2D Animation Software You’Ll Ever Need
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Aardman in Archive Exploring Digital Archival Research Through a History of Aardman Animations
Aardman in Archive Exploring Digital Archival Research through a History of Aardman Animations Rebecca Adrian Aardman in Archive | Exploring Digital Archival Research through a History of Aardman Animations Rebecca Adrian Aardman in Archive: Exploring Digital Archival Research through a History of Aardman Animations Copyright © 2018 by Rebecca Adrian All rights reserved. Cover image: BTS19_rgb - TM &2005 DreamWorks Animation SKG and TM Aardman Animations Ltd. A thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts in Media and Performance Studies at Utrecht University. Author Rebecca A. E. E. Adrian Student number 4117379 Thesis supervisor Judith Keilbach Second reader Frank Kessler Date 17 August 2018 Contents Acknowledgements vi Abstract vii Introduction 1 1 // Stop-Motion Animation and Aardman 4 1.1 | Lack of Histories of Stop-Motion Animation and Aardman 4 1.2 | Marketing, Glocalisation and the Success of Aardman 7 1.3 | The Influence of the British Television Landscape 10 2 // Digital Archival Research 12 2.1 | Digital Surrogates in Archival Research 12 2.2 | Authenticity versus Accessibility 13 2.3 | Expanded Excavation and Search Limitations 14 2.4 | Prestige of Substance or Form 14 2.5 | Critical Engagement 15 3 // A History of Aardman in the British Television Landscape 18 3.1 | Aardman’s Origins and Children’s TV in the 1970s 18 3.1.1 | A Changing Attitude towards Television 19 3.2 | Animated Shorts and Channel 4 in the 1980s 20 3.2.1 | Broadcasting Act 1980 20 3.2.2 | Aardman and Channel -
Title Director Screening Section Premiere Status
Title Director Screening Section Premiere Status An Evening With Sacred Bones Records Jacqueline Castel Special Events World Premiere Bernie Richard Linklater Special Events Best of Vimeo Shorts: Vimeo Loves Various Special Events Big Star: Nothing Can Hurt Me Drew DeNicola Special Events Casa de mi Padre Matt Piedmont Special Events Coffin Joe's "This Night I Will Possess Jose Mojica Marins Special Events Your Corpse" Girl Walk // All Day Jacob Krupnick Special Events Re: Generation Music Project Amir Bar Lev Special Events Adam Russell, Renga Special Events North American Premiere John Sear SXSW & The Alamo Drafthouse present: Special Events World Premiere Epic Meal Time The Oyster Princess (1919) Ernst Lubitsch Special Events with live score by Bee vs. Moth when you find me presented by Canon Bryce Dallas Howard Special Events U.S. Premiere George Dunning, Yellow Submarine (1968) Newly Restored (UK) Robert Balser, Special Events Jack Stokes Title Director Screening Section Premiere Status Phil Lord, 21 Jump Street Headliners World Premiere Christopher Miller BIG EASY EXPRESS Emmett Malloy Headliners World Premiere Decoding Deepak Gotham Chopra Headliners World Premiere Girls Lena Dunham Headliners World Premiere Killer Joe William Friedkin Headliners U.S. Premiere MARLEY Kevin Macdonald Headliners North American Premiere The Cabin in the Woods Drew Goddard Headliners World Premiere The Hunter Daniel Nettheim Headliners U.S. Premiere Blue Like Jazz Steve Taylor Narrative Spotlight World Premiere Crazy Eyes Adam Sherman Narrative Spotlight World Premiere Fat Kid Rules The World Matthew Lillard Narrative Spotlight World Premiere frankie go boom Jordan Roberts Narrative Spotlight World Premiere Hunky Dory Marc Evans Narrative Spotlight North American Premiere In Our Nature Brian Savelson Narrative Spotlight World Premiere Keyhole Guy Maddin Narrative Spotlight U.S. -
Here Comes Television
September 1997 Vol. 2 No.6 HereHere ComesComes TelevisionTelevision FallFall TVTV PrPrevieweview France’France’ss ExpandingExpanding ChannelsChannels SIGGRAPHSIGGRAPH ReviewReview KorKorea’ea’ss BoomBoom DinnerDinner withwith MTV’MTV’ss AbbyAbby TTerkuhleerkuhle andand CTW’CTW’ss ArleneArlene SherShermanman Table of Contents September 1997 Vol. 2, . No. 6 4 Editor’s Notebook Aah, television, our old friend. What madness the power of a child with a remote control instills in us... 6 Letters: [email protected] TELEVISION 8 A Conversation With:Arlene Sherman and Abby Terkuhle Mo Willems hosts a conversation over dinner with CTW’s Arlene Sherman and MTV’s Abby Terkuhle. What does this unlikely duo have in common? More than you would think! 15 CTW and MTV: Shorts of Influence The impact that CTW and MTV has had on one another, the industry and beyond is the subject of Chris Robinson’s in-depth investigation. 21 Tooning in the Fall Season A new splash of fresh programming is soon to hit the airwaves. In this pivotal year of FCC rulings and vertical integration, let’s see what has been produced. 26 Saturday Morning Bonanza:The New Crop for the Kiddies The incurable, couch potato Martha Day decides what she’s going to watch on Saturday mornings in the U.S. 29 Mushrooms After the Rain: France’s Children’s Channels As a crop of new children’s channels springs up in France, Marie-Agnès Bruneau depicts the new play- ers, in both the satellite and cable arenas, during these tumultuous times. A fierce competition is about to begin... 33 The Korean Animation Explosion Milt Vallas reports on Korea’s growth from humble beginnings to big business. -
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. -
Available Papers and Transcripts from the Society for Animation Studies (SAS) Annual Conferences
SAS Conference papers Pagina 1 NIAf - Available papers and transcripts from the Society for Animation Studies (SAS) annual conferences 1st SAS conference 1989, University of California, Los Angeles, USA Author (Origin) Title Forum Pages Copies Summary Notes Allan, Robin (InterTheatre, European Influences on Disney: The Formative Disney 20 N.A. See: Allan, 1991. Published as part of A Reader in Animation United Kingdom) Years Before Snow White Studies (1997), edited by Jayne Pilling, titled: "European Influences on Early Disney Feature Films". Kaufman, J.B. (Wichita) Norm Ferguson and the Latin American Films of Disney 8 N.A. In the years 1941-43, Walt Disney and his animation team made three Published as part of A Reader in Animation Walt Disney trips through South America, to get inspiration for their next films. Studies (1997), edited by Jayne Pilling. Norm Ferguson, the unit producer for the films, made hundreds of photo's and several people made home video's, thanks to which Kaufman can reconstruct the journey and its complications. The feature films that were made as a result of the trip are Saludos Amigos (1942) and The Three Caballero's (1944). Moritz, William (California Walter Ruttmann, Viking Eggeling: Restoring the Aspects of 7 N.A. Hans Richter always claimed he was the first to make absolute Published as part of A Reader in Animation Institute of the Arts) Esthetics of Early Experimental Animation independent and animations, but he neglected Walther Ruttmann's Opus no. 1 (1921). Studies (1997), edited by Jayne Pilling, titled institutional filmmaking Viking Eggeling had made some attempts as well, that culminated in "Restoring the Aesthetics of Early Abstract the crude Diagonal Symphony in 1923 . -
Overview of History of Irish Animation
Overview of History of Irish Animation i) The history of animation here and the pattern of its development, ii) ii) The contemporary scene, iii) iii) Funding and support, iv) iv) The technological advancement, which can allow filmmakers do more and do it more excitingly, v) v) The educational background. i) History and Development. The history of animation in Ireland is comparable to the history of live action film in Ireland in that in the early years it offered the promise of much to come and stopped really before it got started; indeed in the final analysis animation has even far less to show for itself than its early live action cousin. One outstanding exception is the pioneering work of James Horgan. Horgan became involved in cinema at the end of the 19th century when he acquired a Lumiere camera and established his own moving picture exhibition company for the south show to his audiences - mostly religious events. However soon his eager mind began to turn to the Munster region. As well as projecting regular international shows, Horgan shot local footage to look into cinematography in a scientific way and in fact he made some money by patenting a cog for film traction in the camera, which was widely used. He also experimented with Polaroid film. He then began to dabble in stop frame work - animation - around the year 1909 and considering that the first animation was made in 1906, this is quite significant. His most famous and most popular piece was his dancing Youghal Clock Tower - where the town's best known landmark has to hop into the frame and "manipulate" itself frame by frame into its rightful place in the main street in Youghal. -
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. -
Animating Quadrupeds: Methods and Applications
DOI: 10.1111/j.1467-8659.2008.01312.x COMPUTER GRAPHICS forum Volume 28 (2009), number 6 pp. 1541–1560 Animating Quadrupeds: Methods and Applications Ljiljana Skrba1, Lionel Reveret2,FranckHetroy´ 2, Marie-Paule Cani2 and Carol O’Sullivan1 1Graphics, Vision and Visualisation group, Trinity College, Dublin, Ireland 2EVASION – LJK, CNRS, INRIA, University of Grenoble, Grenoble, France Abstract Films like Shrek, Madagascar, The Chronicles of Narnia and Charlotte’s web all have something in common: realistic quadruped animations. While the animation of animals has been popular for a long time, the technical challenges associated with creating highly realistic, computer generated creatures have been receiving increasing attention recently. The entertainment, education and medical industries have increased the demand for simulation of realistic animals in the computer graphics area. In order to achieve this, several challenges need to be overcome: gathering and processing data that embodies the natural motion of an animal – which is made more difficult by the fact that most animals cannot be easily motion-captured; building accurate kinematic models for animals, with adapted animation skeletons in particular; and developing either kinematic or physically-based animation methods, either by embedding some a priori knowledge about the way that quadrupeds locomote and/or adopting examples of real motion. In this paper, we present an overview of the common techniques used to date for realistic quadruped animation. This includes an outline of the various ways that realistic quadruped motion can be achieved, through video-based acquisition, physics based models, inverse kinematics or some combination of the above. Keywords: quadruped animation, animal biomechanics, motion capture, animation from video ACM CCS: I.3.7 [Computer Graphics]: 3D Graphics and Realism – Animation 1. -
AUDIENCE PERCEPTION of EXAGGERATED MOTION on REALISTIC ANIMATED CREATURES by Mackenzie Hammer
AUDIENCE PERCEPTION OF EXAGGERATED MOTION ON REALISTIC ANIMATED CREATURES by Mackenzie Hammer A Thesis Submitted to the Faculty of Purdue University In Partial Fulfillment of the Requirements for the degree of Master of Science Department of Computer Graphics Technology West Lafayette, Indiana August 2019 2 THE PURDUE UNIVERSITY GRADUATE SCHOOL STATEMENT OF COMMITTEE APPROVAL Prof. Nicoletta Adamo, Chair Department of Computer Graphics Technology Prof. Andrew Buchanan Department of Computer Graphics Technology Prof. Esteban Garcia Department of Computer Graphics Technology Prof. Dan Triplett Department of Computer Graphics Technology Approved by: Dr. Colin Gray Head of the Graduate Program Prof. Nicoletta Adamo Head of the Graduate Program 3 To my parents, brother, sister, and fiancé. For their continuous love and support in my pursuit to study Animation, and for the patience they had to listen to the many ramblings of a passionate artist along the way. 4 ACKNOWLEDGMENTS I wish to gratefully acknowledge my professors and thesis committee members for their insightful guidance, encouragement, and contribution to the completion of this work. 5 TABLE OF CONTENTS LIST OF TABLES .......................................................................................................................... 7 LIST OF FIGURES ........................................................................................................................ 8 ABSTRACT ................................................................................................................................... -
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. -
Digital Creature Animation – Full-Time | Trafalgar Road Campus | 1 Yr Technical Direction (3 Semesters) Launch Or Advance Your Career in Creature Computer Animation
Employer 94% Satisfaction* with the knowledge and skills that our graduates possess. FACULTY OF ANIMATION, ARTS & DESIGN Ontario College Graduate Certificate Program Code: PCDCA Digital Creature Animation – Full-time | Trafalgar Road Campus | 1 yr Technical Direction (3 semesters) Launch or advance your career in creature computer animation. Develop an in-demand computer animation skill. Create characters and creatures audiences Earn your master’s in 3D will remember Develop career-ready skills animation studying abroad Working in the Sheridan Centre for • Study advanced computer Sheridan has an arrangement with the Animation and Emerging Technologies animation techniques Dun Laoghaire Institute of Art and Design (SCAET), you’ll advance in your ability to • Study and apply physically accurate and (IADT) in Ireland. Graduates of Sheridan’s create memorable characters/creatures, technical animation Digital Creature Animation post-grad from script to storyboard to modelling and certificate program from 2009 or later can • Study advanced rigging and modelling advanced rigging, all the way through to apply to IADT to earn their master’s degree • Expand your portfolio post-production. in 15 weeks. • Showcase your technical skills and creativity * 2018 Key Performance Indicator (KPI) survey results produced by the Ontario Government, Colleges Ontario and student associations. Percentage shown reflects the average employer sheridancollege.ca satisfaction across all Sheridan programs over the last five years. Admission Requirements Program Eligibility • Sheridan’s Computer Animation Program or equivalent as assessed by Sheridan. Career Opportunities and Graduates of our program have a specialized, highly marketable skill that translates • A postsecondary diploma or degree in art directly to the workplace. They enjoy career opportunities in such industries as: film, and/or design. -
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.