Education Through Animation with Stop Motion Pro
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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. -
Photo Journalism, Film and Animation
Syllabus – Photo Journalism, Films and Animation Photo Journalism: Photojournalism is a particular form of journalism (the collecting, editing, and presenting of news material for publication or broadcast) that employs images in order to tell a news story. It is now usually understood to refer only to still images, but in some cases the term also refers to video used in broadcast journalism. Photojournalism is distinguished from other close branches of photography (e.g., documentary photography, social documentary photography, street photography or celebrity photography) by complying with a rigid ethical framework which demands that the work be both honest and impartial whilst telling the story in strictly journalistic terms. Photojournalists create pictures that contribute to the news media, and help communities connect with one other. Photojournalists must be well informed and knowledgeable about events happening right outside their door. They deliver news in a creative format that is not only informative, but also entertaining. Need and importance, Timeliness The images have meaning in the context of a recently published record of events. Objectivity The situation implied by the images is a fair and accurate representation of the events they depict in both content and tone. Narrative The images combine with other news elements to make facts relatable to audiences. Like a writer, a photojournalist is a reporter, but he or she must often make decisions instantly and carry photographic equipment, often while exposed to significant obstacles (e.g., physical danger, weather, crowds, physical access). subject of photo picture sources, Photojournalists are able to enjoy a working environment that gets them out from behind a desk and into the world. -
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. -
Animation 1 Animation
Animation 1 Animation The bouncing ball animation (below) consists of these six frames. This animation moves at 10 frames per second. Animation is the rapid display of a sequence of static images and/or objects to create an illusion of movement. The most common method of presenting animation is as a motion picture or video program, although there are other methods. This type of presentation is usually accomplished with a camera and a projector or a computer viewing screen which can rapidly cycle through images in a sequence. Animation can be made with either hand rendered art, computer generated imagery, or three-dimensional objects, e.g., puppets or clay figures, or a combination of techniques. The position of each object in any particular image relates to the position of that object in the previous and following images so that the objects each appear to fluidly move independently of one another. The viewing device displays these images in rapid succession, usually 24, 25, or 30 frames per second. Etymology From Latin animātiō, "the act of bringing to life"; from animō ("to animate" or "give life to") and -ātiō ("the act of").[citation needed] History Early examples of attempts to capture the phenomenon of motion drawing can be found in paleolithic cave paintings, where animals are depicted with multiple legs in superimposed positions, clearly attempting Five images sequence from a vase found in Iran to convey the perception of motion. A 5,000 year old earthen bowl found in Iran in Shahr-i Sokhta has five images of a goat painted along the sides. -
Pre Visit Activity 2
Animation Pre Visit Activity 2. Types of Animation. Basic Types of Animation: 1. • 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. 2. • 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. • 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 have an armature inside of them to keep them still and steady as well as constraining them to move at particular joints • 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 armature or wire frame inside of them, similar to the related puppet animation (below), that can be manipulated in order to pose the figures. -
The Society for Animation Studies Newsletter
Volume 19, Issue 1 Summer 2006 The Society for Animation Studies Newsletter ISSN: 1930-191X In this Issue: Letter from the Editor Perspectives on Animation Studies Greetings! 2 ● To Animate in a Different Key As a new SAS member, I have found the Jean Detheux Society to be an active, welcoming, and 5 ● Simple Pivot Hinges for Cut-Out stimulating place where experienced and Animations young scholars alike can share their Mareca Guthrie passion for Animation Studies. 9 ● Czech Animation in 2005, An Artist's The SAS Newsletter represents a Journey supportive and convenient forum for our Brian Wells community to contribute to this growing News and Publications academic field and to get to know each other better. It offers an opportunity for 19 • Introductory Issue of Animation: an members to voice our ideas (Perspectives Interdisciplinary Journal on Animation Studies), to promote our Suzanne Buchan recent accomplishments (News and 22 • The Illusion of Life II and New Essays Publications), to learn what the SAS is Alan Cholodenko working to achieve (SAS Announcements), 24 • Between Looking and Gesturing: and to stay in touch with other members Elements Towards a Poetics of the (Membership Information). Animated Image Having no prior editorial experience, I am Marina Estela Graça deeply grateful to SAS president Maureen 25 • Frames of Imagination: Aesthetics of Furniss, webmaster Timo Linsenmaier, Animation Techniques each of this issue’s contributors, and many Nadezhda Marinchevska others for their indispensable help as I SAS Announcements navigated this exciting learning curve. As the Newsletter is only distributed to SAS 27 ● Animation at the Crossroads: 18th members, it can and ought to be tailored to SAS Conference, 7-10 July 2006 fit the needs of its select readership: you. -
MAULANA ABUL KALAM AZAD UNIVERSITY of TECHNOLOGY, WB Syllabus for B. Sc (H) in Animation, Film Making, Graphics & VFX (CBCS)
MAULANA ABUL KALAM AZAD UNIVERSITY OF TECHNOLOGY, WB Syllabus for B. Sc (H) in Animation, Film Making, Graphics & VFX (CBCS) COURSE STRUCTURE (In-house) (Effective from Admission Session 2020 -2021) Total Credit: 140 Semester I I. Core 20 Credits SL Type of Paper Name Paper Code Contracts Total Credits Paper Period per Contact week Hours Theory L P 1 Core Introduction To BAFMGV 101 4 40 4 (C1) Basic Animation 2 Core Introduction to BAFMGV 102 4 40 4 (C2) Film Making Practical 1 Core Traditional BAFMGV 191 2 20 2 (CP1) Animation Lab 2 Core Story & Script BAFMGV 192 2 20 2 (CP2) Writing II. Elective Courses B.1 General Elective Theory General a) Python BAFMGV GE 4 40 4 1 Elective Programming 101 (GE1) b) R Programming Practical General a) Python BAFMGV 1 Elective Programming GEP 191 2 20 2 Practical b) R (GEP1) Programming III. Ability Enhancement Courses 1. Ability Enhancement Compulsory Courses (AECC) Theory Ability Communicative BAFMGV AECC 1 Enhance English I 101 2 20 2 ment Compuls ory Courses (AECC1) Semester II I. Core 20 Credits SL Type of Paper Name Paper Code Contracts Total Credits Paper Period per Contact week Hours L P Theory Introduction to BAFMGV 201 1 Core (C3) Graphic Design 4 40 4 & Visual Art Introduction to BAFMGV 202 2 Core (C4) 2D Animation 4 40 4 Practical Digital Design, 1 Core Info graphics & BAFMGV 291 2 20 2 (CP3) Branding (Adobe Photoshop, illustrator, Corel Draw) 2 Core 2D animation lab BAFMGV 292 2 20 2 (CP4) (Flash) II. Elective Courses B.1 General Elective Theory General a) Web Design BAFMGV 1 Elective b)Computer GE201 4 40 4 (GE2) Networks Practical General a) Webpage BAFMGV 1 Elective Design GEP291 2 20 2 Practical (GEP2) b)Networking Lab III. -
Animated Spirits: New Animation from Europe 2017 | 3Rd Edition May 9-11, 2017
ANIMATED SPIRITS: NEW ANIMATION FROM EUROPE 2017 | 3RD EDITION MAY 9-11, 2017 19 EUROPEAN COUNTRIES | 44 ANIMATED SHORTS SCREENINGS Tuesday, May 9 | 7.30pm @ The Austrian Cultural Forum NY Wednesday, May 10 | 8pm @ 180 Maiden Lane | Guest Screening @Animation Nights NY Thursday, May 11 | 7pm @ Bohemian National Hall ABOUT THE FESTIVAL Artists from 19 European Union countries illustrate the spirit of experimentation at the Austrian Cultural Forum NY, Animation Nights New York at 180 Maiden Lane and at the Bohemian National Hall on May 9, 10 and 11, 2017. Animated Spirits: New Animation from Europe - Short Film Festival returns for its third year with the most exciting, recent animations from the Old Continent. The third edition includes highlights of the past 2 years from all over the countries of the European Union, fresh student films from leading animation schools in Europe and an expanded selection of Visegrad4 films curated by the Visegrad Animation Forum. Each night is complemented with a panel discussion with gurus of contemporary animation from both sides of the Atlantic. Emphasizing the new, the exciting and the unconventional, while finding the space to reflect on the continuing potential of the traditional techniques, Animated Spirits gives a carefully curated program, selecting from the cream of European animation and illustrating the spirit of experimentation and creativity with discovering the boundaries of the genre. The program was curated by Anna Ida Orosz (HU) animation historian, lecturer at the Moholy-Nagy University of Art and Design Budapest and co- founder of Primanima World Festival of First Animations in Budapest; and Holger Lang (AT) Vienna-based animation artist, filmmaker, producer and teacher, board member of ASIFA Austria. -
BFA - Animation Filmmaking
BFA - Animation Filmmaking SEMESTER I ANI101: Fundamentals of Animation & VFX ● History of Animation. ● Early Forms of Animation : Phenakistoscope, Thaumatrope, U35NIT 1 Zoetrope, Praxinoscope, Cel,Théâtre Optique. ● Evolution of Animation. ● Traditional Animation Vs Digital Animation. ● Types of animation: Traditional animation, Computer based 2D and 3D animation, Typography animation, Stop-motion/Clay animation, Flipbook Animation, Sand Animation, Paint-on-Glass animation, Puppet Animation UNIT 2 ● Animation Tools: Materials used in different types of animations. ● Animation Softwares: 2D and 3D Animation Softwares and their features. ● Rotoscope, Technicolor, Stereo-Optical Process, Multiplane Camera, Xerography ● Physics & Motion: Forces, Momentum & Mass, Friction, Center of Mass ● Principles of animation. UNIT 3 ● Timing: Importance of Timing, Animating Cycles. ● Audio for Animation. ● Case Study of World Animation Films: ● USA: The Flintstones, Toy Story, Beauty And the beast, Sherk UNIT 4 ● Japan: Astro Boy, Kimba the White Lion. ● Italy: Calimero, La Linea. ● India: Chota Bhim, My Friend Ganesha. Learning Outcomes: 1. Students will be able to demonstrate the different forms of Animations. 2. They will be able to identify the regional and cultural influence on animation. Assignments: 1. Describe the mechanism of any of the early forms of creating animation. 2. Explain in detail the principles of Animation. 3. Write an Essay on one animated film they liked. 4. Case study of an animation studio and its world domination ANI102: Foundation Art I 1/35 Elements & Principles of Art, Basic Shape Drawing, Sketching Still Life, UNIT 1 Buildings/Cityscapes. Human Body Anatomy, Figure Drawing with Basic Shapes, Caricatures, UNIT 2 Gestures, Freestyle & Calligrapics Drawing Perceiving Shape, Form & Space, Difference between Shapes & Forms, UNIT 3 Creating Shapes & Forms in Space, 3D Sketches, Positive & Negative Space, Designing Murals. -
Shifting Sands: Contemporary Trends in Powder Animation
Shifting Sands: Contemporary trends in powder animation Corrie Francis Parks1 1 University of Maryland, Baltimore Country, Visual Arts, 1000 Hilltop Circle, Baltimore, MD 21228, USA [email protected] Abstract. Backlit animation capitalizes on the purity of light pouring directly into the camera and no technique maximizes the nuances of that light better than sand animation. This paper will discuss the historical variations on sand animation, the physical properties of the material that result in typical movement patterns, and the contemporary evolution of the technique that break from the historical trends, due to the adoption of digital capture and compositing. Keywords: sand animation, hybrid animation, stopmotion, fluid frames 1 Introduction The mysterious art of powder animation is a technique to which I have deep personal connections as a practitioner, and one which represents the broader global trends of hybridization and handcrafted process in the animation field. This adoption of hybridity has brought a renewed interest to the technique, both for animator and for audiences. In this paper, I will give a brief overview of the technique and the common traits seen in historical and contemporary films that find their source in the unique properties of powdered material such as sand, salt, coffee and other dusts. Then I will discuss contemporary trends in the practice of this technique, based on new technology and accessibility. On occasion, I will speak generally about “sand animation” since this is the most common material in use, but the observations and conclusions apply to all powders used under the camera. The source of this research is from my own practice as an independent filmmaker cross-referenced with historical investigation and interviews with contemporary artists practicing powder animation techniques. -
Abstract Animation Played a Central Role in the Early History Of
Abstract Animation played a central role in the early history of advertising film in Europe. While there were, of course, many live-action films, by the 1910s product advertising relied heavily on the techniques and conventions of the trick film. After WWI, advertising would come to offer a fertile terrain for the development of nearly every type of animation, from drawn caricature to avant-garde experimentation and from stop trick to puppets and silhouettes. In this article, I examine this predilection for such graphic forms in advertising film within the context of control strategies both aesthetic and economic. Tracing the development of animation in advertising from trick films to industrialized animation, I show how animation served both to work through questions of capitalist modernity and – increasingly – to realize new forms of instrumental images based on the dictates of advertising psychology as it arose after WWI. Advertising and Animation From the Invisible Hand to Attention Management “The attraction that radiates from objects in film is that of seeing something inanimate become animate.” Arnold Zweig, “Theoretische Grundlegung des Films in Thesen” (1922) Although early product advertising film came in many forms, it is hard to overlook the extensive use of animation. While the earliest film advertisements tended to use live- action, the institutionalization of advertising film in Europe during the 1910s coincided with the adoption of conventions from trick film, and advertising went on to employ nearly every type of animation, from stop-trick and sand animation to silhouettes, experimental abstraction and – the most widespread form of advertising in the 1920s – drawn character animation. -
Chaos, Order and Uncertainty When Writing Narrative for Animation
Chaos, Order and Uncertainty When Writing Narrative for Animation Robert Stephenson ORCID ID: 0000-0001-7689-0765 Master of Film and Television (Research) March 2017 Film and Television Faculty of VCA/MCM University of Melbourne This thesis has been submitted as partial fulfilment of the degree. i TABLE OF CONTENTS • Tables and Figures ii • Abstract iv • Declaration v • Introduction 1 • 1- Writer or Picture Facilitator? 9 The Animator Navigates a Spectral Identity in a Writer’s World. • 2 - Chaos Does Not Always Lead to Confusion- 14 The Life of Materials and Sequence Order Brings its Own Cogency. • 3 -Ownership, Forged Partnerships, Order and Control. 21 The Influence of Enterprise on Making Narrative for Animation. • 4- Lucky for Some. 30 Codified Practice Makes Room for Hand Made Events. • 5 - Paris Lakes. 39 Unity from Narration and Vignettes. • 6 - Nightlife: 52 Straight Ahead Animation Records the First Draft. • 7- The Lester Chiselbean Experience. 57 Straight Ahead Storyboarding and Uncertainty Exposes the Narrative to New and Stock Standard Ideas. • Conclusion 70 • Bibliography 75 • Acknowledgements 78 ii Tables and Figures Tables 2.1 Cohn’s Visual Narrative Structure 17 Figures The Lester Chiselbean Experience- storyboard frame iv Lucky for Some- production still 6 Paris Lakes- production still 7 Nightlife- production still 7 The Lester Chiselbean Experience- storyboard frame 8 1.1 Stills from Lift Off, “Munchkids,” Threads 12 1.2 Still from Lift Off, “Munch Kids,” Threads 13 3.1 Front page of Fleischer’s Standard Production