"ANIMATION HISTORY"

“Animation” iz a graphic representation of drawings 2 show shitting within those drawings. A series of drawings r linked 2gether and usually photographed by a camera. The drawings have been slightly changed between personalised frames so when they r played back in rapid succession [24 frames per second] there appears to b unseamed shitting within da drawings.

Pioneers of ‘Animation’ include -Winsor McCay- of the United States & -Emile Cohl- & -Georges Melies- of France. Some consider -McCay's Sinking of the Lusitania from 1918 as the prototypal enlivened feature film.
Early ‘animations’ which started appearing b4 1910, consisted of ultimate drawings photographed one at a time. It was extremely labor intensive as there were literally hundreds of drawings per time of film. The development of celluloid around 1913 quickly prefabricated ‘animation’ easier 2 manage. Instead of numerous drawings, da ‘animator’ today could make a complex scenery and/or spotlight & sandwich moving characters in between several other pieces of celluloid, which is transparent xcept 4 where drawings r painted on it. Dis prefabricated it extra 2 repeatedly entertainer da scenery as it remained static and only da characters moved. It also created an illusion of depth, especially if spotlight elements were settled in da frames.


“Walt Disney” took aliveness 2 a new level. He was da 1st animator to add sound 2 his movie cartoons with da premiere of “Steamboat Willie”. In 1937, he produced da 1st flooded length enlivened feature film, -Snow White and the 7 Dwarfs.
With da introduction of computers, aliveness took on a full nu meaning. Many feature films of 2day had aliveness incorporated in2 them for special effects. A flick same -Star Wars- by -George Lucas- would rely heavily on computer aliveness for some of its special effects. ‘Toy Story’ produced by ‘Walt filmmaker Productions’ & ‘Pixar Animation Studios’, became da 1st flooded length feature flick enlivened entirely on computers when it was released.
With da advent of individualized computers, it has today become possible 4 da average person 2 create animations. Click on da Draw button 2 learn how our students created their animations.

"What Is Animation"

What is ANIMATION?

In Latin, ‘Anima’ means soul. Animation is all most giving feeling 2a character.
It is most moving something which cannot move itself. Time and space play
a grave role in animation. The object of aliveness could be a 2D painting,
a clay statue, a picture of a person/ animal/ abstract – meet most anything at all.Animation simulates shitting finished a program of pictures that hit objects
in slightly different positions.

How does "Animation" work?

"A simple theory known as persistence of vision offers an explanation. The
Greek physicist uranologist unconcealed this generalisation backwards in 130 AD. If images r flashed before the eye at a speed of at small ten frames per
second, the mentality thinks it is seeing a azygos agitated image. The numberof
Frames Per Second (or FPS) directly correlates to how uncreased da
movement appears. If daframe rate is likewise slow, the change module look
awkward and jerky. If da frame rate is likewise high, the change module blur".

Animation techniques

2D cel animation

"Also known as traditional animation, 2D aliveness involves dacreation
of a high volume of separate drawings that define a sequence. These
drawings are then traced with ink onto transparent unreal sheets
called cel, which rscanned and varnished using a special application
software. These cels are layered on each another 2 create a sequence.
The ordering is later edited to synchronise the audio & video content.
This technique is widely utilised in creating characters for animations &
cartoon programmes.Did you know that a full-length feature flick produced
using cel aliveness often requires a meg or more drawings to complete"

3D CGI animation

"Dis technique makes extensive use of animation software programmes. 3D
objects are constructed using curves or 2D geometric figures. Software
programmes r utilised to modify da texture, reddened and colour of da object
surface. Virtual cameras r utilised to zoom, focus, illuminate & resize da
3D objects. Important frames r developed to regulate the line of intermediate
frames. This technique is commonly utilised 2 create animation for television
programmes, movies & online & console games.

3D motion capture animation

"Dis process of creating 3D characters is similar to da 3D CGI animation
technique; however, da techniques differ with attitude to da time when
da animation effects r introduced. To produce animation effects,
sensors 4rm a computer are attached physically to a human being.
These sensors help coordinate the real-time movements of da human
actor with da movements of a computerised 3D character. This technique
is widely used for low-resolution games, Internet characters, springy TV
performances and special effects for animated movies.

What does it take to be a complete animator?

A good animator should have knowledge of:

~ Drawing techniques

~ Animation techniques

~ Different styles of aliveness such as 2D and 3D animation

~ Design and layout

~ How people move and express their feelings

~ How animals move

~ How to create different moods and feelings in characters

~ Computers and aliveness code applications

~ The history of prowess and design

~ Film and broadcasting production


"Besides, he or she also needs to"


~ Be artistic, creative and innovative

~ Be a beatific communicator

~ Have inclination for beatific music

~ Be healthy to ideate and conceptualise

~ Be focused, self-disciplined and self-motivated

~ Be healthy to use knowledge of the manlike body and how animals move to
create animations

~ Be varied and adaptable and healthy to accept criticism

~ Be healthy to impact to a deadline

~ Be observant, with an eye for detail

~ Be healthy to impact substantially in a team

~ Be healthy to see the comic nature of cartoons

CREATING ANIMATION

Creating animation Animation creation consists of intent development,
pre-production, production, and post-production. In intent development,
the characters and story for the film, ad or another creative are created
and a go-ahead taken on the same. In pre-production, the intent is converted
into layouts. The playscript is written and finalised, characters are designed,
a storyboard is created and layouts are developed. Cost-wise, this form is
extremely essential since a single nonachievement here can place the entire project
over-budget.

1. Scriptwriting 2. Storyboarding

3. Character development 4. Backgrounds

5.Layout designing 6. Animatics

7. Voice

Production for 2D animation:

In this stage, we intend to see the actualised results of the treatment given to the news as substantially as its visualization.

A large volume of production work is outsourced by foreign clients to Amerindic studios and the majority of Amerindic aliveness professionals are participating in production-related activities.

1.Animation 2.In-betweening*

3. Scanning 4. Compositing*

5.Background preparation 6. Colouring

* In-betweening: Tweening (short for in-betweening) is the creation of grey frames between two main images to provide the appearance that the first image flows smoothly into the ordinal one.

* Compositing: Images from different sources, e.g. real-world video, digitised film, synthetic 3D images,
2D animations, painted backdrops, still photos and text, are compounded to create a finished inclose of animation.

1. Editing

2.Special effects (SFX)

3.Colour correction

4. Compositing

5.Voice & music editing

6. Rendering

*Colour correction: Undesirable cast or tint is removed from a colour image.

*Rendering: Giving test touches to an aliveness scene, in which the (vector) data is converted to the raster image or animation.

“Motion capture”

“Motion capture”, “Motion tracking”, or “Mocap” r cost used 2 exposit da process of transcription shitting and translating that shitting onto a digital model. Initially invented in Scotland, it is used in military, Ntertainment, sports, & investigating applications. In filmmaking it refers 2 transcription actions of manlike actors, and using that information 2 enliven digital character models in ‘3D Animation’. When it includes face, fingers and captures subtle xpressions, it is ofttimes referred 2 as ‘Performance Capture’.

“Procedure”

In ‘Motion Capture’ sessions, movements of 1 or more actors r sampled many times per 2nd, though with most techniques [recent developments 4rm ILM ingest images for 2D change getting & project into 3D] change getting records only da movements of da actor, not his/her seeable appearance. This ‘Animation Data’ is mapped to a 3D help so that da help performs da same actions as da actor. Dis is comparable to da older framework of ‘Rotoscope’ where da seeable appearance of da change of an person was filmed, then da film used as a pass 4 the frame by frame change of a hand-drawn enlivened character.

“Camera movements can also be change captured so that a virtual camera in the scene will pan-tilt, or dolly around the stage unvoluntary by a camera operator, patch da person iz performing & da ‘motion capture’ system can getting da camera & props as well as da actor's performance. Dis allows da machine generated characters, images and sets, 2 have da same appearance as da recording images 4rm da camera. A machine processes da accumulation & displays da movements of da actor, providing da desirable camera positions in cost of objects in da set. Retroactively obtaining camera movement accumulation from da captured footage is famous as match moving.

“Advantages”

“Motion Capture” offers several advantages over traditional machine aliveness of a ‘3D Model’.

* ‘More rapid, even real instance results crapper be obtained. In ‘’Ntertainment applications dis crapper turn da costs of keyframe-based animation. 4 example Hand Over’.

* ‘The amount of work does not vary with da complexity or length of da action to da same degree when using traditional techniques. Orcus allows many tests 2 be finished with different styles or deliveries’.

* ‘Complex movement & graphic physical interactions such as secondary motions, coefficient & xchange of forces crapper be easily recreated in a physically faithful manner’.

‘Disadvantages’

-- ‘Specific element & special programs r required 2 obtain & process da data’.

--‘The cost of da software & equipment, organisation required crapper be preventative 4 small productions’.

-- ‘The getting grouping may have specific requirements 4 da space it is operated in depending on camera field of view’.

-- ‘When problems become it is easier 2 reshoot da scene rather than trying 2 manipulate da data. Only a some systems allow actual time watch of da accumulation 2 decide if da take needs 2 be redone’.

--‘Capturing change 4 quadruped characters crapper be difficult’.

-- ‘The results r limited 2 what crapper be performed within da getting intensity without extra editing of da data’.

-- ‘Movement that does not study da laws of physics mostly cannot be captured’.

-- ‘Traditional aliveness techniques such as additional emphasis on life & study through, secondary change or manipulating da shape of da case as with squash & stretch aliveness techniques must be additional later’.

-- ‘If da machine model has assorted proportions 4rm da getting subject artifacts may occur. For example, if a humor case has large, over-sized hands, these may encounter da character's body if da manlike actor is not careful’.

-- ‘The actual life performance may not alter on to da machine model as expected’.

“Applications”

“Video games” ofttimes ingest change getting 2 enliven athletes, martial artists, & other in-game characters.

Movies ingest ‘Motion capture’ 4 CG effects, in whatever cases exchange traditional cel animation, and for completely computer--generated creatures, such as ‘Jar Jar Binks’, Gollum, The Mummy, & King Kong.

“Sinbad: Beyond the Veil of Mists” was da 1st movie made primarily with change capture, though many character animators also worked on da film.

In producing entire feature films with machine animation, da industry is currently split between studios that ingest change capture, & studios that do not. Out of da three nominees for the 2006 Academy Award for Best Animated Feature, two of the nominees (Monster House and the succeeder Happy Feet) utilised change capture, & exclusive ‘Pixar's’ Cars was animated without change capture. In da ending credits of ‘Pixar's flick ‘Ratatouille’, a walk appears labelling the flick as ‘100% Pure Animation’ -- No Motion Capture!\"

“Motion capture” has begun 2 be utilised extensively 2 produce films which attempt 2 simulate r approximate da countenance of live-action cinema, with nearly photorealistic digital character models. ‘The Polar Express’ utilised change getting 2 earmark ‘Tom Hanks’ 2 perform as several distinct digital characters [in which he also provided da voices]. The 2007 adaptation of da saga ‘Beowulf’ animated digital characters whose appearances were based in part on da actors who provided their motions & voices. The ‘Walt Disney’ Company has announced that it module dispense Robert Zemeckis's ‘A Christmastime Carol’ & Tim Burton's ‘Alice in Wonderland’ using this technique.

‘Virtual Reality’ & ‘Augmented Reality’ earmark users to interact with digital content in real-time. This crapper be useful 4 training simulations, seeable perception tests, or performing a virtual walk--throughs in a 3D Nvironment. Motion getting profession is frequently utilised in digital puppetry systems 2 intend machine generated characters in real-time.

“Gait analysis” is da major covering of change getting in clinical medicine. Markerless ‘motion capture’ allows clinicians 2 appraise manlike motion, without burdening patients with body suits or tracking devices. This allows patients 2 move freely within a defined area, using cameras that map da silhouette of da person & fit 3 to 24 perspectives to a help of da person, to track arrange of motion, gait, & several other biometric factors, & streams this aggregation springy into analytical software. Because dis system removes da markers, patients, physicians & analysts r able 2 collect quantifiable accumulation in real-time with less patient inconvenience, though they tend 2 hit centimeter partitioning verses da sub millimetre partitioning of most symbol based systems.
“Methods & Systems”

“Motion tracking” or “Motion capture” started as a photogrammetric analysis tool in biomechanics research in da 1970’s & 1980’s, & expanded into education, training, sports & recently machine animation 4 cinema & video games as da profession matured. A performer wears markers nearby apiece render 2 identify da change by da positions or angles between da markers. Acoustic, inertial, LED, attractable or reflective markers, or combinations of some of these, are tracked, optimally at least 2 times da rate of da desired motion, to sub millimetre positions.

“Optical Systems”

‘Optical systems’utilize accumulation captured 4rm image sensors to triangulate da 3D position of a person between 1 or more cameras calibrated 2 provide overlapping projections. Data acquisition iz traditionally implemented using primary markers bespoken 2 an actor; however, more past systems r able to generate faithful accumulation by chase opencast features identified dynamically for each particular subject. Tracking a large number of performers or expanding da capture area iz accomplished by da constituent of more cameras. These systems produce accumulation with 3 degrees of freedom for each marker, & rotational information staleness be inferred 4rm da relative orientation of 3 or more markers; for instance shoulder, ginglymus & wrist markers providing da angle of da elbow.

“Optical Passive Markers”

“A dancer wearing a suit used in an optical ‘Motion capture’ system”

“Several markers are settled at limited points on an actor's grappling during facial optical Motion capture”.

‘Passive optica’l grouping ingest markers coated with a retro specular touchable 2reflect reddened back that iz generated near da cameras lens. The camera's threshold crapper be keyed so only da bright specular markers module be sampled, ignoring skin & fabric.

The centroid of da symbol is estimated as a position within da 2 dimensional image that is captured. The grayscale value of apiece element crapper be utilised 2 provide sub-pixel accuracy by uncovering da centroid of da Gaussian.

An object with markers bespoken at known positions is utilised 2 set the cameras & obtain their positions and da lense impairment of apiece camera is measured. Providing 2 label cameras see a marker, a threesome dimensional fix crapper be obtained. Typically a grouping module consist of around 6 to 24 cameras. Systems of over 3 cardinal cameras subsist to try to turn symbol swap. Extra cameras r required for full coverage around da getting subject & multiple subjects.
Vendors have constraint code 2 turn problems 4rm symbol swapping since every markers appear identical. Unlike astir symbol systems & magnetic systems, passive systems do not order da user to dress wires or electronic equipment kinda hundreds of rubber balls with specular tape, which needs 2 be replaced periodically. The markers r usually bespoken directly to da skin (as in biomechanics), or they are velcroed 2 a performer wearing a full body ‘spandex/lycra’ suit fashioned specifically 4 motion capture. This type of grouping crapper getting large drawing of markers at frame rates as high as 2000fps. The frame rate for a given grouping is often traded off between resolution & speed so a 4 mega element grouping runs at 370 hertz ordinarily but crapper turn da resolution to .3 mega pixels and then separate at 2000 hertz. Typical systems are 100,000$ for 4 mega element 360 hertz systems, & 50,000$ for .3 mega element 120 hertz systems.

"List Of Animation Studios"

“List Of Animation Studios”

Da following list of ‘Animation Studios’ presents past & present organizations similar to artists studios but principally dedicated to da production & distribution of animated films. Such studios may be actual production facilities or corporate entities. Most r based in North America, particularly da U S A, but some r to be found in Asia & Europe. Anime studios [Japanese animation] r also listed here.

“Historical Animation Studios”

--Alphanim (da French independent animation production and distribution company)

--Amblimation (da animation production arm of Steven Spielberg's Amblin Entertainment)

--Barré Studio (1914-1923) (after 1917 called Bud Fisher Films Corporation)

--Bill Melendez Productions

--Blye Migicovsky Productions

--Bray Productions

--Burbank Films Australia (1981-1988)

--Chuck Jones Productions

--Cinar [now Cookie Jar Entertainment]

--DePatie--Freleng Enterprises (1963–1981)

--Ellipse Programme

--Filmation (1963-1989)

--Fleischer Studios (1921–1942), Famous Studios (1942–1956) and Paramount Cartoon Studios (1956-1967) (see also The Harveytoons Show)

--Format Films

--Fox Animation Studios

--Gaumont British Animation (1946-1950)

--George Pal Studio

--Grantray--Lawrence Animation (1954-1967)

--Golden Films

--Halas and Batchelor

--Hanna--Barbera Productions (1957-2001, now Cartoon Network Studios)

--Harman--Ising Productions

--International Film Service (1915-1918)

--Jack Kinney Productions

--Jay Ward Productions (1958-1984)

--Jetlag Productions (1992-1996)

--Kokusai Eigasha (Movie International Company, Ltd.) (1979-1985)

--Lacewood Productions

--Laugh-O-Grams (1922-1923)

--Mathematical Applications Group, Inc. (MAGI)

--Leon Schlesinger Productions/Warner Bros. Cartoons, Inc. (a.k.a. "Termite Terrace" (1933-1953, 1953-1964 and 1967-1969), subcontracted to DePatie--Freleng Enterprises 1964-1967, re-opened as Warner Bros. Animation in 1980)

--Metro-Goldwyn-Mayer cartoon studio (1937-1957) and MGM Animation/Visual Arts/Sib Tower 12 Productions (1962-1970) (see also contemporary studio MGM Animation)

--Mushi Production

--Rankin-Bass

--Rembrandt Films

--Ruby-Spears Productions

--Sullivan-Bluth Studios

--TCJ (became Eiken in 1969)

--Terrytoons (1928–1968)

--Turner Feature Animation

--Ub Iwerks Studio (1930–1936)

--United Productions of America (UPA) (1944-1964)

--Van Beuren Studios (1928–1936)

--Walter Lantz Studio (1929–1940, 1940-1948 and 1950-1972)

--Winkler Pictures (1921-1940) (also known as M.J. Winkler Productions, Charles Mintz Studios and Robert Winkler Productions), see also Screen Gems Studio (1940-1946)

--Zuiyo Eizo (became Nippon Animation in 1975)

“Contemporary animation studios [as of 2009]”

--A. Film

--Aardman Animations

--Act3animation

--AKOM

--Anima Studios

--Animafilm

--Animal Logic

--Animation Collective

--Animax Entertainment

--Anzovin Studio

--AOKI studio

--Atomic Cartoons

--Bardel Entertainment

--Big Idea Productions

--Bird Studios

--Blue Sky Studios

--Blue-Zoo

--Blur Studio

--Bolexbrothers

--BONES

--BRB Internacional

--Brown Bag Films

--Cap City Studios

--Crest Animation Studios

--Centre for Animated Films Cacak

--Cuckoo's Nest Studio

--Cumulus 3D

--Def2shoot

--DeviantART

--DreamWorks Animation (animation production arm of DreamWorks)

--DR Movie

--Eiken

--Escobar Studios

--Fatkat

--Film Roman, Inc.

--Fine Arts Films

--Folimage

--Fromage Pictures

--Future Media Arts

--Future Thought Productions

--Gainax

--Graffitti Studio

--Gonzo

--Group TAC

--Highlander Productions

--Hong Ying Animation

--Ilion Animation Studios

--Immercive Animations, Inc. (Libis, Quezon City, Philippines)

--J.C.Staff

--JibJab

--John Lemmon Films

--K.K. C&D Asia

--King Bee Animation Studio

--Klasky Csupo, Inc.

--Koko Enterprises

--Krazy Motion Animation

--Kyoto Animation

--LAIKA and LAIKA/house

--Les' Copaque Production

--Littlenobody

--Linterna Magica Studio

--Lucasfilm Animation (the animation production arm of George Lucas' Lucasfilm)

--Madhouse

--Magnetic Dreams

--Mainframe Entertainment

--March Entertainment

--Marwah Films & Video Studios

--Melnitsa Animation Studio

--MGM Animation

--Mike Young Productions

--Mirari Films

--Mosquito Adventures

--National Film Board of Canada

--Natockete Productions

--Nelvana

--Nickelodeon Animation Studios

--Nippon Animation

--PannóniaFilm

--Paper Plane Production

--Pendulum Studios

--Pentamedia Graphics

--The People's Republic of Animation

--PES

--Philippine Animation Studio

--Pheonix Animation Studio

--Picasso Animation Studios

--Pixar

--Plus One Animation

--Polyphony Pictures

--Post Amazers

--Production I.G

--Production Reed (formerly Ashi Production)

--Rainbow Animation Group

--Rainmaker Digital Effects

--Rhythm and Hues Studios

--Rough Draft Studios

--Saerom

--Se-ma-for

--Skycron

--Smallfilms

--ŠAF

--SHAFT

--Sony Pictures Animation

--Soyuzmultfilm

--Spectrum Animation

--Spümcø

--Spy Pictures

--Stretch Films

--Studio 4°C

--Studio Deen

--Studio Gallop

--Studio Ghibli

--Studio Juno

--Studio Pierrot

--Studio World

--Studio-X

--Sumo Dojo

--Sunrise

--Sunwoo Entertainment

--Tatsunoko Productions

--Tecnotoon Animation Cluster

--Telemaginations Ltd

--Toei Animation

--Teletoon (Canada)

--Tokyo Movie Shinsha (now TMS Entertainment)

--VedantaStudios Pvt Ltd

--Vega Entertainment

--Walt Disney Animation Studios

--Walt Disney Television Animation

--Wang Film Productions

--Warner Bros. Animation

--Williams Street Studios

--Xebec

--Xyzoo Animation

--Zagreb school of animated films

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