A composite image is prepared for photography by lowering a piece of glass onto the artwork to flatten any irregularities, then shooting the image with a special animation camera called rostrum camera.
The cels are then removed, and the process is repeated for the next frame until all frames in the sequence have been photographed.
To avoid producing an animation that is jittery, each cel is fixed on peg bars before the camera, to make sure that each cel aligns wit hthe one before it. Sometimes, the process of photography may need to be repeated for certain frames, to implement some needed camera effects like superimposition or panning.
Superimposition means placing image or video over another existing image or video. Panning is created by either moving the cels or backgrounds one step at a time, over a series of frames.
Among the most common types of animation rostrum cameras was the Oxberry. Such cameras were always made of black anodized aluminum, and commonly had 2 pegbars, one at the top and one at the bottom of the lightbox.
The height of the column on which the camera was mounted determined the amount of zoom achievable on a piece of artwork. Such cameras were massive mechanical affairs which might weigh close to a ton and take hours to break down or set up. 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, motion control techniques were adopted throughout the industry. While several computer camera software packages became available in the early s, the Tondreau System became one of the most widely adopted.
As the scenes come out of final photography, they are spliced into the Leica reel , replacing pencil animations. Once every sequence in the production has been photographed, the final film is sent for development and processing, while the final music and sound effects are added to the soundtrack.
Again, editing in the traditional live-action sense is generally not done in animation, but if it is required it is done at this time, before the final print of the film is ready for duplication or broadcast. Digital ink and paint processes gradually made these traditional animation techniques and equipment obsolete.
They can even directly on the computer monitor, and have their colors added and processed using specialized computer software.
The digital drawings are then composited over their respective backgrounds, unless they were also digitally painted, and the computer finally outputs the film by either exporting it as a digital video file, using a video cassette recorder, or printing to film using high-resolution output device.
Computers and the internet have generally made it easier to exchange artwork between different departments or studios, and even across distant countries and continents. Many animated cartoon series at the time were still animated in foreign countries by using the traditionally inked-and-painted cel process as late as ; though most of them switched over to the digital process at some point during their run. For example, Hey Arnold! Finally, Ed, Edd n Eddy aired its last cel episode in , and then came back in digital ink and paint, even though new shows using the digital inking and painting process, like Futurama and Family Guy both of which premiered in , were first appearing.
Computers and digital video cameras can also be used as tools to assist in traditional cel animation without affecting the film directly, helping the animators in their work and making the whole process a lot faster and easier. For example, doing the layouts on a computer is much more effective than doing it by traditional methods. This can be considered a digital form of pencil testing. As traditional, hand-drawn animation is greatly influenced by the skill and artistic style of the animators producing the frames, the terms full and limited animation were coined to describe the quality of the animations produced: -.
Abandoning the fairy tales and comic strips that had inspired most of his predecessors, Fischinger took his inspiration from the abstract art that dominated the 's. At first he worked with wax figures animated by stop motion, but his most significant films are the symphonies of shapes and sounds he called "coloured rhythms", created from shifting colour fields and patterns matched to music by classical composers.
He became fascinated by colour photography and collaborated on a process called gasparcolor , which, as utilized in his film Composition in Blue , won a prize at that year's Venice Film Festival. The following year, he emigrated to Hollywood, where he worked on special effects for a number of films and was the initial designer of the Toccata and Fugue sequence in Walt Disney's Fantasia The Disney artists modified his designs, however, and he asked that his name be removed from the finished film.
Through the s and '50s he balanced his work between experimental films such as Motion Painting No. Fischinger's films made a deep impression on the Scottish design student Norman McLaren, who began experimenting with cameraless films—with designs drawn directly on celluloid—as early as Seven Till Five. Supported by government grants, he was able to play out his most radical creative impulses, using watercolours, crayons, and paper cutouts to bring abstract designs to flowing life. Attracted by the possibilities of stop-motion animation, he was able to turn inanimate objects into actors as seen in A Chairy Tale , and actors into inanimate objects seen in Neighbours , , a technique he called "pixellation".
The international success of McLaren's work he won an Oscar for Neighbours opened the possibilities for more personal forms of animation in America. John Hubley, an animator who worked for Disney studios on Snow White , Pinocchio , and Fantasia , left the Disney organization in and joined the independent animation company United Productions of America in Working in a radically simplified style, without the depth effects and shading of the Disney cartoons, Hubley created the nearsighted character Mister Magoo for the short Ragtime Bear.
He and his wife formed their own studio, Storyboard Productions, in , and they collaborated on a series of increasingly poetic narrative films. They won Oscars for Moonbird and The Hole The Hubleys also created a much-admired series of short films based on the jazz improvisations of Dizzy Gillespie, Quincy Jones, and Benny Carter.
The evolution of animation in Eastern Europe was impeded by World War II, but several countries—in particular Poland, Hungary, and Romania—became world leaders in the field by the s. Borowczyk and Lenica, each of whom went on to a successful solo career, helped launch an industry that produced as many as animated films per year by the early 's.
Animators such as Miroslaw Kijowicz, Daniel Szczechura, and Stefan Schabenbeck were among the leaders in Polish animation during the second half of the 20th century. Although Walt Disney is often credited with making 2D animation with Mickey Mouse, he was not the first person to create a 2D animation. The first 2D animation ever made was called Fantasmagorie, a short cartoon made by Emile Cohl.
Created entirely in black and white, the cartoon begins with Emile drawing a simple stick man in live action. The animation begins when the stick man drops from a bar. The cartoon has several brief scenes in it, including a man stuck in a theater behind a lady with a big hat, and the stick man jumping out of a small box. The cartoon ends with the stick man riding off the screen on a horse. The cartoon is about 75 seconds long and it took about different drawings to create.
This historic animation was released in , which predates Steamboat Willie the first cartoon to feature Mickey Mouse by about 20 years. These companies helped spread and popularize the use of 2D Animation. In the s, 2D animation strayed away from the theaters and moved onto the TV screen. Several cartoon series were created during this time period, including The Jetsons and The Flinstones, the first successful animated program on primetime TV.
Cartoons were also a lot longer, going from minutes a cartoon to minutes a cartoon. Duration mins. Extraordinary, Oscar-winning fantasy animated film from Japan following the down-the-rabbit-hole adventures of a young girl named Chihiro. The attention to detail in the animation is remarkable, based on storyboards hand-drawn by Miyasaki himself, the story developed organically through this process rather than a traditional script.
Duration 91 mins. Adapted from Marjane Satrapi's brilliantly funny autobiographical graphic novel about a rebellious young girl's experience of revolutionary Iran. Opting to use traditional animated techniques, but only use the colours black and white, the techniques here are actually remarkably sophisticated, but the film itself feels timeless.
Duration 95 mins. Tiana is a feisty young woman with big dreams in Disney's New Orleans-set re-telling of the classic fairy tale. In a blend of the old and the new, character animators working on the film used traditional pencil and paper drawings, which were then scanned into computer systems.
Duration 77 mins. A beautiful animation about an unlikely friendship between a big clown bear and a clever orphan mouse, from the makers of A Town Called Panic! One of the gentlest, most enchanting animations of recent years, this French film is a beautiful throwback to an earlier time, when hand-drawn animation ruled the roost. Subtle, satirical, progressive and utterly charming, the tale of an unlikely friendship between a small mouse and a big scary bear on the streets of a French town is not to be missed.
A beautifully animated Japanese fantasy from the makers of Spirited Away, about a Princess sent to Earth from the Moon. Directed by Studio Ghibli co-founder Isao Takahata, this is an exquisitely animated story and a labour of love for its creator, who painstakingly worked on the film for eight years. With a focus on history, technology and science, and a wonderful young heroine at its centre, this is one of the richest animations of recent years.
A poignant, heartfelt anime about a young deaf girl who moves to a new school and is bullied by her classmates. Recently, Japanese manga films have broken through to become commercial hits in the UK, rather than simply cult curiousities.
This is one of the stronger films released, a critically acclaimed teen drama that truly understands its audience.
0コメント