally industry oriented. Our students have direct access to the industry to do professional projects with the best professionals from here and abroad. Our door is open to the world. Join DD School of Arts and Learn from the best to be the best Our courses: 2D Animation 3D Animation Motion Graphics Course Duration: The course length will be 6 months with two classes in each week and 4 hours in each class. Objectives: To get a clear concept on animation mechanics and principles. Devolving high-level skill on 2D classical animation/ 3D character animation/ motion graphics. Preparing student to successfully taking over relevant animation project from script to screen Developing creative skill through dedicated course. Developing communication and leadership skill. -
Teachers Guide
Teachers Guide Exhibit partially funded by: and 2006 Cartoon Network. All rights reserved. TEACHERS GUIDE TABLE OF CONTENTS PAGE HOW TO USE THIS GUIDE 3 EXHIBIT OVERVIEW 4 CORRELATION TO EDUCATIONAL STANDARDS 9 EDUCATIONAL STANDARDS CHARTS 11 EXHIBIT EDUCATIONAL OBJECTIVES 13 BACKGROUND INFORMATION FOR TEACHERS 15 FREQUENTLY ASKED QUESTIONS 23 CLASSROOM ACTIVITIES • BUILD YOUR OWN ZOETROPE 26 • PLAN OF ACTION 33 • SEEING SPOTS 36 • FOOLING THE BRAIN 43 ACTIVE LEARNING LOG • WITH ANSWERS 51 • WITHOUT ANSWERS 55 GLOSSARY 58 BIBLIOGRAPHY 59 This guide was developed at OMSI in conjunction with Animation, an OMSI exhibit. 2006 Oregon Museum of Science and Industry Animation was developed by the Oregon Museum of Science and Industry in collaboration with Cartoon Network and partially funded by The Paul G. Allen Family Foundation. and 2006 Cartoon Network. All rights reserved. Animation Teachers Guide 2 © OMSI 2006 HOW TO USE THIS TEACHER’S GUIDE The Teacher’s Guide to Animation has been written for teachers bringing students to see the Animation exhibit. These materials have been developed as a resource for the educator to use in the classroom before and after the museum visit, and to enhance the visit itself. There is background information, several classroom activities, and the Active Learning Log – an open-ended worksheet students can fill out while exploring the exhibit. Animation web site: The exhibit website, www.omsi.edu/visit/featured/animationsite/index.cfm, features the Animation Teacher’s Guide, online activities, and additional resources. Animation Teachers Guide 3 © OMSI 2006 EXHIBIT OVERVIEW Animation is a 6,000 square-foot, highly interactive traveling exhibition that brings together art, math, science and technology by exploring the exciting world of animation. -
The Illusion of Life: Disney Animation Interactive Edition
The Illusion of Life: Disney Animation Interactive Edition By Michelle L. Walsh Submitted to the Faculty of the Information Technology Program in Partial Fulfillment of the Requirements for the Degree of Bachelor of Science in Information Technology University of Cincinnati College of Applied Science June 2006 The Illusion of Life: Disney Animation Interactive Edition by Michelle L. Walsh Submitted to the Faculty of the Information Technology Program in Partial Fulfillment of the Requirements for the Degree of Bachelor of Science in Information Technology © Copyright 2006 Michelle Walsh The author grants to the Information Technology Program permission to reproduce and distribute copies of this document in whole or in part. ___________________________________________________ __________________ Michelle L. Walsh Date ___________________________________________________ __________________ Sam Geonetta, Faculty Advisor Date ___________________________________________________ __________________ Patrick C. Kumpf, Ed.D. Interim Department Head Date Acknowledgements A great many people helped me with support and guidance over the course of this project. I would like to give special thanks to Sam Geonetta and Russ McMahon for working with me to complete this project via distance learning due to an unexpected job transfer at the beginning of my final year before completing my Bachelor’s degree. Additionally, the encouragement of my family, friends and coworkers was instrumental in keeping my motivation levels high. Specific thanks to my uncle, Keith -
KPMG FICCI 2013, 2014 and 2015 – TV 16
#shootingforthestars FICCI-KPMG Indian Media and Entertainment Industry Report 2015 kpmg.com/in ficci-frames.com We would like to thank all those who have contributed and shared their valuable domain insights in helping us put this report together. Images Courtesy: 9X Media Pvt.Ltd. Phoebus Media Accel Animation Studios Prime Focus Ltd. Adlabs Imagica Redchillies VFX Anibrain Reliance Mediaworks Ltd. Baweja Movies Shemaroo Bhasinsoft Shobiz Experential Communications Pvt.Ltd. Disney India Showcraft Productions DQ Limited Star India Pvt. Ltd. Eros International Plc. Teamwork-Arts Fox Star Studios Technicolour India Graphiti Multimedia Pvt.Ltd. Turner International India Ltd. Greengold Animation Pvt.Ltd UTV Motion Pictures KidZania Viacom 18 Media Pvt.Ltd. Madmax Wonderla Holidays Maya Digital Studios Yash Raj Films Multiscreen Media Pvt.Ltd. Zee Entertainmnet Enterprises Ltd. National Film Development Corporation of India with KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. entity. (“KPMG International”), a Swiss with KPMG International Cooperative © 2015 KPMG, an Indian Registered Partnership and a member firm of the KPMG network of independent member firms affiliated and a member firm of the KPMG network of independent member firms Partnership KPMG, an Indian Registered © 2015 #shootingforthestars FICCI-KPMG Indian Media and Entertainment Industry Report 2015 with KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. entity. (“KPMG International”), a Swiss with KPMG International Cooperative © 2015 KPMG, an Indian Registered Partnership and a member firm of the KPMG network of independent member firms affiliated and a member firm of the KPMG network of independent member firms Partnership KPMG, an Indian Registered © 2015 #shootingforthestars: FICCI-KPMG Indian Media and Entertainment Industry Report 2015 Foreword Making India the global entertainment superpower 2014 has been a turning point for the media and entertainment industry in India in many ways. -
2D Animation Software You’Ll Ever Need
The 5 Types of Animation – A Beginner’s Guide What Is This Guide About? The purpose of this guide is to, well, guide you through the intricacies of becoming an animator. This guide is not about leaning how to animate, but only to breakdown the five different types (or genres) of animation available to you, and what you’ll need to start animating. Best software, best schools, and more. Styles covered: 1. Traditional animation 2. 2D Vector based animation 3. 3D computer animation 4. Motion graphics 5. Stop motion I hope that reading this will push you to take the first step in pursuing your dream of making animation. No more excuses. All you need to know is right here. Traditional Animator (2D, Cel, Hand Drawn) Traditional animation, sometimes referred to as cel animation, is one of the older forms of animation, in it the animator draws every frame to create the animation sequence. Just like they used to do in the old days of Disney. If you’ve ever had one of those flip-books when you were a kid, you’ll know what I mean. Sequential drawings screened quickly one after another create the illusion of movement. “There’s always room out there for the hand-drawn image. I personally like the imperfection of hand drawing as opposed to the slick look of computer animation.”Matt Groening About Traditional Animation In traditional animation, animators will draw images on a transparent piece of paper fitted on a peg using a colored pencil, one frame at the time. Animators will usually do test animations with very rough characters to see how many frames they would need to draw for the action to be properly perceived. -
High-Performance Play: the Making of Machinima
High-Performance Play: The Making of Machinima Henry Lowood Stanford University <DRAFT. Do not cite or distribute. To appear in: Videogames and Art: Intersections and Interactions, Andy Clarke and Grethe Mitchell (eds.), Intellect Books (UK), 2005. Please contact author, [email protected], for permission.> Abstract: Machinima is the making of animated movies in real time through the use of computer game technology. The projects that launched machinima embedded gameplay in practices of performance, spectatorship, subversion, modification, and community. This article is concerned primarily with the earliest machinima projects. In this phase, DOOM and especially Quake movie makers created practices of game performance and high-performance technology that yielded a new medium for linear storytelling and artistic expression. My aim is not to answer the question, “are games art?”, but to suggest that game-based performance practices will influence work in artistic and narrative media. Biography: Henry Lowood is Curator for History of Science & Technology Collections at Stanford University and co-Principal Investigator for the How They Got Game Project in the Stanford Humanities Laboratory. A historian of science and technology, he teaches Stanford’s annual course on the history of computer game design. With the collaboration of the Internet Archive and the Academy of Machinima Arts and Sciences, he is currently working on a project to develop The Machinima Archive, a permanent repository to document the history of Machinima moviemaking. A body of research on the social and cultural impacts of interactive entertainment is gradually replacing the dismissal of computer games and videogames as mindless amusement for young boys. There are many good reasons for taking computer games1 seriously.