DOCSLIB.ORG

The 12 Principles of Animation (With Examples) - Idearocket

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The 12 Principles of Animation (With Examples) - Idearocket 3/11/2020 The 12 Principles of Animation (With Examples) - IdeaRocket Animation The 12 Principles of Animation (With Examples) James Ritchie 07.19.2017 In their 1981 book, The Illusion of Life, Disney animators Ollie Johnston and Frank Thomas introduced the twelve principles of animation. The pair were part of Disney’s “Nine Old Men,” the core group of animators who were instrumental in creating Disney’s animation style. The twelve principles have now become widely recognized as a theoretical bedrock for all artists working on animated video production. In order, they consist of: https://idearocketanimation.com/13721-12-principles-of-animation-gifs/ 1/19 3/11/2020 The 12 Principles of Animation (With Examples) - IdeaRocket Squash and Stretch Anticipation Staging Straight Ahead Action and Pose-to-Pose Follow Through and Overlapping Action Ease In, Ease Out Arcs Secondary Action Timing Exaggeration Solid Drawing Appeal Each principle is vital to the animation process, so let’s dig deeper into each one. 1) Squash and Stretch Squash and stretch is debatably the most fundamental principle. Look at what happens when a ball hits the ground. The force of the motion squashes the ball flat, but because an object needs to maintain its volume, it also widens on impact. This what’s called squash and stretch. https://idearocketanimation.com/13721-12-principles-of-animation-gifs/ 2/19 3/11/2020 The 12 Principles of Animation (With Examples) - IdeaRocket This effect gives animation an elastic life-like quality because although it may not seem like it, squash and stretch is all around you. All shapes are distorted in some way or another when acted upon by an outside force; it’s just harder to see in real-life. Squash and stretch imitates that and exaggerates it to create some fun. Check out the example below from the TV spot we did for Eastlink: https://idearocketanimation.com/13721-12-principles-of-animation-gifs/ 3/19 3/11/2020 The 12 Principles of Animation (With Examples) - IdeaRocket When the letters spring from the ground, they elongate to show the impression of speed. Conversely, the letters squash horizontally when they come into contact with the ground. This conveys a sense of weight in each letter. 2) Anticipation Imagine you’re about to kick a soccer ball. What’s the first thing you do? Do you swing your foot back to wind up? Steady yourself with your arms? That’s anticipation. Anticipation is the preparation for the main action. The player striking the soccer ball would be the main action, and the follow-through of the leg is well… the follow through. Let’s take a look at an example of anticipation in animation from a spot we did for Eastlink Wireless: Notice how the progression of action operates in this scene. We first see the woman as she’s standing on the box. She then bends her knees in anticipation of what’s about to happen and https://idearocketanimation.com/13721-12-principles-of-animation-gifs/ 4/19 3/11/2020 The 12 Principles of Animation (With Examples) - IdeaRocket springs into action by leaping from the ground up into the air. 3) Staging When filming a scene, where do you put the camera? Where do the actors go? What do you have them do? The combination of all these choices is what we call staging. Staging is one of the most overlooked principles. It directs the audience’s attention toward the most important elements in a scene in a way that effectively advances the story. In the clip below from our video for Sevanta Dealflow, the placement of the character within the scene allows us to quickly follow his actions and gives us a good sense of the physical layout. The protagonist can’t see his subordinate, but the subordinate is so busy that the sound of his scurrying to and fro is enough to draw his attention. This motivates the cut to a medium shot, which then pulls back to the two-shot to reveal that his colleague is also worried about this problem. https://idearocketanimation.com/13721-12-principles-of-animation-gifs/ 5/19 3/11/2020 The 12 Principles of Animation (With Examples) - IdeaRocket It builds from problem to realization to shared understanding, to the beginning of a solution, all in a visual telling. 4) Straight Ahead Action and Pose-to-Pose These are two ways of drawing animation. Straight ahead action is where you draw each frame of an action one after another as you go along. With pose-to-pose, you draw the extremes – that is, the beginning and end drawings of action – then you go on to the middle frame, and start to fill in the frames in-between. Pose-to-pose gives you more control over the action. You can see early on where your character is going to be at the beginning and end instead of hoping you’re getting the timing right. By doing the main poses first, it allows you to catch any major mistakes early. The problem with it is that sometimes it’s too neat and perfect Straight ahead action is less planned, and therefore more fresh and surprising. The problem with it is that it’s like running blindfolded… you can’t figure out where you’re supposed to be at any one time. Mastering both techniques and combining them is the best approach to being a successful animator because then you can get both structure and spontaneity. And incidentally, this distinction is just as important in computer animation, where molding a pose at each keyframe is the equivalent of making a drawing. https://idearocketanimation.com/13721-12-principles-of-animation-gifs/ 6/19 3/11/2020 The 12 Principles of Animation (With Examples) - IdeaRocket 5) Follow-Through and Overlapping Action When a moving object such as a person comes to a stop, parts might continue to move in the same direction because of the force of forward momentum. These parts might be hair, clothing, jowls, or jiggling flesh of an overweight person. This is where you can see follow- through and overlapping action. The secondary elements (hair, clothing, fat) are following- through on the primary element, and overlapping its action. Follow-through can also describe the movement of the primary element though. If you land in a crouch after a jump, before standing up straight, that’s follow-through. Take a look at an example from a video we did for ViewBoost. Watch the sleeves of the “Cheese Jedi’s” cloak when he swings his lightsaber. They move with the momentum of the action, but when it’s over, the sleeves continue to go before settling to a stop. https://idearocketanimation.com/13721-12-principles-of-animation-gifs/ 7/19 3/11/2020 The 12 Principles of Animation (With Examples) - IdeaRocket 6) Ease In, Ease Out When you start your car, you don’t get up to 60 mph right away. It takes a little while to accelerate and reach a steady speed. In animation speak, we would call this an Ease Out. Likewise, if you brake, you’re not going to come to a full stop right away. (Unless you crash into a tree or something.) You step on the pedal and decelerate over a few seconds until you are at a stand-still. Animators call this an Ease In. Carefully controlling the changing speeds of objects creates an animation that has a superior believability. In this clip from an explainer video we did for Tworkz, the woman raises her arm slowly at first, but it picks up speed as the motion continues. The ease in, ease out technique works to make the action more fluid and realistic. https://idearocketanimation.com/13721-12-principles-of-animation-gifs/ 8/19 3/11/2020 The 12 Principles of Animation (With Examples) - IdeaRocket 7) Arcs Life doesn’t move in straight lines, and neither should animation. Most living beings – including humans – move in circular paths called arcs. Arcs operate along a curved trajectory that adds the illusion of life to an animated object in action. Without arcs, your animation would be stiff and mechanical. The speed and timing of an arc are crucial. Sometimes an arc is so fast that it blurs beyond recognition. This is called an animation smear – but that’s a topic for another time. In the above example from Scandis, the man passes the cash along from one person to another by reaching his arms across the frame. At first glance it may be hard to see the arcs happening, but when it’s outlined on the second time around it’s quite obvious. The fluid arcing motion of the arms adds grace to the animation. https://idearocketanimation.com/13721-12-principles-of-animation-gifs/ 9/19 3/11/2020 The 12 Principles of Animation (With Examples) - IdeaRocket 8) Secondary Action Secondary actions are gestures that support the main action to add more dimension to character animation. They can give more personality and insight to what the character is doing or thinking. In the above example from a video we did for DeerPro, a deer takes a bite of a leaf sprayed with DeerPro repellant. The primary action is the deer spitting out the leaf when he realizes it’s no good. The secondary action is the slight tail wag that shows the deer’s relief to have the awful taste out of his mouth. https://idearocketanimation.com/13721-12-principles-of-animation-gifs/ 10/19 3/11/2020 The 12 Principles of Animation (With Examples) - IdeaRocket 9) Timing Timing is about where on a timeline you put each frame of action.
Load more

Recommended publications
  • Motion Enriching Using Humanoide Captured Motions
    MASTER THESIS: MOTION ENRICHING USING HUMANOIDE CAPTURED MOTIONS STUDENT: SINAN MUTLU ADVISOR : A NTONIO SUSÌN SÀNCHEZ SEPTEMBER, 8TH 2010 COURSE: MASTER IN COMPUTING LSI DEPERTMANT POLYTECNIC UNIVERSITY OF CATALUNYA 1 Abstract Animated humanoid characters are a delight to watch. Nowadays they are extensively used in simulators. In military applications animated characters are used for training soldiers, in medical they are used for studying to detect the problems in the joints of a patient, moreover they can be used for instructing people for an event(such as weather forecasts or giving a lecture in virtual environment). In addition to these environments computer games and 3D animation movies are taking the benefit of animated characters to be more realistic. For all of these mediums motion capture data has a great impact because of its speed and robustness and the ability to capture various motions. Motion capture method can be reused to blend various motion styles. Furthermore we can generate more motions from a single motion data by processing each joint data individually if a motion is cyclic. If the motion is cyclic it is highly probable that each joint is defined by combinations of different signals. On the other hand, irrespective of method selected, creating animation by hand is a time consuming and costly process for people who are working in the art side. For these reasons we can use the databases which are open to everyone such as Computer Graphics Laboratory of Carnegie Mellon University. Creating a new motion from scratch by hand by using some spatial tools (such as 3DS Max, Maya, Natural Motion Endorphin or Blender) or by reusing motion captured data has some difficulties.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • Top Questions About Character Animation
    Top Questions About Character Animation What are some of the exciting aspects of character animation, and how is it different than other computer animation forms? The phrase computer animation is often used as a catch-all for many computer generated effects including spinning logos, Flash programming on the Web or special effects in movies. These are not character animation. Character animation is the process of giving life to a character, whether it is a dog that can talk, a drawn person or an animated object. Character animation creates personality. How long does it take one person to create one minute of animation? This is difficult to pinpoint, but it can take one animator about 16 – 20 weeks of full-time work to produce 60 seconds of animation.1 At Pixar Animation Studios, due to their high level of quality control, animators have been known to work on two minutes of film for a year or more. How many animators typically work on an animated feature film? It depends on the studio and its needs, so anywhere from 20 – 80 animators could be working on an animated feature film. What is the biggest myth about character animation? A lot of people believe that the computer does all of the work for the animator, but the reality is that the animator is only using the computer as a tool to create detailed animation frame by frame. What are some of the most challenging aspects of character animation? Character animators work in fun, collaborative, exciting and detailed environments. They need to have a high level of patience while working with the tiny movements of a character frame by frame.
    [Show full text]
  • Designing Motion Graphics
    RARITAN VALLEY COMMUNITY COLLEGE ACADEMIC COURSE OUTLINE ARTS 248: Designing Motion Graphics I. Basic Course Information A. Course Number and Title: ARTS-248 Designing Motion Graphics B. New or Modified Course: modified C. Date of Proposal: Semester: Spring Year: 2015 D. Effective Term: Spring 2016 E. Sponsoring Department: Visual and Performing Arts F. Semester Credit Hours: 3 G. Weekly Contact Hours: 4 Lecture: 2 Laboratory: 2 H. Prerequisites: ARTS-246 Visual Design I I. Laboratory Fees: yes J. Name and Telephone Number or E-Mail Address of Department Chair at time of approval: Co-Chairs: Donna Stackhouse x8298, Dennis Russo x8391 II. Catalog Description Prerequisite: ARTS-246 Visual Design I This course covers the concepts and techniques of creating motion graphics. Students will create original animations in traditional media, via timeline based programs, and through using character motion simulation tools. Students will purchase some art supplies. III. Statement of Course Need A. Designing Motion Graphics develops a student’s ability to understand and create animated environments. It continues an emphasis on good art and design skills while addressing the challenges of creating moving graphics. This course also addresses the critical and ethical concerns regarding the production and consumption of animated media. B. This course has a lab component. It is a studio art course and requires students to use special facilities such as a computer lab, studio areas, and to use artistic materials under the guidance of the instructor or lab technician. C. This course generally transfers as an elective Studio Art Course in design and visual communications program requirements.
    [Show full text]
  • Character Design for 3D Printed Zoetrope Visual Style and Character Designs Printability Bharoto Yekti1, Yohanes Merci Widiastomo2, Rangga Winantyo3
    Advances in Social Science, Education and Humanities Research, volume 502 Proceedings of the International Conference of Innovation in Media and Visual Design (IMDES 2020) Character Design for 3D Printed Zoetrope Visual Style and Character Designs Printability Bharoto Yekti1, Yohanes Merci Widiastomo2, Rangga Winantyo3 1,2,3 Universitas Multimedia Nusantara *Corresponding author. Email: [email protected] ABSTRACT Zoetrope is considered as one of the important inventions in the early of moving image history. Nowadays, using 3D print technology, independent artists are able to create zoetrope that shows the motion effects of a sequence of real 3D Physical objects. There are many kinds of objects that can be printed and displayed in the zoetrope objects, including stylized characters. However, not all 3D models can be proceed using the 3D printer. Many conditions need to be fulfilled to proceed using the 3D print machine. There are many visual styles of a character design that can be printed as animated objects for zoetrope devices. This possibility motivates the author to investigate the correlation between character design visual style, 3D printing process effectivity, and animation appeal of 3D printed zoetrope. Keywords: Animation, 3D Print, Zoetrope, Visual Style. 1. INTRODUCTION animation. The objects which animated using the 3D printed technique are varied from abstract to realistic Nowadays, 3D print technology is becoming more objects or characters. common and affordable to be accessed by society. Its ability to convert a virtual object to a real physical object Zoetrope is one of the early animation invention, has attracted many artists to exploring this technology to found by William Horner in 1843 [1].
    [Show full text]
  • Keyframe Or Motion Capture? Reflections on Education of Character Animation
    EURASIA Journal of Mathematics, Science and Technology Education, 2018, 14(12), em1649 ISSN:1305-8223 (online) OPEN ACCESS Research Paper https://doi.org/10.29333/ejmste/99174 Keyframe or Motion Capture? Reflections on Education of Character Animation Tsai-Yun Mou 1* 1 National Pingtung University, TAIWAN Received 20 April 2018 ▪ Revised 12 August 2018 ▪ Accepted 13 September 2018 ABSTRACT In character animation education, the training process needs diverse domain knowledge to be covered in order to develop students with good animation ability. However, design of motion also requires digital ability, creativity and motion knowledge. Moreover, there are gaps between animation education and industry production which motion capture is widely applied. Here we try to incorporate motion capture into education and investigate whether motion capture is supportive in character animation, especially in creativity element. By comparing two kinds of motion design method, traditional keyframe and motion capture, we investigated students’ creativity in motion design. The results showed that in originality factor, keyframe method had slightly higher performance support for designing unusual motions. Nevertheless, motion capture had shown more support in creating valid actions in quantity which implied fluency factor of creativity was achieved. However, in flexibility factor, although motion capture created more emotions in amount, keyframe method actually offered higher proportion of sentiment design. Participants indicated that keyframe was helpful to design extreme poses. While motion capture provided intuitive design tool for exploring possibilities. Therefore, we propose to combine motion capture technology with keyframe method in character animation education to increase digital ability, stimulate creativity, and establish solid motion knowledge. Keywords: animation education, character animation, creativity, motion capture, virtual character INTRODUCTION The education of animation is a long-standing and multidisciplinary training.
    [Show full text]
  • Layered Acting for Character Animation
    Published in ACM Transactions on Graphics (SIGGRAPH 2003) Layered Acting For Character Animation Mira Dontcheva Gary Yngve Zoran Popovic´ University of Washington Figure 1: While watching a real-time display of her actions, an animator performs a hopping motion, sketching the trajectory of a kangaroo. Abstract allows expert actors to animate human characters, but is fraught with a different set of difficulties, particularly when animating non- We introduce an acting-based animation system for creating and human characters and when attempting to edit existing motion. We editing character animation at interactive speeds. Our system re- present an interface that supports the many benefits of performance quires minimal training, typically under an hour, and is well suited animation yet allows for the mapping betweeen the animator and for rapidly prototyping and creating expressive motion. A real-time character to be established in ways that are both flexible and easy motion-capture framework records the user's motions for simulta- to understand. neous analysis and playback on a large screen. The animator's real- We had several goals in mind when designing our system. We world, expressive motions are mapped into the character's virtual wanted our system to have an easy-to-use and efficient interface ap- world. Visual feedback maintains a tight coupling between the an- propriate for a novice with little training. We wanted to give the user imator and character. Complex motion is created by layering mul- control and the ability to create motions that have a sense of person- tiple passes of acting. We also introduce a novel motion-editing ality, often lacking in 3-d animation.
    [Show full text]
  • Designing and Animating a Character Sprite with Modern Techniques Wynton Redmond Clemson University, [email protected]
    Clemson University TigerPrints All Theses Theses 5-2016 Designing and Animating a Character Sprite with Modern Techniques Wynton Redmond Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Recommended Citation Redmond, Wynton, "Designing and Animating a Character Sprite with Modern Techniques" (2016). All Theses. 2381. https://tigerprints.clemson.edu/all_theses/2381 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. DESIGNING AND ANIMATING A CHARACTER SPRITE WITH MODERN TECHNIQUES A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Fine Arts Digital Production Arts by Wynton Redmond May 2016 Accepted by: Victor Zordan, Committee Chair Brian Malloy Kathleen Thum ABSTRACT High-quality 2D animation for video game production is both strenuous and time consuming. Traditionally, 2D game animation consisted of drawing each frame by hand and processing it into a bitmap for use in-game. As every frame was individually drawn, it was difficult to create enough drawings for smooth animation as well as keep form consistent between frames. Although, this technique usually resulted in a strong sense of 3D volume and realism when well executed. Current technology allows for faster 2D animation workflows using interpolation and bone systems as well as greater consistency, smoothness, and efficiency, but oftentimes the results lose the sense of depth and quality found in traditional animation.
    [Show full text]
  • Cartoons Gerard Raiti Looks Into Why Some Cartoons Make Successful Live-Action Features While Others Don’T
    Table of Contents SEPTEMBER 2000 VOL.5 NO.6 4 Editor’s Notebook A success and a failure? 6 Letters: [email protected] FEATURE FILMS 8 A Conversation With The New Don Bluth After Titan A.E.’s quick demise at the box office and the even quicker demise of Fox’s state-of-the-art animation studio in Phoenix, Larry Lauria speaks with Don Bluth on his future and that of animation’s. 13 Summer’s Sleepers and Keepers Martin “Dr. Toon” Goodman analyzes the summer’s animated releases and relays what we can all learn from their successes and failures. 17 Anime Theatrical Features With the success of such features as Pokemon, are beleaguered U.S. majors going to look for 2000 more Japanese imports? Fred Patten explains the pros and cons by giving a glimpse inside the Japanese film scene. 21 Just the Right Amount of Cheese:The Secrets to Good Live-Action Adaptations of Cartoons Gerard Raiti looks into why some cartoons make successful live-action features while others don’t. Academy Award-winning producer Bruce Cohen helps out. 25 Indie Animated Features:Are They Possible? Amid Amidi discovers the world of producing theatrical-length animation without major studio backing and ponders if the positives outweigh the negatives… Education and Training 29 Pitching Perfect:A Word From Development Everyone knows a great pitch starts with a great series concept, but in addition to that what do executives like to see? Five top executives from major networks give us an idea of what makes them sit up and take notice… 34 Drawing Attention — How to Get Your Work Noticed Janet Ginsburg reveals the subtle timing of when an agent is needed and when an agent might hinder getting that job.
    [Show full text]
  • Animation-Insiders-Ebook-Web.Pdf
    ANIMATION INSIDERS W orkflow e dition ACKNOWLEDGEMENT/ 5 INTRODUCTION/ 7 MIKE NGUYEN 8 EMILE GHORAYEB 12 PABLO NAVARRO 16 JASON RYAN 40 JASON MORTINSEN 46 ANA MARIA ALVARADO 50 RENO ARMANET 54 JASON SCHLEIFER 70 PEDRO BLUMENBAUM 76 ANTHEA KEROU 88 GABRIELE PENNACCHIOLI 92 MATT STRANGIO 94 VICTOR NAVONE 102 CONCLUSION/ 107 LIST OF CONTENT SPECIAL THANKS/ 109 ACKNOWLEDGEMENT/ 5 INTRODUCTION/ 7 MIKE NGUYEN 8 EMILE GHORAYEB 12 PABLO NAVARRO 16 JASON RYAN 40 JASON MORTINSEN 46 ANA MARIA ALVARADO 50 RENO ARMANET 54 JASON SCHLEIFER 70 PEDRO BLUMENBAUM 76 ANTHEA KEROU 88 GABRIELE PENNACCHIOLI 92 MATT STRANGIO 94 VICTOR NAVONE 102 CONCLUSION/ 107 LIST OF CONTENT SPECIAL THANKS/ 109 I would like to extend our most sincere thanks to the extraordinary ani- mators who were involved with this book. You generously shared with us your knowledge and vision about animation. Your passion for what you do easily shows, and without you, Animation Insiders would never have seen the light of day. Thank you PATRICK BEAULIEU ACKNOWLEDGEMENTS ANIMATION INSIDERS / ANIMATION LEDGEMENTS ACKNOW- 4 5 I would like to extend our most sincere thanks to the extraordinary ani- mators who were involved with this book. You generously shared with us your knowledge and vision about animation. Your passion for what you do easily shows, and without you, Animation Insiders would never have seen the light of day. Thank you ACKNOWLEDGEMENTS PATRICK BEAULIEU ACKNOWLEDGEMENTS ANIMATION INSIDERS / ANIMATION LEDGEMENTS ACKNOW- LEDGEMENTS 4 5 When I was in school, it was very difficult to get valuable learning mate- It is still incumbent on you to formulate good ideas for your shots.
    [Show full text]
  • A History of Computer Animation 3/20/92 1
    tea:1 i20SZ bu :J1, Chapter 4 : A HISTORY OF COMPUTER ANIMATION 3/20/92 1 A History of Computer Animation . .. .. .. .. .. .. .. .. .. .1 The Origins of Animation . .. .. ... .. .. .. .. .. .. .. ..1 Animated phase pictures and roll media (1828- 1895) . .. .. .. .. .......... .. .. .. ................. ..........1 The early trickfilmsters and technology (1895- 1909) . .. .. .. .. .. .. .. .. .. .. .. .. ............ .. .. ............. ...2 The animation studio and techniques (1910-1920) . .5 The Classical Period (1920-1960) . .. 1 0 The Origins of the Computer . ............................ .. .. .. .. .. ...... .. ..14 Analog computers.... .. ... .. ... ... .. .. .. .. ... .. .. ..14 Digital computers . .... .. .. .. .. .. .. .. .. .. .............. .. .. .. .. ..16 Analog Computer Animation .... .. .. .. .. ............... ..21 Electronic Analog Computer Animation . .. .. .. ............. .21 Mechanical Analog Computer Animation . .. ..... ...... .. .23 Computerizating the Animation Stand and Optical Printer. .. .... ... .. ..... .. .... ..... .... ... .. .. .. ... .2 7 Benefits of Computer Animation Stand . .2 9 Motion Control . .............. .. .. .. .. .. ........ .. .. ..3 0 Benefits of Computerized Motion Control .............. .. .... .. .32 Synthetic Imagery. .. .. ... .. ... ... .. .. ... .. .. .. .. .. .. .3 3 Computer hardware fusions. .. .. .. .. .. .. ..3 3 The interactive cathode ray tube display. .3 3 The mechanical plotter. .. .. .. .. .. .. .. .. .. .3 5 Film recorder CRT's. .. .. .. .. ... .. .. ... .. .. .. .. ..
    [Show full text]