1.
Chroma key
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Chroma key compositing, or chroma keying, is a visual effects / post-production technique for compositing two images or video streams together based on color hues. The technique has been used heavily in many fields to remove a background from the subject of a photo or video – particularly the newscasting, motion picture and videogame industries. A color range in the footage is made transparent, allowing separately filmed background footage or a static image to be inserted into the scene. The chroma keying technique is used in video production and post-production. No part of the subject being filmed or photographed may duplicate the color used as the backing, when using a blue screen, different weather maps are added on the parts of the image where the color is blue. If the news presenter wears blue clothes, his or her clothes will also be replaced with the background video, chroma keying is also common in the entertainment industry for visual effects in movies and videogames. Prior to the introduction of travelling mattes and optical printing, double exposure was used to introduce elements into a scene which werent present in the initial exposure and this was done using black draping where a green screen would be used today. George Albert Smith first used this approach in 1898, in 1903, The Great Train Robbery by Edwin S. Porter used double exposure to add background scenes to windows which were black when filmed on set, using a garbage matte to expose only the window areas. In 1918 Frank Williams patented a travelling matte technique, again based on using a black background and this was used in many films, such as The Invisible Man. In the 1920s, Walt Disney used a backdrop to include human actors with cartoon characters. The blue screen method was developed in the 1930s at RKO Radio Pictures, at RKO, Linwood Dunn used an early version of the travelling matte to create wipes – where there were transitions like a windshield wiper in films such as Flying Down to Rio. In 1950, Warner Brothers employee and ex-Kodak researcher Arthur Widmer began working on a travelling matte process. He also began developing techniques, one of the first films to use them was the 1958 adaptation of the Ernest Hemingway novella, The Old Man. Petro Vlahos was awarded an Academy Award for his refinement of techniques in 1964. His technique exploits the fact that most objects in real-world scenes have a color whose blue-color component is similar in intensity to their green-color component, zbigniew Rybczyński also contributed to bluescreen technology. An optical printer with two projectors, a camera and a beam splitter, was used to combine the actor in front of a blue screen together with the background footage. In the early 1970s, American and British television networks began using green backdrops instead of blue for their newscasts, during the 1980s, minicomputers were used to control the optical printer. For the film The Empire Strikes Back, Richard Edlund created an optical printer that accelerated the process considerably
2.
Graphics
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Graphics are visual images or designs on some surface, such as a wall, canvas, screen, paper, or stone to inform, illustrate, or entertain. In contemporary usage it includes, pictorial representation of data, as in computer-aided design and manufacture, in typesetting and the graphic arts, images that are generated by a computer are called computer graphics. Examples are photographs, drawings, Line art, graphs, diagrams, typography, numbers, symbols, geometric designs, maps, engineering drawings, Graphics often combine text, illustration, and color. Graphic design may consist of the selection, creation, or arrangement of typography alone, as in a brochure, flyer, poster, web site. Clarity or effective communication may be the objective, association with cultural elements may be sought, or merely. Graphics can be functional or artistic. C, many of these were found to record astronomical, seasonal, and chronological details. Records from Egypt predate these and papyrus was used by the Egyptians as a material on which to plan the building of pyramids, they also used slabs of limestone, from 600–250 BC, the Greeks played a major role in geometry. They used graphics to represent their mathematical theories such as the Circle Theorem, in art, graphics is often used to distinguish work in a monotone and made up of lines, as opposed to painting. Drawing generally involves making marks on a surface by applying pressure from a tool, in which a tool is always used as if there were no tools it would be art. Graphical drawing is an instrumental guided drawing, woodblock printing, including images is first seen in China after paper was invented. In the West the main techniques have been woodcut, engraving and etching, etching is an intaglio method of printmaking in which the image is incised into the surface of a metal plate using an acid. The acid eats the metal, leaving behind roughened areas, or, if the surface exposed to the acid is very thin, the use of the process in printmaking is believed to have been invented by Daniel Hopfer of Augsburg, Germany, who decorated armour in this way. Etching is also used in the manufacturing of printed circuit boards, Line art is usually monochromatic, although lines may be of different colors. An illustration is a visual representation such as a drawing, painting, the aim of an illustration is to elucidate or decorate a story, poem or piece of textual information, traditionally by providing a visual representation of something described in the text. The editorial cartoon, also known as a cartoon, is an illustration containing a political or social message. Charts are often used to make it easier to understand large quantities of data, a diagram is a simplified and structured visual representation of concepts, ideas, constructions, relations, statistical data, etc. used to visualize and clarify the topic. A symbol, in its sense, is a representation of a concept or quantity, i. e. an idea, object, concept, quality. A map is a depiction of a space, a navigational aid which highlights relations between objects within that space
3.
Animation
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Animation is the process of making the illusion of motion and the illusion of change by means of the rapid display of a sequence of 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 book, motion picture film, video tape, digital media, including formats with animated GIF, Flash animation. To display animation, a 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. Computer animation processes generating animated images with the general term computer-generated imagery, 3D animation uses computer graphics, while 2D animation is used for stylistic, low bandwidth and faster real-time renderings. An earthen goblet discovered at the site of the 5, 200-year-old Shahr-e Sūkhté in southeastern Iran, the artifact bears five sequential images depicting a Persian Desert Ibex jumping up to eat the leaves of a tree. They may, of course, refer to Chinese shadow puppets, in the 19th century, the phenakistoscope, zoetrope and praxinoscope were introduced. A thaumatrope is a toy with a small disk with different pictures on each side. The phenakistoscope was invented simultaneously by Belgian Joseph Plateau and Austrian Simon von Stampfer in 1831, the phenakistoscope consists of a disk with a series of images, drawn on radi evenly space around the center of the disk. John Barnes Linnett patented the first flip book in 1868 as the kineograph, the first animated projection was created in France, by Charles-Émile Reynaud, who was a French science teacher. Reynaud created the Praxinoscope in 1877 and the Théâtre Optique in December 1888, on 28 October 1892, he projected the first animation in public, Pauvre Pierrot, at the Musée Grévin in Paris. This film is notable as the first known instance of film perforations being used. His films were not photographed, they were drawn directly onto the transparent strip, in 1900, more than 500,000 people had attended these screenings. Stuart Blackton, who, because of that, is considered the father of American animation, in Europe, the French artist, Émile Cohl, created the first animated film using what came to be known as traditional animation creation methods - the 1908 Fantasmagorie. The film largely consisted of a figure moving about and encountering all manner of morphing objects. There were also sections of live action in which the hands would enter the scene. The film was created by drawing each frame on paper and then shooting each frame onto negative film, the author of the first puppet-animated film was the Russian-born director Wladyslaw Starewicz, known as Ladislas Starevich
4.
Chinese animation
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Chinese animation or Donghua, in a narrow sense, refers to animation made in China. Modern animation in China began in 1918 when a piece from the United States titled Out of the Inkwell landed in Shanghai. Cartoon clips were first used in advertisements for domestic products, though the animation industry did not begin until the arrival of the Wan brothers in 1926. The Wan brothers produced the first Chinese animated film with sound, The Camels Dance, the first animated film of notable length was Princess Iron Fan in 1941. Princess Iron Fan was the first animated film in Asia and it had great impact on wartime Japanese Momotaro animated feature films. China was relatively on pace with the rest of the world up to the mid-1960s, Chinas golden age of animation would come to an end following the onset of the Cultural Revolution in 1966. Many animators were forced to quit, if not for harsh economic conditions, the mistreatment of the Red Guards would threaten their work. The surviving animations would lean closer to propaganda, by the 1980s, Japan would emerge as the animation powerhouse of the Far East, leaving Chinas industry far behind in reputation and productivity. Though two major changes would occur in the 1990s, igniting some of the biggest changes since the exploration periods, the first is a political change. The implementation of a socialist market economy would push out traditional planned economy systems, no longer would a single entity limit the industrys output and income. The second is a change with the arrival of the Internet. New opportunities would emerge from flash animations and the became more open. Today China is drastically reinventing itself in the industry with greater influences from Hong Kong. Chinese animations today can best be described in two categories, the first type are Conventional Animations produced by corporations of well-financed entities. These content falls along the lines of traditional 2D cartoons or modern 3D CG animated films distributed via cinemas and this format can be summarized as a reviving industry coming together with advanced computer technology and low cost labor. The second type are Webtoons produced by corporations or sometimes just individuals and these contents are generally flash animations ranging anywhere from amateurish to high quality, hosted publicly on various websites. While the global community has always gauged industry success by box office sales and this format cannot be denied when measured in hits among a population of 1.3 billion in just mainland China alone. Most importantly it provides freedom of expression on top of potential advertising
5.
Anime
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Anime is Japanese hand-drawn or computer animation. The word is the pronunciation of animation in Japanese, where this term references all animation. Arguably, the abstract approach to the words meaning may open up the possibility of anime produced in countries other than Japan. For simplicity, many Westerners strictly view anime as a Japanese animation product, some scholars suggest defining anime as specifically or quintessentially Japanese may be related to a new form of orientalism. The earliest commercial Japanese animation dates to 1917, and Japanese anime production has continued to increase steadily. Anime is distributed theatrically, by way of television broadcasts, directly to home media and it is classified into numerous genres targeting diverse broad and niche audiences. Anime is an art form with distinctive production methods and techniques that have been adapted over time in response to emergent technologies. It consists of an ideal story-telling mechanism, combining art, characterization, cinematography. The production of anime focuses less on the animation of movement and more on the realism of settings as well as the use of effects, including panning, zooming. Being hand-drawn, anime is separated from reality by a gap of fiction that provides an ideal path for escapism that audiences can immerse themselves into with relative ease. Diverse art styles are used and character proportions and features can be quite varied, the anime industry consists of over 430 production studios, including major names like Studio Ghibli, Gainax, and Toei Animation. Despite comprising only a fraction of Japans domestic film market, anime makes up a majority of Japanese DVD sales and it has also seen international success after the rise of English-dubbed programming. This rise in popularity has resulted in non-Japanese productions using the anime art style. Anime is an art form, specifically animation, that all genres found in cinema. In Japanese, the term refers to all forms of animation from around the world. In English, anime is more used to denote a Japanese-style animated film or television entertainment or as a style of animation created in Japan. The etymology of the anime is disputed. The English term animation is written in Japanese katakana as アニメーション and is アニメ in its shortened form, in English, anime—when used as a common noun—normally functions as a mass noun
6.
Malaysian animation
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Animation in Malaysia has origins in the puppetry style of wayang kulit, wherein the characters are controlled by the puppeteer, or Tok Dalang. Chinese shadow play inspired German filmmaker Lotte Reiniger to create the animated The Adventures of Prince Achmed in 1926 that was based on one of the stories in the 1001 Nights stories. Many of the animators have credited Prince Achmeds recognizable style for generating their initial interest in animation as well as in their works. A set designer working for the Unit named Anandam Xavier was asked to handle an animation project in 1961, Xavier set to work on the first in-country animation short subject Hikayat Sang Kancil until 1978, although the short would not see a release until 1983. The surge in Malaysian animation products resulted in the founding of two studios, FilmArt, established in 1984 and Lensamation, which opened its doors in 1987. Having these production companies in the led to the legitimization of animation as an art form and career path. The year 1995 saw the debut of the first animated television series, the animation industry in Malaysia received some attention from Tun Mahathir bin Mohamad, the fourth Prime Minister of Malaysia with plans for rapidly modernizing the country. This extended to the use of technology in production houses. The first computer-animated animation efforts in Malaysia were the 2000 film Nien Resurrection, bhd. However, in the late 1990s, Kamn Ismail had already included 3D elements in his Keluang Man animation series. This era also saw an increase in efforts to promote locally produced animation efforts. Since 2000, the Malaysian animation industry has gone far globally when Multimedia Development Corporation produced Saladin, since then, many Malaysian animation companies marketed their works to globally. Their animation has succeeded in promoting Malaysia globally by creating content that was based on Malaysian culture, the grants include Start-up Funds, Intellectual Property Grant Scheme and MAC3 Co-Production Fund. This grant was launched in 2009 to support the creation and development or co-development of Intellectual Properties under the Animation, some of local animation has a tendency to copy foreign elements, especially anime. This can be seen in the design of TV animation series such as Anak-anak Sidek, Edi & Cici and this is because, most of the animators were once trained by Japanese animators. However, Kampung Boy, based on the characters of international-known cartoonist and it is seen as the best animation that portrays Malaysian cultures in the eyes of its own creator. In the making of Kampung Boy, Lat was actively involved on the project, Animation Society of Malaysia, ANIMAS is a non-profit government organization that promotes animation in Malaysia. ANIMAS was officially registered as an organization on May 29,2007, the idea towards the foundation of ANIMAS was first discussed at the Hiroshima Animation Film Festival in 1997. The idea was discussed in 2001 during a meeting with Hassan Abd Muthalib, James Ooi
7.
Filipino cartoon and animation
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It also delves into relying on traditional and common Filipino “sense of going about things” or manner of coping with Filipino life and environment. Original Filipino cartoons began with the publication of comic books. During the late 1920s, Filipino writer Romualdo Ramos and Filipino visual artist Antonio “Tony” Velasquez created the character named Kenkoy. It appeared in the pages of the Tagalog-language Liwayway magazine as a comic strip entitled Mga Kabalbalan ni Kenkoy or Kenkoys antics. Because of its popularity it became a Filipino icon and was translated into regional languages in the Philippines. Since then, other characters were created by other Filipino comic book artists. This influence of Kenkoy gave birth to original Filipino language vocabulary, such as Barok, Jeproks, and Pinoy, Kenkoy also survived the arrival of the Japanese during World War II. Kenkoy became a tool of the Japanese occupiers for disseminating health programs, other Filipinos who excelled in the Philippine komiks and cartoon industry are Francisco Coching, Elito Circa and his Minggan and Alex Niño. The first Filipino-made cartoon for television was Panday, created by Gerry Garcia in the 1980s based on the book character of the same name produced by Carlo J. Caparas. RPN-9 began airing in November 1986, Garcia is considered as the pioneer of Filipino animation industry. From 1995 to 1997, Garcia also brought into life Adarna, Garcia wrote the story and directed Adarna under FLT Productions and Guiding Light Productions. Adarna received recognition from the Metro Manila Film Festival on December 27,1997 as the first animated movie in Philippine cinema, in 1998, it was also included in the Asian Collection of Japan’s 7th Hiroshima Animation Festival. Another known Filipino pioneer cartoonist is Lauro Alcala, more known as Larry Alcala. One more is Alfredo P. Alcala who, apart from creating several comic strips in the Philippines, worked for American comic book firms, namely DC Comics, Dark Horse Comics, and Marvel Comics. Another recognized Filipino animator is Benedict Carandang, the co-founder of Tuldok Animation Studios, Carandang produced the animation of Ramon del Prados short-film entitled, Libingan or “The Burial”, an animated cartoon inspired by the hanging coffins of Sagada, Mountain Province. The beginnings of Philippine animation industry began as early as the 1980s, the local Philippine animation industry has been established for twenty years. Among the first animation offices in the country were Burbank Animation, Asian Animation, Fil-Cartoons, Toei Animation Philippines, Roadrunner, Toon City Animation Inc. and Tuldok Animation Studios among others totaling to greater than 50 animation companies. The clientele of Philippine studios supply the demand coming from the United States, today, the country is regarded as one of the main and “stronger players” in outsourced and global animated cartoon production
8.
History of animation
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Animation is the process of making the illusion of motion and the illusion of change by means of the rapid display of a sequence of images that minimally differ from each other. Humans have probably attempted to depict motion as far back as the paleolithic period, while there were several predecessors, the 17th century invention of the magic lantern provided the first apparatus with which convincing moving images have been created. However, the movement of images were the result of moving parts rather than a rapid succession of sequential images. The introduction of the phenakistiscope in 1833 marks the start of true animation and it has been claimed that the flickering light of flames can induce an illusion of motion in these paintings. Most of these examples only allow a low frame rate when they are animated by modern means. Nonetheless, the practice of art may have provided some foundation for the development of the art of animation. One early example is a 5, 200-year old pottery bowl discovered in Shahr-e Sukhteh, the bowl has five sequential images painted around it that seem to show phases of a goat leaping up to nip at a tree. The sequence shows multiple angles of the figure as it rotates, because the drawings show only small changes from one image to the next, together they imply the movement of a single figure. Since before 1000 CE the Chinese had a lantern which had silhouettes projected on its thin paper sides that appeared to chase each other. This was called the trotting horse lamp as it would typically depict horses, the cut-out silhouettes were attached inside the lantern to a shaft with a paper vane impeller on top, rotated by heated air rising from a lamp. Some versions added extra motion with jointed heads, feet or hands of figures triggered by a transversely connected iron wire and these and other occurrences of moving images, like for instance shadow play with jointed puppets or moving parts in book illustrations, are not considered true animation. Technically they lack the rapid display of images and the results are usually not very lifelike. Moving images were projected with the magic lantern immediately since its invention by Christiaan Huygens in 1659. His sketches for magic lantern slides have been dated to year and are the oldest known document concerning the magic lantern. Dotted lines indicate the intended movements, techniques to add motion to painted glass slides for the magic lantern were described since circa 1700. These usually involved parts painted on one or more pieces of glass moved by hand or small mechanisms across a stationary slide which showed the rest of the picture. A more complex 19th century rackwork slide showed the then known eight planets, in 1770 Edmé-Gilles Guyot detailed how to project a magic lantern image on smoke to create a transparent, shimmering image of a hovering ghost. This technique was used in the shows that became very popular in several parts of Europe between 1790 and the 1830s
9.
History of Chinese animation
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The history of Chinese Animation began in the 20th century in the Republic of China when the people became fascinated with the idea of animation. A lengthy history interlocks between the art, politics and the ever-changing economy, Chinese animation has long been under the shadow of Disney and Japanese animations, but it once played a very important role in world animation. The modern animation industry began in France in 1888, invented by Charles-Émile Reynaud, Chinese animation started in the 1920s, inspired by French, German, Russian and mostly American productions. One of the first examples of animation did not land in Shanghai until 1918. This piece of animation from the US was titled, known today as Out of the Inkwell, in 1922 Wan Laiming produced the first animation in a cartoon advertisement for the Shuzhendong Chinese Typewriter. Followed by the 1924 animation short Dog Treat, Shanghai tobacco company also produced an animation called New Year. These are the earliest known cartoon shorts, in 1926 the 4 Wan brothers, Wan Laiming, Wan Guchan，Wan Chaochen and Wan Dihuan worked under the Great Wall Film Company in China, not to be confused with Great Wall Movie Enterprises Ltd. Wan Laiming and Wan Guchan were then recognized as Chinas animation pioneers when they produced the first animation short Uproar in the Studio running 10 to 12 minutes long in black, the brothers believed that Chinese animation should be instructive, logical and thought-provoking besides being entertaining to its audience. They wanted to emphasize the development of a style that was uniquely Chinese. It was a trend at the time to combine live action film footages with 2D animation. By 1932 one of the Wan brothers, Wan Di-huan, would leave the Great Wall Film company for his own photography studio. Some of the first wave of influential American animations that reached Shanghai were Popeye, by 1935 the Wan brothers would launch the first animation with sound titled The Camel’s Dance. Four years later in 1939, Americas Disneys Snow White would also be introduced in Shanghai, while there were overlapping progress made in the Asian regions with Japanese anime at the time, they were not geographically or artistically influential to China directly. During the Japanese invasion period, the brothers produced more than 20 animated propaganda shorts focusing on various topics from resistance against Japanese troops, opium. On October 1,1946 a northeast motion picture studio was established in the Nenjiang province and it is the first known studio established by a communist party. In 1947 productions such as Emperors Dream used puppets in a way to expose corruption of the Kuomintang Chinese nationalist party. The idea of using political content in films was becoming acceptable. An example of such documentary-type cartoons can be found in Go After an Easy Prey, in 1948 the Northeast studio would change its name to Shanghai Picture Studio Group
10.
History of anime
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The history of anime can be traced back to the start of the 20th century, with the oldest surviving anime being Namakura Gatana. The first generation of animators in the late 1910s included Ōten Shimokawa, Junichi Kōuchi and Seitaro Kitayama, propaganda films, such as Momotarō no Umiwashi and Momotarō, Umi no Shinpei, the latter being the first anime feature film, were made during World War II. During the 1970s, anime developed further, separating itself from its Western roots, typical shows from this period include Astro Boy, Lupin III and Mazinger Z. During this period several filmmakers became famous, especially Hayao Miyazaki, Space Battleship Yamato and The Super Dimension Fortress Macross also achieved worldwide success after being adapted respectively as Star Blazers and Robotech. The film Akira set records in 1988 for the costs of an anime film. Later, in 2004, the same creators produced Steamboy, which took over as the most expensive anime film, according to Natsuki Matsumoto, the first animated film produced in Japan may have stemmed from as early as 1907. Known as Katsudō Shashin, from its depiction of a boy in a sailor suit drawing the characters for Katsudō Shashin and it consists of fifty frames stenciled directly onto a strip of celluloid. This claim has not been verified though and predates the first showing of animated films in Japan, Film titles have surfaced over the years, but none have been proven to predate this year. The first foreign animation is known to have found in Japan in 1910. Yasushi Watanabe found a film known as 不思議のボールド in the records of the 吉沢商店 company, the description matches James Blackton’s Humorous Phases of Funny Faces, though academic consensus on whether or not this is a true animated film is disputed. According to Kyokko Yoshiyama, the first animated film called ニッパールの変形 was shown in Japan at the 浅草帝国館 in Tokyo sometime in 1911, Yoshiyama did not refer to the film as animation though. The first confirmed animated film shown in Japan was Les Exploits de Feu Follet by Émile Cohl on April 15,1912. While speculation and other films have been found in Japan. During this time, German animations marketed for home release were distributed in Japan, few complete animations made during the beginnings of Japanese animation have survived. The reasons vary, but many are of commercial nature, after the clips had been run, reels were sold to smaller cinemas in the country and then disassembled and sold as strips or single frames. The first anime that was produced in Japan was made sometime in 1917 and it has been confirmed though that Dekobō shingachō – Meian no shippai was made sometime during February,1917. At least two unconfirmed titles were reported to have made the previous month. The first anime films were made by three leading figures in the industry
11.
History of Russian animation
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The History of Russian animation is the film art produced by Russian animation makers. As most of Russias production of animation for film|cinema and television were created during Soviet times and it remains a nearly unexplored field in film theory and history outside Russia. The first animator in Russia was Aleksander Shiryayev, who was a dancer at the Imperial Russian Ballet. He made a number of pioneering puppet-animated ballet films between 1906 and 1909 and he only showed them to a few people, and they were forgotten until their re-discovery in 1995. The second person in Russia to independently discover animation was Ladislas Starevich and his first few films, made in 1910, were dark comedies on the family lives of cockroaches, and were so revolutionary that they earned Starevich a decoration from the Tsar. In 1934, Walt Disney sent a film reel with some shorts of Mickey Mouse to the Moscow Film Festival, when Nikita Khrushchev in 1956 proclaimed the end of the personality cult of Joseph Stalin, he started a process of political and cultural renewal in the country. Even though animators still needed a while to free themselves from the tradition of Éclair, from the 1960s onwards. The starting point for this was Fyodor Khitruks film The Story of a Crime, Khitruks revolutionary approach paved the way for a vast number of young animation directors that in the following years developed their own distinctive styles and approaches. One of the most political was Andrei Khrzhanovsky, whose surrealist film The Glass Harmonica was severely cut by censors, anatoly Petrov is known as the founder of the cinema journal Vesyolaya Karusel that gave an opportunity to many young directors to make their first own films. Among them were Leonid Nosyrev, Valery Ugarov, Eduard Nazarov, Ivan Ufimcev, the 1970s saw the birth of the Soviet Unions most popular animation series, Nu, Pogodi. These seemingly simple miniatures about a wolf chasing a hare through Soviet-style cartoon worlds owe a deal of their popularity to the cunning subtexts built into their parts. During the Stalin period, puppet animation had come to a halt, only in 1953 was a puppet division was refounded at Soyuzmultfilm. Its first head of department was Boris Degtyarev, under whose direction young animators tried to recover the knowledge that had been lost since the time of Aleksandr Ptushko. Among the most outstanding of these artists were Vadim Kurchevskiy and Nikolay Serebryakov. One generation later, Stanislav Sokolov started to make movies that brought the art of animation to a new height. His approach, characterized by complex structures and multiple special effects can well be observed in The Big Underground Ball or Black and White Film. Adventures of Mowgli made by Soyuzmultfilm was released as five animated shorts between 1967 and 1971, the movie was not conceived as a reaction to the Disney adaptation, even the first episode was also released in 1967. It appeared more adult and on spirit is closer to Kiplings book
12.
Animator
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An animator is an artist who creates multiple images, known as frames, which give an illusion of movement called animation when displayed in rapid sequence. Animators can work in a variety of fields including film, television, Animation is closely related to filmmaking and like filmmaking is extremely labor-intensive, which means that most significant works require the collaboration of several animators. The methods of creating the images or frames for an animation piece depends on the artistic styles. Other artists who contribute to animated cartoons, but who are not animators, include layout artists, storyboard artists, in hand-drawn Japanese animation productions, such as in Hayao Miyazakis films, the key animator handles both layout and key animation. Some animators in Japan such as Mitsuo Iso take full responsibility for their scenes, one important distinction is between character animators and special effects animators. Usually, a young artist seeking to break into animation is hired for the first time in one of these categories, historically, the creation of animation was a long and arduous process. Each frame of a scene was hand-drawn, then transposed onto celluloid. These finished cels were placed together in sequence over painted backgrounds and filmed. Animation methods have become far more varied in recent years, todays cartoons could be created using any number of interesting methods, mostly using computers to make the animation process cheaper and faster. These more efficient animation procedures have made the job less tedious. Audiences generally find animation to be more interesting with sound. Voice actors and musicians, among other talent, may contribute vocal or music tracks, some early animated films asked the vocal and music talent to synchronize their recordings to already-extant animation. Nowadays, visual development artists will design a character as a 2D drawing or painting, texture artists paint the character with colorful or complex textures, and technical directors set up rigging so that the character can be easily moved and posed. For each scene, layout artists set up cameras and rough blocking. Despite those constraints, the animator is still capable of exercising significant artistic skill, more recently, Chris Buck has remarked that animators have become actors with mice. Some studios bring in acting coaches on feature films to help work through such issues. Each finished film clip is then checked for quality and rushed to a film editor, Animation Computer animation Computer graphics Key frame Sweat box Animation Toolworks Glossary, Who Does What In Animation How An Animated Cartoon Is Made
13.
Animation studio
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An animation studio is a company producing animated media. They also own rights over merchandising and creative rights for characters created/held by the company, in some early cases, they also held patent rights over methods of animation used in certain studios that were used for boosting productivity. Overall, they are business concerns and can function as such in legal terms, currently there are about 201 animation studios dedicated to the production and distribution of animated films that are active. Few are actual production house where as others are corporate entities, many of these animation studios help with the fulfillment of animation works for big brand names and have carried out outsourced projects including Nemo. Though beaten to the post of being the first studio, Brays studio employee, Earl Hurd, the patents for animation systems using drawings on transparent celluloid sheets and a registration system that kept images steady were held under this firm. Bray also developed the basic division of labor used in animation studios. The biggest name in animation studios during this time was Disney Brothers Animation Studio, co-founded by Walt. Snow White and the Seven Dwarfs, which laid the foundation for other studios to try to make full-length movies. In 1932 Flowers and Trees, a production by Walt Disney Productions and United Artists, won the first Academy Award for Best Animated Short Film. Disney continued to lead in technical prowess among studios for a long time afterwards, as can be seen with their achievements. In 1941, Otto Messmer created the first animated television commercials for Botany Tie ads/weather reports and they were shown on NBC-TV in New York until 1949. This marked the first forays of animation designed for the screen and was to be followed by the first animated series specifically made for television, Crusader Rabbit. It was in 1958 that The Huckleberry Hound Show claimed the title of being the first all new half-hour cartoon show, in 2002, Shrek, produced by DreamWorks and Pacific Data Images won the first Academy Award for Best Animated Feature. Since then, Disney/Pixar have produced the most number of either to win or be nominated for the award. Direct-to-video animation has seen a rise, as a concept, in the Western markets, current studios such as Warner Bros. and early ones such as Fleischer Studios, started life as small, independent studios, being run by a very small core group. After being bought out or sold to companies, they eventually consolidated with other studios. The drawback of this setup was that there was now a major thrust towards profitability with the management acting as a damper towards creativity of these studios, examples of such co-operation are the joint ventures between DreamWorks and Paramount Pictures and that of Blue Sky Studios and 20th Century Fox. In 1961, these began to be aired in the USA. Toei Animation, formed in 1956, was the first Japanese animation studio of importance, after the formation of Toei Animation Co. Ltd. in 1956, the Japanese studios churned out minor works of animation
14.
Animation database
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An animation database is a database which stores fragments of animations or human movements and which can be accessed, analyzed and queried to develop and assemble new animations. Early examples of animation databases include the system MOVE which used an object oriented database, modern animation databases can be populated via the extraction of skeletal animations from motion capture data. Other examples include crowd simulation in which a number of people are simulated as a crowd, given that in some applications the people need to be walking at different speeds, say on a sidewalk, the animation database can be used to retrieve and merge different animated figures. The method is known as motion graphs. Animation databases can also be used for storytelling in which fragments of animations are retrieved from the animation database and are recycled to combine into new stories. For instance, the animation database called Animebase is used within the system Words Anime to help generate animations using recycled components, in this approach, the user may input words which form parts of a story and queries against the database help select suitable animation fragments. This type of system may indeed use two databases, a database, as well as a story knowledge database. The story knowledge database may use subjects, predicates and objects to refer to story fragments, the system then assists the user in matching between story fragments and animation fragments. Animation databases can also be used for the generation of visual scenes using humanoid models, an example application has been the development of an animated humanoid-based sign language system to help the disabled. Another application of a database is in the synthesis of idle motion for human characters. g. Each person has a way of standing and this needs to be represented in a realistic way throughout an animation. One of the problems is that idle motion affects all joints and simply showing statistical movements at each joint results in less than realistic portrayals
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Traditional animation
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Traditional animation is an animation technique where each frame is drawn by hand. The technique was the dominant form of animation in cinema until the advent of computer animation, Animation productions begin by deciding on a story. The oral or literary source material must then be converted into a film script. The storyboard has a somewhat similar to a comic book, and it shows the sequence of shots as consecutive sketches that also indicate transitions, camera angles. The images allow the team to plan the flow of the plot. The storyboard artists will have meetings with the director and may have to redraw or re-board a sequence many times before it meets final approval. Before true animation begins, a soundtrack or scratch track is recorded. A completed cartoon soundtrack will feature music, sound effects, often, an animatic or story reel is made after the soundtrack is created, but before full animation begins. An animatic typically consists of pictures of the storyboard synchronized with the soundtrack and this allows the animators and directors to work out any script and timing issues that may exist with the current storyboard. The storyboard and soundtrack are amended if necessary, and a new animatic may be created and reviewed with the director until the storyboard is perfected, advertising agencies today employ the use of animatics to test their commercials before they are made into full up spots. Animatics use drawn artwork, with moving pieces, video storyboards are similar to animatics but do not have moving pieces. Photomatics are another option when creating test spots, but instead of using drawn artwork, there is a shoot in which hundreds of digital photographs are taken. The large amount of images to choose from may make the process of creating a test commercial a bit easier, as opposed to creating an animatic, because changes to drawn art take time and money. Photomatics generally cost more than animatics, as they may require a shoot, however, the emergence of affordable stock photography and image editing software permits the inexpensive creation of photomatics using stock elements and photo composites. Once the animatic has been approved, it and the storyboards are sent to the design departments, character designers prepare model sheets for all important characters and props in the film, these are used to help standardize appearance, poses, and gestures. These model sheets will show how a character or object looks from a variety of angles with a variety of poses, sometimes, small statues known as maquettes may be produced, so that an animator can see what a character looks like in three dimensions. While design is going on, the director takes the animatic and analyzes exactly what poses, drawings. An exposure sheet is created, this is a table that breaks down the action, dialogue
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Masking (illustration)
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The masking effect or masking is a visual style, dramatic convention, and literary technique described by cartoonist Scott McCloud in his book Understanding Comics in the chapter on realism. It is the use of simplistic, archetypal, narrative characters, even if juxtaposed with detailed, photographic and this may function, McCloud infers, as a mask, a form of projective identification. His explanation is that a familiar and minimally detailed character allows for an emotional connection. It is used in animation, comics, illustration, video games and it is common in Western graphic novels and Japanese comics and animation. The psychology behind the masking effect has been extended to rendering antagonists in a manner in order to show their otherness from the reader
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Rotoscoping
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Rotoscoping is an animation technique used by animators to trace over motion picture footage, frame by frame, when realistic action is required. Originally, photographed live-action movie images were projected onto a glass panel and this projection equipment is referred to as a Rotoscope. Although this device was replaced by computers, the process is still referred to as Rotoscoping. In the visual effects industry, the term Rotoscoping refers to the technique of creating a matte for an element on a live-action plate so it may be composited over another background. Rotoscoping has often used as a tool for visual effects in live-action movies. By tracing an object, the moviemaker creates a silhouette that can be used to extract that object from a scene for use on a different background. While blue and green screen techniques have made the process of layering subjects in scenes easier, Rotoscoping in the digital domain is often aided by motion tracking and onion-skinning software. Rotoscoping is often used in the preparation of garbage mattes for other matte-pulling processes, Rotoscoping has also been used to allow a special visual effect to be guided by the matte or rotoscoped line. To achieve this, effects technicians traced a line over each frame with the prop, then enlarged each line, the live-movie reference for the character, later known as Koko the Clown, was performed by his brother dressed in a clown costume. Originally conceived as a short-cut to animating, the Rotoscope process proved to be time consuming due the precise, Rotoscoping is achieved by two methods, rear projection and front surface projection. In either case, the results can have slight deviations from the line due to the separation of the projected image. Misinterpretations of the cause the line to wiggle, and the Roto Tracings must be reworked over an animation disc, using the tracings as a guide where consistency. Fleischer returned to Rotoscoping in the 1930s for referencing intricate dance movements in his Popeye, the most notable of these are the dance routines originating from Jazz Performer, Cab Calloway in Minnie the Moocher, Snow White, and The Old Man of the Mountain. In these examples, the Roto tracing were used as a guide for timing and positioning while the characters of different proportions were drawn to conform to those positions. By 1934, Fleischers patent expired, and other producers could use Rotoscoping freely, walt Disney and his animators used the technique in Snow White and the Seven Dwarfs during 1937. Leon Schlesinger Productions, which produced the Looney Tunes and Merrie Melodies cartoons for Warner Bros. occasionally used Rotoscoping, the 1939 MGM cartoon Petunia Natural Park from the The Captain and the Kids featured a Rotoscope version of Jackie. Rotoscoping was used extensively in Chinas first animated movie, Princess Iron Fan. The technique was used extensively in the Soviet Union from the late-1930s to the 1950s, most of the movies produced with it were adaptations of folk tales or poems—for example, The Night Before Christmas or The Tale of the Fisherman and the Fish
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Stop motion
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Stop motion is an animation technique that physically manipulates an object so that it appears to move on its own. The object is moved in increments between individually photographed frames, creating the illusion of movement when the series of frames is played as a fast sequence. Dolls with movable joints or clay figures are used in stop motion for their ease of repositioning. Stop motion animation using plasticine is called clay animation or clay-mation, not all stop motion requires figures or models, many stop motion films can involve using humans, household appliances and other things for comedic effect. Stop motion using objects is sometimes referred to as object animation, the term stop motion, related to the animation technique, is often spelled with a hyphen, stop-motion. Stop motion is often confused with the time lapse technique, where photographs of a live surrounding are taken at regular intervals. Time lapse is a technique whereby the frequency at which frames are captured is much lower than that used to view the sequence. When played at speed, time appears to be moving faster. Stop motion animation has a history in film. It was often used to show objects moving as if by magic, in 1902, the film Fun in a Bakery Shop used the stop trick technique in the lightning sculpting sequence. In 1907, The Haunted Hotel is a new stop motion film by J. Stuart Blackton, segundo de Chomón, from Spain, released El Hotel Eléctrico later that same year, and used similar techniques as the Blackton film. In 1908, A Sculptors Welsh Rarebit Nightmare was released, as was The Sculptors Nightmare, italian animator Roméo Bossetti impressed audiences with his object animation tour-de-force, The Automatic Moving Company in 1912. The great European stop motion pioneer was Wladyslaw Starewicz, who animated The Beautiful Lukanida, The Battle of the Stag Beetles, The Ant, one of the earliest clay animation films was Modelling Extraordinary, which impressed audiences in 1912. December 1916 brought the first of Willie Hopkins 54 episodes of Miracles in Mud to the big screen, also in December 1916, the first woman animator, Helena Smith Dayton, began experimenting with clay stop motion. She would release her first film in 1917, an adaptation of William Shakespeares Romeo, in the turn of the century, there was another well known animator known as Willis O Brien. His work on The Lost World is well known, but he is most admired for his work on King Kong, oBriens protege and eventual successor in Hollywood was Ray Harryhausen. After learning under OBrien on the film Mighty Joe Young, Harryhausen would go on to create the effects for a string of successful and memorable films over the next three decades. These included The Beast from 20,000 Fathoms, It Came from Beneath the Sea, Jason, in a 1940 promotional film, Autolite, an automotive parts supplier, featured stop motion animation of its products marching past Autolite factories to the tune of Franz Schuberts Military March
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Barrier grid animation and stereography
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Barrier-grid animation and is an animation effect created by moving a striped acetate overlay across an interlaced image. The barrier-grid technique and its overlap with Parallax stereography for 3D autostereograms. The technique has also used for color changing pictures. Using screens for photographic printing was suggested by William Fox Talbot as photographic screens or veils in a 1852 patent and this resulted in several halftone processes in the next decades. For color photography the use of colored line sheets had been suggested by Louis Arthur Ducos du Hauron in 1869. Several halftone printing and color photography processes, including the 1895 Joly colour screen with >0.1 mm RGB lines, the Motograph Moving Picture Book was published in London at the start of 1898 by Bliss, Sands & Co. It came with a transparency with black stripes to add the illusion of motion to the pictures in the book, the illustrations were credited to F. J. Vernay, Yorick, &c. The pictures feature different hatching patterns, causing moiré type effects when the striped transparency is moved across it and it creates a vibrant type of motion illusion with revolving wheels, billowing smoke, ripples in water, etc. The expanded new edition of the book had a cover design specially drawn for the book by famous french painter Henri de Toulouse-Lautrec, depicting a woman viewing pictures with the transparency. In May 1896 Auguste Berthier published an article about the history of images in French scientific magazine Le Cosmos. Alternating strips from the left and right image of a traditional stereoscopic negative had to be recomposed as an interlaced image, on December 5,1901 American inventor Frederic Eugene Ives presented his parallax stereogram at the Franklin Institute of the State of Pennsylvania. He claimed that he first had the idea 16 years earlier while working with the screen in a study of the dioptrics of half-tone screen photography. At the time he didnt think it was important enough to spent his time on, the line screen had 200 parallel lines per inch and was contact-printed from an original factory halftone screen. The technique received U. S. patent 725,567 on April 14,1903, on October 11,1904 Ives received U. S. patent 771,824 for a Changeable sign, picture, &c. This was basically the same technique but with interlaced different images instead of a stereoscopic image, shifting from one angle to the other, by passing the image or by a vibration of the image, the image would change from one to the other. In 1904 Léon Gaumont came across Ives pictures at the Worlds Fair in St. Louis and had presented at the French Academy of Sciences in October. Gaumont gave two parallax stereograms to the Conservatoire national des arts et métiers in 1905 and two became part of the collection of the Société française de photographie. French mathematician Eugène Estanave was encouraged by Gaumont to investigate the parallax stereogram, on January 24,1906, Estanave filed for French patent 371.487 for a stereophotography device and stereoscopy using line sheets
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Clay animation
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Clay animation or claymation is one of many forms of stop motion animation. Each animated piece, either character or background, is deformable—made of a malleable substance and these and other moving images, from zoetrope to films to video games, create the illusion of motion by playing back at over ten to twelve frames per second. The techniques involved in creating computer-generated imagery are generally removed from a frame-by-frame process. Upon playback, the mind of the viewer perceives the series of slightly changing, a consistent shooting environment is needed to maintain the illusion of continuity, objects must be consistently placed and lit, and work must proceed in a calm environment. Producing a stop-motion animation using clay is extremely laborious, normal film runs at 24 frames per second. With the standard practice of doubles or twos 12 changes are made for one second of film movement. The object must not be altered by accident, slight smudges, dirt, hair, feature-length productions have generally switched from clay to rubber silicone and resin cast components, Will Vinton has dubbed one foam-rubber process Foamation. Nevertheless, clay remains a viable animation material where a particular aesthetic is desired, Clay can also take the form of character clay animation, where the clay maintains a recognizable character throughout a shot, as in Art Clokeys and Will Vintons films. A sub variation clay animation can be informally called clay melting, any kind of heat source can be applied on or near clay to cause it to melt while an animation camera on a time-lapse setting slowly films the process. For example, consider Vintons early short clay-animated film Closed Mondays at the end of the computer sequence, a similar technique was used in the climax scene of Raiders of the Lost Ark to melt the faces of the antagonists. The term hot set is used amongst animators during production and it refers to a set where an animator is filming. The clay characters are set in a position where they can continue shooting where they left off. If an animator calls his set a hot set, then no one is allowed to touch the set or else the shoot would be ruined, certain scenes must be shot rather quickly. If a scene is left unfinished and the weather is humid, then the set. The clay puppets may be deformed from the humidity or the air pressure could have caused the set to shift slightly and these small differences can create an obvious flaw to the scene. To avoid these disasters, scenes normally have to be shot in one day or less, clay-animated films were produced in the United States as early as 1908, when Edison Manufacturing released a trick film entitled The Sculptors Welsh Rarebit Dream. Hopkins in particular was quite prolific, producing over fifty clay-animated segments for the weekly Universal Screen Magazine, by the 1920s, cartoon animation using either cels or the slash system was firmly established as the dominant mode of animation production. Increasingly, three-dimensional forms such as clay were driven into relative obscurity as the cel method became the method for the studio cartoon
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Strata-cut animation
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Strata-cut animation, also spelled stratcut or straticut, is a form of clay animation, itself one of many forms of stop motion animation. Wax may be used instead of clay for the loaf, Daniels has also used it as background imagery as other forms of animation or live action is superimposed over it. Designing the interior contents of a block is a complex art form in. Obviously, abstract images and patterns are easier to do than recognizable images or character-driven moving images, both the pace and forms of the movements of the internal imagery have to be considered when building the block. A kind of non-high-tech underground quality of the imagery is usually the result. Eventually, a series of blocks of these mosaics can be combined into single blocks, in reference to the time sculpted extrusion block or geometry loaf slice-reveal technique, Daniels coined the visual results or look as ‘insanimation’ in 1984 while a graduate student at Cal Arts. Explanation at StopMoWorks, with a diagram and links Buzz Box review Bent Image Lab David Daniels Company
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Cutout animation
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Cutout animation is a form of stop-motion animation using flat characters, props and backgrounds cut from materials such as paper, card, stiff fabric or even photographs. The worlds earliest known animated films were cutout animations, as is the worlds earliest surviving animated feature. Today, cutout-style animation is produced using computers, with scanned images or vector graphics taking the place of physically cut materials. South Park is an example of the transition since its pilot episode was made with paper cutouts before switching to computer software. More complex figures depicted in animation, such as in silhouette animation, often have joints made with a rivet or pin or, when they are made on a computer. These connections act as mechanical linkage, which have the effect of a specific, other notable examples include Angela Anaconda and, more recently, Charlie and Lola. One of the most famous animators still using traditional animation today is Yuriy Norshteyn. For more examples, see the list of stop-motion films, el Apóstol by Italian-Argentine cartoonist Quirino Cristiani, was also the worlds first animated feature film. The Adventures of Prince Achmed by Lotte Reiniger was a silhouette animation using armatured cutouts and backgrounds which were painted or composed of blown sand. 12, also known as Heaven and Earth Magic by Harry Everett Smith, completed in 1962, the Soviet films Lefty and Go There, Dont Know Where. René Lalouxs early films made use of armatured cutouts, while his first feature Fantastic Planet is an example of unarmatured cutout animation. The feature films of Karel Zeman combined cutout animation and landscapes with live actors, the opening sequence of LArmata Brancaleone, a film by Italian director Mario Monicelli, features cutout animation, made by the Italian Emanuele Luzzati. South Park, Bigger, Longer & Uncut uses computer animation to imitate cutout animation, strange Frame relies primarily on an innovative cutout style combined with both traditional and 3D elements. Live for the moment, from Verona Riots band is a recently produced music video made with cut out animation by Alberto Serrano. Cirkeline verdens mindste superhelt - Denmark Thieves of Baghdad by Noburo Ofuji was an example of cutout animation. The Miracle of Flight, a short animated clip from the famous Monty Pythons Flying Circus - by Terry Gilliam Le merle, is combination of the cut-outs. The Little Island, a combination of traditional animation and paper cut-out elements - by Richard Williams How Death Came to Earth - by Ishu Patel. Tabi and Shijin no Shôgai, two cutout animations - by Kihachirō Kawamoto, Angela Anaconda, an animation combining the black-and-white photographs and cutout-styled CGI animation
