Will Disney Ever Use Ink Again

Animation technique in which frames are manus-fatigued

Painting with acrylic paint on the opposite side of an already inked cel, here placed on the original blitheness drawing

Traditional animation (or classical animation, cel blitheness, manus-drawn blitheness, second animation or just 2D) is an animation technique in which each frame is drawn by hand. The technique was the ascendant course of animation in cinema until the appearance of calculator animation.

Process [edit]

Writing and storyboarding [edit]

Blitheness production usually begins after a story is conceived. The oral or literary source cloth must then be converted into an animation picture show script, from which the storyboard is derived. The storyboard has an appearance somewhat similar to comic book panels, and is a shot by shot breakdown of the staging, acting and whatsoever camera moves that will exist present in the film. The images permit the blitheness team to program the menstruum of the plot and the limerick of the imagery. The storyboard artists will have regular meetings with the manager and may have to redraw or "re-board" a sequence many times before it meets last approval.

Vocalism recording [edit]

Before true blitheness begins, a preliminary soundtrack or scratch track is recorded, so that the animation may be more precisely synchronized to the soundtrack. Given the slow, methodical way in which traditional blitheness is produced, it is almost always easier to synchronize animation to a pre-existing soundtrack than information technology is to synchronize a soundtrack to pre-existing blitheness. A completed cartoon soundtrack will feature music, sound effects, and dialogue performed by voice actors. Withal, the scratch track used during animation typically contains only the voices, any vocal songs to which characters must sing-along, and temporary musical score tracks; the terminal score and sound effects are added during post-production.

In the case of Japanese animation, as well equally nigh pre-1930 sound blithe cartoons, the sound was mail service-synched; that is, the soundtrack was recorded after the film elements were finished past watching the film and performing the dialogue, music, and sound furnishings required. Some studios, nigh notably Fleischer Studios, continued to postal service-synch their cartoons through most of the 1930s, which allowed for the presence of the "muttered ad-libs" present in many Popeye the Sailor and Betty Boop cartoons.

Animatic [edit]

Ordinarily, an animatic or story reel is created after the soundtrack is recorded, but before full animation begins. An animatic typically consists of pictures of the storyboard timed and cut together with the soundtrack. This allows the animators and directors to work out any script and timing problems that may exist with the electric current storyboard. The storyboard and soundtrack are amended if necessary, and a new animatic may be created and reviewed with the managing director until the storyboard is perfected. Editing the picture at the animatic phase prevents the animation of scenes that would exist edited out of the film; as traditional animation is a very expensive and time-consuming process, creating scenes that will somewhen be edited out of the completed cartoon is strictly avoided.

Pattern and timing [edit]

The storyboards are then sent to the design departments. Character designers prepare model sheets for any characters and props that appear in the movie; and these are used to aid standardize appearance, poses, and gestures. The model sheets volition frequently include "turnarounds" which show how a character or object looks in three-dimensions forth with standardized special poses and expressions so that the artists working on the project can take a guide to refer to in order to deliver consequent work. Sometimes, small-scale statues known as maquettes may be produced, so that an animator tin can encounter what a character looks like in three dimensions. Around the same time, the groundwork stylists volition do similar work for whatever settings and locations present in the storyboard, and the art directors and color stylists will make up one's mind the art way and color schemes to exist used.

While the design is going on, the timing managing director (who in many cases will be the main manager) takes the animatic and analyzes exactly what poses drawings, and lip movements will exist needed on what frames. An exposure canvas (or Ten-sheet for brusque) is created; this is a printed tabular array that breaks down the action, dialogue, and sound frame-by-frame as a guide for the animators. If a moving picture is based more than strongly in music, a bar canvass may be prepared in addition to or instead of an X-sheet.^[ane] Bar sheets evidence the relationship between the on-screen activeness, the dialogue, and the actual musical notation used in the score.

Layout [edit]

Layout begins afterward the designs are completed and approved by the director. The layout process is the aforementioned equally the blocking out of shots by a cinematographer on a live-action film. It is here that the background layout artists make up one's mind the camera angles, photographic camera paths, lighting, and shading of the scene. Grapheme layout artists volition determine the major poses for the characters in the scene and volition make a drawing to betoken each pose. For short films, graphic symbol layouts are frequently the responsibleness of the director.

The layout drawings and storyboards are then spliced, along with the audio and an animatic is formed (not to be confused with its predecessor, the leica reel). The term "animatic" was originally coined by Walt Disney Animation Studios.

Blitheness [edit]

Sketch of an animation peg bar, and measurements of iii types, Pinnacle existence the most mutual.

Once the animatic is finally canonical by the manager, blitheness begins.

In the traditional animation process, animators volition brainstorm past drawing sequences of animation on sheets of transparent paper perforated to fit the peg bars in their desks, often using colored pencils, one moving-picture show or "frame" at a time.^[2] A peg bar is an animation tool used in traditional animation to proceed the drawings in identify. The pins in the peg bar match the holes in the paper. It is fastened to the animation desk or low-cal table, depending on which is existence used. A primal animator or lead animator will draw the cardinal drawings or key frames in a scene, using the grapheme layouts equally a guide. The central animator draws enough of the frames to get across the major poses within a character operation; in a sequence of a graphic symbol jumping beyond a gap, the key animator may describe a frame of the character as they are about to leap, two or more than frames as the character is flying through the air and the frame for the graphic symbol landing on the other side of the gap.

Timing is important for the animators drawing these frames; each frame must match exactly what is going on in the soundtrack at the moment the frame will appear, or else the discrepancy between audio and visual will exist distracting to the audience. For example, in loftier-budget productions, extensive effort is given in making sure a speaking grapheme'due south oral fissure matches in shape the audio that the character's role player is producing as they speak.

While working on a scene, a key animator will usually prepare a pencil test of the scene. A pencil test is a much rougher version of the terminal animated scene (oftentimes devoid of many character details and color); the pencil drawings are speedily photographed or scanned and synced with the necessary soundtracks. This allows the blitheness to be reviewed and improved upon before passing the work on to their assistant animators, who will add details and some of the missing frames in the scene. The piece of work of the assistant animators is reviewed, pencil-tested, and corrected until the lead animator is prepare to run into with the manager and have their scene sweatboxed, or reviewed by the managing director, producer, and other central artistic squad members. Similar to the storyboarding stage, an animator may exist required to redo a scene many times before the director will approve it.

In high-budget animated productions, frequently each major graphic symbol will have an animator or grouping of animators solely defended to drawing that character. The grouping will be made up of one supervising animator, a pocket-size group of fundamental animators, and a larger grouping of assistant animators. For scenes where two characters interact, the key animators for both characters volition decide which character is "leading" the scene, and that character will be fatigued start. The second character will be animated to react to and support the actions of the "leading" graphic symbol.

Once the primal animation is approved, the lead animator forrard the scene on to the make clean-up department, made upwards of the clean-upwardly animators and the inbetweeners. The clean-up animators take the lead and assistant animators' drawings and trace them onto a new sheet of paper, making certain to include all of the details present on the original model sheets, and so that the film maintains a cohesiveness and consistency in art style. The inbetweeners volition draw in any frames are still missing in-between the other animators' drawings. This procedure is called tweening. The resulting drawings are once again pencil-tested and sweatboxed until they run into blessing.

At each phase during pencil animation, canonical artwork is spliced into the Leica reel.^[3]

This process is the same for both grapheme animation and special furnishings animation, which on almost high-budget productions are done in separate departments. Furnishings animators breathing anything that moves and are not a character, including props, vehicles, machinery and phenomena such as burn down, rain, and explosions. Sometimes, instead of drawings, a number of special processes are used to produce special effects in animated films; rain, for example, has been created in Disney animated films since the late 1930s past filming boring-motion footage of water in front of a blackness background, with the resulting film superimposed over the animation.

Pencil examination [edit]

Later all the drawings are cleaned upward, they are so photographed on an animation camera, unremarkably on black and white film stock.^[4] Nowadays, pencil tests can be made using a video camera and calculator software.

Backgrounds [edit]

While the animation is existence done, the groundwork artists volition paint the sets over which the activeness of each animated sequence will take place. These backgrounds are more often than not done in gouache or acrylic pigment, although some animated productions have used backgrounds done in watercolor or oil paint. Background artists follow very closely the work of the groundwork layout artists and color stylists (which is usually compiled into a workbook for their employ) so that the resulting backgrounds are harmonious in tone with the character designs.

Traditional ink-and-pigment and photographic camera [edit]

Once the clean-ups and in-between drawings for a sequence are completed, they are prepared for photography, a process known as ink-and-paint. Each drawing is then transferred from paper to a thin, clear sheet of plastic called a cel, a contraction of the textile name celluloid (the original flammable cellulose nitrate was later replaced with the more stable cellulose acetate). The outline of the cartoon is inked or photocopied onto the cel, and gouache, acrylic or a similar blazon of paint is used on the reverse sides of the cels to add colors in the advisable shades. In many cases, characters will have more than i colour palette assigned to them; the usage of each one depends upon the mood and lighting of each scene. The transparent quality of the cel allows for each character or object in a frame to be animated on different cels, every bit the cel of one graphic symbol can be seen underneath the cel of another; and the opaque background will be seen below all of the cels.

When an entire sequence has been transferred to cels, the photography process begins. Each cel involved in a frame of a sequence is laid on top of each other, with the groundwork at the lesser of the stack. A piece of glass is lowered onto the artwork in order to flatten whatever irregularities, and the composite image is then photographed by a special animation camera, also called rostrum photographic camera.^[5] The cels are removed, and the process repeats for the next frame until each frame in the sequence has been photographed. Each cel has registration holes, small holes along the pinnacle or bottom edge of the cel, which allow the cel to be placed on corresponding peg bars^[6] before the camera to ensure that each cel aligns with the ane before it; if the cels are not aligned in such a style, the animation, when played at total speed, volition appear "jittery." Sometimes, frames may demand to exist photographed more than once, in social club to implement superimpositions and other camera furnishings. Pans are created by either moving the cels or backgrounds 1 step at a time over a succession of frames (the camera does not pan; it but zooms in and out).

A camera used for shooting traditional blitheness. Run into besides Aeriform image.

Dope sheets are created past the animators and used by the camera operator to transfer each animation cartoon into the number of film frames specified by the animators, whether it is ane (1s, ones) 2 (2s, twos) or 3 (3s, threes).

As the scenes come out of final photography, they are spliced into the Leica reel, taking the place of the pencil animation. Once every sequence in the product has been photographed, the final movie is sent for development and processing, while the terminal music and sound furnishings are added to the soundtrack. Again, editing in the traditional alive-activeness sense is generally non done in animation, just if it is required it is done at this time, before the concluding print of the film is gear up for duplication or broadcast.

Among the most mutual types of animation rostrum cameras was the Oxberry. Such cameras were e'er made of black anodized aluminum, and commonly had 2 peg bars, 1 at the elevation and 1 at the lesser of the lightbox. The Oxberry Main Series had 4 peg bars, 2 above and 2 beneath, and sometimes used a "floating peg bar" besides. The acme of the column on which the camera was mounted determined the amount of zoom achievable on a slice of artwork. Such cameras were massive mechanical affairs that might weigh close to a ton and take hours to suspension down or fix.

In the later years of the animation rostrum camera, stepper motors controlled by computers were attached to the various axes of movement of the camera, thus saving many hours of hand cranking by human operators. Gradually, move control techniques were adopted throughout the industry.

Digital ink and paint processes gradually made these traditional animation techniques and equipment obsolete.

Digital ink and paint [edit]

The electric current process, termed "digital ink and paint", is the aforementioned as traditional ink and pigment until afterwards the animation drawings are completed;^[vii] instead of being transferred to cels, the animators' drawings are either scanned into a figurer or drawn directly onto a computer monitor via graphics tablets (such as Wacom Cintiq tablet), where they are colored and processed using one or more than of a variety of software packages. The resulting drawings are composited in the figurer over their corresponding backgrounds, which have also been scanned into the computer (if not digitally painted), and the computer outputs the final film by either exporting a digital video file, using a video cassette recorder or press to pic using a high-resolution output device. Utilise of computers allows for easier exchange of artwork between departments, studios, and even countries and continents (in virtually low-upkeep American animated productions, the bulk of the animation is actually done past animators working in other countries, including Southward Korea, Taiwan, Japan, Cathay, Singapore, Mexico, India, and the Philippines). As the toll of both inking and painting new cels for animated films and TV programs and the repeated usage of older cels for newer animated Idiot box programs and films went upward and the cost of doing the same thing digitally went down, eventually, the digital ink-and-paint process became the standard for future animated movies and Idiot box programs.

Hanna-Barbera was the commencement American animation studio to implement a computer blitheness system for digital ink-and-paint usage.^[8] Following a delivery to the technology in 1979, computer scientist Marc Levoy led the Hanna-Barbera Blitheness Laboratory from 1980 to 1983, developing an ink-and-paint system that was used in roughly a third of Hanna-Barbera'south domestic production, starting in 1984 and continuing until replaced with third-party software in 1996.^[8] ^[ix] In add-on to a toll savings compared to traditional cel painting of 5 to 1, the Hanna-Barbera organization also immune for multiplane camera effects axiomatic in H-B productions such as A Pup Named Scooby-Doo (1988).^[10]

Digital ink and paint has been in use at Walt Disney Animation Studios since 1989, where it was used for the final rainbow shot in The Little Mermaid. All subsequent Disney animated features were digitally inked-and-painted (starting with The Rescuers Down Under, which was also the first major feature moving picture to entirely use digital ink and paint), using Disney'south proprietary CAPS (Computer Blitheness Production System) technology, developed primarily by Pixar Animation Studios. The CAPS organisation allowed the Disney artists to make utilize of colored ink-line techniques mostly lost during the xerography era, as well equally multiplane effects, blended shading, and easier integration with 3D CGI backgrounds (as in the ballroom sequence in the 1991 film Beauty and the Fauna), props, and characters.^[xi] ^[12]

While Hanna-Barbera and Disney began implementing digital inking and painting, it took the rest of the industry longer to adapt. Many filmmakers and studios did non desire to shift to the digital ink-and-paint process because they felt that the digitally colored animation would await too constructed and would lose the aesthetic appeal of the not-computerized cel for their projects. Many animated television set serial were yet animated in other countries by using the traditionally inked-and-painted cel process as belatedly every bit 2004, though about of them switched over to the digital process at some betoken during their run. The last major feature film to use traditional ink and paint was Satoshi Kon's Millennium Actress (2001); the terminal major animation productions in the west to use the traditional process was Play a joke on's The Simpsons and Cartoon Network'due south Ed, Edd n Boil, which switched to digital paint in 2002 and 2004 respectively,^[thirteen] while the last major animated production overall to carelessness cel animation was the tv set adaptation of Sazae-san, which remained stalwart with the technique until September 29, 2013, when it switched to fully digital blitheness on October 6, 2013. Prior to this, the serial adopted digital animation solely for its opening credits in 2009, just retained the utilize of traditional cels for the main content of each episode.^[14] Pocket-size productions, such equally Hair Loftier (2004) by Bill Plympton, have used traditional cels long subsequently the introduction of digital techniques. Virtually studios today use one of a number of other high-end software packages, such as Toon Boom Harmony, Toonz (OpenToonz), Animo, and RETAS, or even consumer-level applications such as Adobe Flash, Toon Boom Technologies and Television receiver Paint.

Computers and digital video cameras [edit]

Computers and digital video cameras tin can besides be used as tools in traditional cel animation without affecting the motion-picture show direct, profitable the animators in their piece of work and making the whole procedure faster and easier. Doing the layouts on a estimator is much more effective than doing it by traditional methods.^[15] Additionally, video cameras requite the opportunity to see a "preview" of the scenes and how they will expect when finished, enabling the animators to right and better upon them without having to complete them first. This tin exist considered a digital form of pencil testing.

Techniques [edit]

Cels [edit]

This image shows how ii transparent cels, each with a different grapheme fatigued on them, and an opaque groundwork are photographed together to form the composite image.

The cel is an important innovation to traditional animation, as it allows some parts of each frame to exist repeated from frame to frame, thus saving labor. A elementary example would be a scene with two characters on screen, one of which is talking and the other standing silently. Since the latter graphic symbol is not moving, it can exist displayed in this scene using just one drawing, on one cel, while multiple drawings on multiple cels are used to animate the speaking character.

For a more than complex instance, consider a sequence in which a person sets a plate upon a tabular array. The table stays still for the unabridged sequence, and then it tin be drawn as part of the groundwork. The plate can be drawn forth with the character as the character places it on the table. However, later on the plate is on the table, the plate no longer moves, although the person continues to move as they depict their arm away from the plate. In this case, afterwards the person puts the plate down, the plate tin can then be drawn on a separate cel from them. Further frames feature new cels of the person, but the plate does not have to be redrawn equally it is not moving; the same cel of the plate tin be used in each remaining frame that it is nevertheless upon the tabular array. The cel paints were actually manufactured in shaded versions of each colour to compensate for the actress layer of cel added between the image and the camera; in this instance, the still plate would be painted slightly brighter to recoup for existence moved one layer downwardly. In TV and other low-budget productions, cels were oftentimes "cycled" (i.e., a sequence of cels was repeated several times), and even archived and reused in other episodes. After the pic was completed, the cels were either thrown out or, particularly in the early days of animation, washed clean and reused for the next motion-picture show. In some cases, some of the cels were put into the "archive" to exist used again and again for future purposes in order to save money. Some studios saved a portion of the cels and either sold them in studio stores or presented them as gifts to visitors.

How Animated Cartoons Are Made (1919), showing characters made from cut-out newspaper

In very early cartoons made before the utilize of the cel, such every bit Gertie the Dinosaur (1914), the entire frame, including the background and all characters and items, were fatigued on a single sheet of paper, then photographed. Everything had to be redrawn for each frame containing movements. This led to a "jittery" appearance; imagine seeing a sequence of drawings of a mountain, each one slightly different from the one preceding it. The pre-cel animation was later improved by using techniques like the slash and tear system invented by Raoul Barre; the background and the animated objects were fatigued on separate papers.^[16] A frame was made past removing all the bare parts of the papers where the objects were drawn before being placed on top of the backgrounds and finally photographed. The cel animation procedure was invented by Earl Hurd and John Bray in 1915.

Limited animation [edit]

In lower-budget productions, shortcuts bachelor through the cel technique are used extensively. For example, in a scene in which a person is sitting in a chair and talking, the chair and the body of the person may be the same in every frame; only their caput is redrawn, or mayhap even their head stays the same while only their oral cavity moves. This is known as express animation. ^[17] The procedure was popularized in theatrical cartoons past United Productions of America and used in well-nigh television animation, specially that of Hanna-Barbera. The end result does non wait very lifelike, just is inexpensive to produce, and therefore allows cartoons to be made on modest tv set budgets.

"Shooting on twos" [edit]

Moving characters are often shot "on twos", that is to say, one cartoon is shown for every two frames of film (which usually runs at 24 frames per second), meaning there are only 12 drawings per second.^[18] Even though the epitome update rate is depression, the fluidity is satisfactory for most subjects. However, when a character is required to perform a quick motility, it is commonly necessary to revert to animating "on ones", as "twos" are too slow to convey the motility adequately. A alloy of the ii techniques keeps the center fooled without unnecessary production costs.

Academy Award-nominated animator Bill Plympton is noted for his style of animation that uses very few in-betweens and sequences that are done on 3s or on 4s, holding each drawing on the screen from 1/8 to 1/6 of a second.^[19] While Plympton uses near-constant iii-frame holds, sometimes animation that simply averages eight drawings per second is also termed "on threes" and is usually done to meet upkeep constraints, along with other cost-cutting measures like holding the same drawing of a graphic symbol for a prolonged time or panning over a withal paradigm,^[20] techniques often used in low-budget Telly productions.^[21] It is also common in anime, where fluidity is sacrificed in lieu of a shift towards complexity in the designs and shading (in contrast with the more functional and optimized designs in the Western tradition); fifty-fifty high-budget theatrical features such equally Studio Ghibli's utilize the full range: from smooth animation "on ones" in selected shots (usually quick action accents) to common blitheness "on threes" for regular dialogue and deadening-paced shots.

Animation loops [edit]

A horse animated by rotoscoping from Eadweard Muybridge's 19th-century photos. The animation consists of 8 drawings which are "looped", i.e. repeated over and over. This instance is likewise "shot on twos", i.east. shown at 12 drawings per second.

Creating blitheness loops or animation cycles is a labor-saving technique for animative repetitive motions, such as a character walking or a cakewalk bravado through the trees. In the case of walking, the grapheme is blithe taking a step with its right pes, then a stride with its left pes. The loop is created so that, when the sequence repeats, the move is seamless. Nonetheless, because an blitheness loop essentially uses the same bit of animation over and over again, it is easily detected and can, in fact, get distracting to an audition. In general, they are used simply sparingly past productions with moderate or high budgets.

Ryan Larkin's 1969 Academy Accolade-nominated National Motion picture Board of Canada short Walking makes artistic employ of loops. In addition, a promotional music video from Cartoon Network'south Groovies featuring the Soul Coughing song "Circles" poked fun at animation loops every bit they are frequently seen in The Flintstones, in which Fred and Barney (forth with various Hanna-Barbera characters that aired on Drawing Network), supposedly walking in a house, wonder why they go along passing the same table and vase over and once more.

Multiplane process [edit]

The multiplane process is a technique primarily used to give a sense of depth or parallax to ii-dimensional animated films. To employ this technique in traditional animation, the artwork is painted or placed onto divide layers called planes. These planes, typically constructed of planes of transparent drinking glass or plexiglass, are and then aligned and placed with specific distances between each airplane.^[22] The order in which the planes are placed, and the distance betwixt them, is determined by what element of the scene is on the plane equally well as the entire scene'southward intended depth.^[23] A camera, mounted above or in front of the planes, moves its focus toward or away from the planes during the capture of the individual animation frames. In some devices, the individual planes can be moved toward or away from the camera. This gives the viewer the impression that they are moving through the separate layers of fine art as though in a 3-dimensional space.

History [edit]

Predecessors of this technique and the equipment used to implement it began appearing in the late 19th century. Painted glass panes were often used in matte shots and glass shots,^[24] every bit seen in the work of Norman Dawn.^[25] In 1923, Lotte Reiniger and her animation team constructed one of the first multiplane animation structures, a device called a Tricktisch. Its top-down, vertical design immune for overhead adjusting of individual, stationary planes. The Tricktisch was used in the filming of The Adventures of Prince Achmed, i of Reiniger'due south most well-known works.^[26] Future multiplane blitheness devices would generally utilise the same vertical design every bit Reiniger's device. One notable exception to this trend was the Setback Camera, adult and used past Fleischer Studios. This device used miniature three-dimensional models of sets, with animated cels placed at various positions within the set. This placement gave the advent of objects moving in front end of and backside the blithe characters, and was ofttimes referred to every bit the Tabletop Method.^[27]

The most famous device used for multiplane animation was the multiplane camera. This device, originally designed past onetime Walt Disney Studios animator/director Ub Iwerks, is a vertical, top-down photographic camera crane that shot scenes painted on multiple, individually adjustable glass planes.^[22] The movable planes allowed for changeable depth within individual animated scenes.^[22] In later on years Disney Studios would adopt this engineering for their own uses. Designed in 1937 by William Garity, the multiplane camera used for the moving picture Snow White and the 7 Dwarfs utilized artwork painted on up to vii separate, movable planes, as well as a vertical, top-down camera.^[28]

The final blithe film by Disney that featured the utilize of their multiplane camera was The Trivial Mermaid, though the work was outsourced as Disney's equipment was inoperative at the fourth dimension.^[29] Usage of the multiplane photographic camera or similar devices declined due to production costs and the rise of digital blitheness. Beginning largely with the use of CAPS, digital multiplane cameras would help streamline the process of calculation layers and depth to animated scenes.

Affect [edit]

The spread and evolution of multiplane blitheness helped animators tackle problems with motility tracking and scene depth, and reduced production times and costs for animated works.^[22] In a 1957 recording, Walt Disney explained why motility tracking was an issue for animators, as well as what multiplane animation could do to solve it. Using a two-dimensional still of an animated farmhouse at night, Disney demonstrated that zooming in on the scene, using traditional animation techniques of the time, increased the size of the moon. In existent-life experience, the moon would not increment in size as a viewer approached a farmhouse. Multiplane animation solved this problem by separating the moon, farmhouse, and farmland into dissever planes, with the moon existence farthest away from the camera. To create the zoom effect, the first two planes were moved closer to the photographic camera during filming, while the plane with the moon remained at its original altitude.^[thirty] This provided a depth and fullness to the scene that was closer in resemblance to real life, which was a prominent goal for many animation studios at the time.

Xerography [edit]

Applied to blitheness by Ub Iwerks at the Walt Disney studio during the late 1950s, the electrostatic copying technique called xerography allowed the drawings to exist copied direct onto the cels, eliminating much of the "inking" portion of the ink-and-paint process.^[31] This saved time and money, and it too made it possible to put in more than details and to control the size of the xeroxed objects and characters (this replaced the little known, and seldom used, photographic lines technique at Disney, used to reduce the size of animation when needed). At offset, information technology resulted in a more sketchy wait, but the technique was improved upon over time.

Disney animator and engineer Pecker Justice had patented a forerunner of the Xerox process in 1944, where drawings made with a special pencil would be transferred to a cel by force per unit area, and and then fixing it. It is non known if the process was ever used in animation.^[32]

The xerographic method was outset tested past Disney in a few scenes of Sleeping Dazzler and was first fully used in the short film Goliath II, while the get-go characteristic entirely using this process was One Hundred and I Dalmatians (1961). The graphic mode of this motion-picture show was strongly influenced by the process. Some hand inking was still used together with xerography in this and subsequent films when distinct colored lines were needed. Later, colored toners became available, and several distinct line colors could be used, even simultaneously. For instance, in The Rescuers the characters' outlines are grayness. White and blueish toners were used for special effects, such equally snow and h2o.

The APT process [edit]

Invented by Dave Spencer for the 1985 Disney film The Blackness Cauldron, the APT (Animation Photo Transfer) process was a technique for transferring the animators' art onto cels. Basically, the process was a modification of a repro-photographic process; the artists' piece of work was photographed on high-contrast "litho" film, and the image on the resulting negative was and so transferred to a cel covered with a layer of low-cal-sensitive dye. The cel was exposed through the negative. Chemicals were then used to remove the unexposed portion. Modest and fragile details were still inked by hand if needed. Spencer received an University Honour for Technical Achievement for developing this process.

Cel overlay [edit]

A cel overlay is a cel with inanimate objects used to requite the impression of a foreground when laid on top of a prepare frame.^[33] This creates the illusion of depth, simply non as much every bit a multiplane camera would. A special version of cel overlay is called line overlay, fabricated to complete the background instead of making the foreground, and was invented to deal with the sketchy advent of xeroxed drawings. The groundwork was first painted equally shapes and figures in flat colors, containing rather few details. Side by side, a cel with detailed blackness lines was laid directly over it, each line is fatigued to add more information to the underlying shape or figure and give the groundwork the complexity information technology needed. In this fashion, the visual style of the groundwork volition lucifer that of the xeroxed character cels. Equally the xerographic procedure evolved, line overlay was left behind.

Computers and traditional blitheness [edit]

The methods mentioned in a higher place describe the techniques of an animation procedure that originally depended on cels in its final stages, but painted cels are rare today every bit the reckoner moves into the animation studio, and the outline drawings are usually scanned into the computer and filled with digital pigment instead of being transferred to cels and and so colored by hand.^[34] The drawings are composited in a computer program on many transparent "layers" much the same way every bit they are with cels,^[35] and made into a sequence of images which may then be transferred onto film or converted to a digital video format.^[36]

Information technology is at present also possible for animators to depict straight into a reckoner using a graphics tablet such as a Cintiq or a like device, where the outline drawings are washed in a like manner as they would be on paper. The Goofy brusque How To Hook Up Your Home Theater (2007) represented Disney's beginning projection based on the paperless engineering available today. Some of the advantages are the possibility and potential of controlling the size of the drawings while working on them, drawing direct on a multiplane background and eliminating the need for photographing line tests and scanning.

Though traditional animation is now commonly done with computers, it is important to differentiate computer-assisted traditional animation from 3D computer animation, such as Toy Story and Water ice Age. However, often traditional animation and 3D reckoner animation will be used together, as in Don Bluth'due south Titan A.E. and Disney's Tarzan and Treasure Planet. Most anime and many western animated series withal use traditional animation today. DreamWorks executive Jeffrey Katzenberg coined the term "tradigital animation" to describe animated films produced by his studio which incorporated elements of traditional and estimator animation as, such every bit Spirit: Stallion of the Cimarron and Sinbad: Fable of the Seven Seas.

Many video games such equally Viewtiful Joe, The Legend of Zelda: The Wind Waker and others use "cel-shading" animation filters or lighting systems to make their total 3D animation announced equally though it were drawn in a traditional cel-mode. This technique was also used in the animated movie Appleseed, and cel-shaded 3D animation is typically integrated with cel animation in Disney films and in many television shows, such every bit the Fox animated serial Futurama. In one scene of the 2007 Pixar movie Ratatouille, an illustration of Gusteau (in his cookbook), speaks to Remy (who, in that scene, was lost in the sewers of Paris) every bit a figment of Remy's imagination; this scene is also considered an instance of cel-shading in an blithe feature. More recently, animated shorts such as Paperman, Feast, and The Dam Keeper have used a more distinctive style of cel-shaded 3D animation, capturing a look and experience similar to a 'moving painting'.

Rotoscoping [edit]

Rotoscoping is a method of traditional animation invented past Max Fleischer in 1915, in which blitheness is "traced" over bodily moving picture footage of actors and scenery.^[37] Traditionally, the alive-action volition be printed out frame past frame and registered. Another piece of newspaper is and then placed over the live-action printouts and the action is traced frame past frame using a lightbox. The end result all the same looks hand-fatigued but the motion will be remarkably lifelike. The films Waking Life and American Pop are full-length rotoscoped films. Rotoscoped animation also appears in the music videos for A-ha's vocal "Take On Me" and Kanye West'south "Heartless". In well-nigh cases, rotoscoping is mainly used to assistance the animation of realistically rendered human beings, as in Snow White and the Seven Dwarfs, Peter Pan, and Sleeping Beauty.

A method related to conventional rotoscoping was afterwards invented for the animation of solid inanimate objects, such as cars, boats, or doors. A small-scale live-action model of the required object was built and painted white, while the edges of the model were painted with sparse blackness lines. The object was then filmed every bit required for the blithe scene past moving the model, the camera, or a combination of both, in real-time or using stop-movement animation. The film frames were then printed on paper, showing a model made upward of the painted black lines. After the artists had added details to the object not present in the live-action photography of the model, information technology was xeroxed onto cels. A notable case is Cruella de Vil'southward auto in Disney'south 1 Hundred and One Dalmatians. The process of transferring 3D objects to cels was greatly improved in the 1980s when figurer graphics avant-garde enough to let the cosmos of 3D computer-generated objects that could be manipulated in any manner the animators wanted, and then printed as outlines on newspaper before being copied onto cels using Xerography or the APT process. This technique was used in Disney films such as Oliver and Company (1988) and The Lilliputian Mermaid (1989). This process has more or less been superseded by the apply of cel-shading.

Related to rotoscoping are the methods of vectorizing alive-activity footage, in order to achieve a very graphical look, like in Richard Linklater's film A Scanner Darkly.

Live-activity hybrids [edit]

Similar to the computer animation and traditional animation hybrids described above, occasionally a production will combine both live-activeness and animated footage. The live-action parts of these productions are usually filmed beginning, the actors pretending that they are interacting with the animated characters, props, or scenery; animation will and then be added into the footage after to make it appear as if it has always been there. Like rotoscoping, this method is rarely used, but when it is, it tin can exist done to terrific effect, immersing the audience in a fantasy world where humans and cartoons co-exist. Early examples include the silent Out of the Inkwell (begun in 1919) cartoons past Max Fleischer and Walt Disney'due south Alice Comedies (begun in 1923). Live-activeness and animation were later combined in features such as Mary Poppins (1964), Who Framed Roger Rabbit (1988), Space Jam (1996), and Enchanted (2007), among many others. The technique has also seen pregnant utilize in television commercials, specially for breakfast cereals marketed to children to involvement them and boost sales.

Special furnishings animation [edit]

Likewise traditionally animated characters, objects, and backgrounds, many other techniques are used to create special elements such equally smoke, lightning and "magic", and to give the blitheness, in general, a distinct visual advent. Today special effects are by and large done with computers, but earlier they had to be done by paw. To produce these furnishings, the animators used different techniques, such as drybrush, airbrush, charcoal, grease pencil, backlit blitheness, diffusing screens, filters, or gels. For case, the Nutcracker Suite segment in Fantasia has a fairy sequence where stippled cels are used, creating a soft pastel expect.

References [edit]

Citations [edit]

^ Laybourne 1998, pp. 202–203.
^ Laybourne 1998, p. xv.
^ Laybourne 1998, pp. 105–107.
^ Laybourne 1998, p. 339.
^ Laybourne 1998, pp. 302–313.
^ "ANIMATO Animation Equipment". 14 May 2011. Archived from the original on fourteen May 2011. Retrieved one Jan 2017. {{cite spider web}}: CS1 maint: bot: original URL status unknown (link)
^ Laybourne 1998, p. 233.
^ ^a ^b Jones, Angie. (2007). Thinking animation : bridging the gap between 2D and CG. Boston, MA: Thomson Grade Technology. ISBN978-1-59863-260-half-dozen. OCLC 228168598.
^ "1976 Charles Goodwin Sands Memorial Medal". graphics.stanford.edu . Retrieved 2020-08-xx .
^ Lewell, John (2017-07-03). "Behind the Screen at Hanna-Barbera" (PDF). Archived from the original (PDF) on 2017-07-03. Retrieved 2020-08-twenty .
^ Robertson, Barbara (July 2002). "Part 7: Movie Retrospective". Calculator Graphics World. 25 (seven). Dec 1991 Although 3D graphics debuted in earlier Disney animations, Beauty and the Creature is the first in which hand-drawn characters appear in a 3D background. Every frame of the moving picture is scanned, created, or composited within Disney's figurer animation production system (CAPS) co-developed with Pixar. (Premiere: (xi/91)
^ "Timeline". Computer Graphics Globe. 35 (6). Oct–November 2012. Dec 1991: Beauty and the Brute is the kickoff Disney pic with mitt-drawn characters in a 3D groundwork. Every frame is scanned, created, or composited within CAPS.
^ "momotato.com - momotato Resources and Information". Retrieved 1 January 2017.
^ Sazae-san is Last Television receiver Anime Using Cels, Not Computers—Anime News Network
^ Laybourne 1998, p. 241.
^ Thomas & Johnston 1995, p. thirty.
^ Culhane 1989, p. 212.
^ Laybourne 1998, p. 180.
^ Segall, Mark (1996). "Plympton'southward Metamorphoses". Animation World Magazine.
^ LaMarre 2009, p. 187.
^ Maltin 1987, p. 277.
^ ^a ^b ^c ^d Walt Disney's MultiPlane Photographic camera (Filmed Feb. 13, 1957) , retrieved 2019-09-17
^ Multi-Aeroplane Blitheness Basics | Terminate Motion , retrieved 2019-09-17
^ Maher, Michael (2015-09-xxx). "Visual Effects: How Matte Paintings are Composited into Moving picture". RocketStock . Retrieved 2019-09-18 .
^ "CONTENTdm". hrc.contentdm.oclc.org . Retrieved 2019-09-17 .
^ Malczyk, G. (2008-09-01). "Practicing Modernity: Female Creativity in the Weimar Republic. Edited by Christiane Schonfeld. Würzburg: Konigshausen & Neumann, 2006. 353 pages. 48,00". Monatshefte. 100 (3): 439–440. doi:10.1353/mon.0.0033. ISSN 0026-9271. S2CID 142450235.
^ Sobchack, Vivian Carol (2000). Meta Morphing: Visual Transformation and the Culture of Quick-modify. U of Minnesota Printing. ISBN9780816633197.
^ "Movie theater: Mouse & Man". Fourth dimension. 1937-12-27. ISSN 0040-781X. Retrieved 2019-09-eighteen .
^ Musker, John; Clements, Ron (2010). "Aladdin". 100 Animated Feature Films. doi:10.5040/9781838710514.0007. ISBN9781838710514.
^ ScreenPrism (23 November 2015). "How did the multiplane camera invented for "Snowfall White and the 7 Dwarfs" redefine blitheness | ScreenPrism". screenprism.com . Retrieved 2019-09-18 .
^ Laybourne 1998, p. 213.
^ "A. Pic L.A.: Overnice Try, Neb..." Retrieved 1 January 2017.
^ Laybourne 1998, p. 168.
^ Laybourne 1998, pp. thirty, 67.
^ Laybourne 1998, p. 176.
^ Laybourne 1998, pp. 354, 368.
^ Laybourne 1998, p. 172.

Sources [edit]

Blair, Preston (1994). Cartoon Animation. Laguana Hills, CA: Walter Foster Publishing. ISBN156-010084-2.
Culhane, Shamus (1989). Animation from Script to Screen. New York: St. Martin's Griffin. ISBN031-205052-half-dozen.
LaMarre, Thomas (2009). The Anime Machine. U of Minnesota Press. ISBN978-0-8166-5154-2.
Laybourne, Kit (1998). The Animation Book : A Complete Guide to Animated Filmmaking—From Flip-Books to Audio Cartoons to 3-D Animation . New York: 3 Rivers Printing. ISBN051-788602-two.
Maltin, Leonard (1987). Of Mice and Magic: A History of American Animated Cartoons. Penguin Books. ISBN978-0-4522-5993-5.
Thomas, Frank; Johnston, Ollie (1995). Disney Blitheness: The Illusion Of Life. Los Angeles: Disney Editions. ISBN078-686070-7.
Williams, Richard (2002). The Animator's Survival Kit: A Manual of Methods, Principles, and Formulas for Classical, Computer, Games, End Motion, and Internet Animators. London: Faber & Faber. ISBN057-120228-iv.

External links [edit]

Media related to Traditional animation at Wikimedia Eatables

sowardsmoren1973.blogspot.com

Source: https://en.wikipedia.org/wiki/Traditional_animation