Free Animal Pictures Biography
Animation is the process of creating a continuous motion and shape change[Note 1] illusion by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon.Animexample3edit.png
The bouncing ball animation (below) consists of these six frames.
Animexample.gif
This animation moves at 10 frames per second.
Animations can be recorded on either analogue media, such as a flip book, motion picture film, video tape, or on digital media, including formats such as animated GIF, Flash animation or digital video. To display it, a digital camera, computer, or projector are used.
Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, such as paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, or 30 frames per second.
History[edit]
Main article: History of animation
A phenakistoscope disc by Eadweard Muybridge (1893)
Early examples of attempts to capture the phenomenon of motion into a still drawing can be found in paleolithic cave paintings, where animals are often depicted with multiple legs in superimposed positions, clearly attempting to convey the perception of motion.
In the first century BC, the Chinese craftsman Ding Huan invented a zoetrope-like optical device that created the impression of motion from the rapid movement of static images.[1] A circular canopy of translucent paper painted with images of birds and animals was placed over a lamp. The rising convection currents of the lamp rotated the vanes on the top of the canopy.[2][3] When the device was spun at the right speed, pictures painted on the panels would appear to move.[4] In the 19th century, the phenakistoscope (1832), modern zoetrope (1834) and praxinoscope (1877), as well as the common flip book, were early animation devices to produce movement from sequential drawings using technological means, but animation did not develop further until the advent of motion picture film and cinematography in the 19th century.
The cinématographe was a projector, printer, and camera in one machine that allowed moving pictures to be shown successfully on a screen which was invented by history's earliest film makers, Auguste and Louis Lumière, in 1894.[5] The first animated projection (screening) 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 also notable as the first known instance of film perforations being used. His films were not photographed, but drawn directly onto the transparent strip. In 1900, more than 500,000 people had attended these screenings.
Praxinoscope, The first projection (1877)
The first film that was recorded on standard picture film and included animated sequences was the 1900 Enchanted Drawing, which was followed by the first entirely animated film - the 1906 Humorous Phases of Funny Faces by J. Stuart Blackton, who, because of that, is considered the father of American animation.
The first animated film created by using what came to be known as traditional (hand-drawn) animation - the 1908 Fantasmagorie by Émile Cohl
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 stick figure moving about and encountering all manner of morphing objects, such as a wine bottle that transforms into a flower. There were also sections of live action in which the animator’s hands would enter the scene. The film was created by drawing each frame on paper and then shooting each frame onto negative film, which gave the picture a blackboard look.
The author of the first puppet-animated film (The Beautiful Lukanida (1912)) was the Russian-born (ethnically Polish) director Wladyslaw Starewicz, known as Ladislas Starevich.[citation needed]
The more detailed hand-drawn animations, requiring a team of animators drawing each frame manually with detailed backgrounds and characters, were those directed by Winsor McCay, a successful newspaper cartoonist, including the 1911 Little Nemo, the 1914 Gertie the Dinosaur, and the 1918 The Sinking of the Lusitania.
During the 1910s, the production of animated short films, typically referred to as "cartoons", became an industry of its own and cartoon shorts were produced for showing in movie theaters. The most successful producer at the time was John Randolph Bray, who, along with animator Earl Hurd, patented the cel animation process which dominated the animation industry for the rest of the decade.
El Apóstol (Spanish: "The Apostle") was a 1917 Argentine animated film utilizing cutout animation, and the world's first animated feature film.[6] Unfortunately, a fire that destroyed producer Frederico Valle's film studio incinerated the only known copy of El Apóstol, and it is now considered a lost film.
Computer animation has become popular since Toy Story (1995), the first animated film completely made using this technique.
In 2008, the animation market was worth US$68.4 billion.[7]
Techniques[edit]
Traditional animation[edit]
Main article: Traditional animation
An example of traditional animation, a horse animated by rotoscoping from Eadweard Muybridge's 19th century photos
Traditional animation (also called cel animation or hand-drawn animation) was the process used for most animated films of the 20th century. The individual frames of a traditionally animated film are photographs of drawings, first drawn on paper. To create the illusion of movement, each drawing differs slightly from the one before it. The animators' drawings are traced or photocopied onto transparent acetate sheets called cels, which are filled in with paints in assigned colors or tones on the side opposite the line drawings. The completed character cels are photographed one-by-one against a painted background by a rostrum camera onto motion picture film.
The traditional cel animation process became obsolete by the beginning of the 21st century. Today, animators' drawings and the backgrounds are either scanned into or drawn directly into a computer system. Various software programs are used to color the drawings and simulate camera movement and effects. The final animated piece is output to one of several delivery media, including traditional 35 mm film and newer media such as digital video. The "look" of traditional cel animation is still preserved, and the character animators' work has remained essentially the same over the past 70 years. Some animation producers have used the term "tradigital" to describe cel animation which makes extensive use of computer technology.
Excerpt from the 1919 Feline Follies with Felix the Cat.
Examples of traditionally animated feature films include Pinocchio (United States, 1940), Animal Farm (United Kingdom, 1954), and L'Illusionniste (British-French, 2010). Traditional animated films which were produced with the aid of computer technology include The Lion King (US, 1994), Akira (Japan, 1988), Sen to Chihiro no Kamikakushi (Spirited Away) (Japan, 2001), Les Triplettes de Belleville (France, 2003), and The Secret of Kells (Irish-French-Belgian, 2009).
Full animation refers to the process of producing high-quality traditionally animated films that regularly use detailed drawings and plausible movement. Fully animated films can be made in a variety of styles, from more realistically animated works such as those produced by the Walt Disney studio (Beauty and the Beast, Aladdin, Lion King) to the more 'cartoon' styles of the Warner Bros. animation studio. Many of the Disney animated features are examples of full animation, as are non-Disney works such as The Secret of NIMH (US, 1982), The Iron Giant (US, 1999), and Nocturna (Spain, 2007).
Limited animation involves the use of less detailed and/or more stylized drawings and methods of movement. Pioneered by the artists at the American studio United Productions of America, limited animation can be used as a method of stylized artistic expression, as in Gerald McBoing Boing (US, 1951), Yellow Submarine (UK, 1968), and much of the anime produced in Japan. Its primary use, however, has been in producing cost-effective animated content for media such as television (the work of Hanna-Barbera, Filmation, and other TV animation studios) and later the Internet (web cartoons).
Rotoscoping is a technique patented by Max Fleischer in 1917 where animators trace live-action movement, frame by frame. The source film can be directly copied from actors' outlines into animated drawings, as in The Lord of the Rings (US, 1978), or used in a stylized and expressive manner, as in Waking Life (US, 2001) and A Scanner Darkly (US, 2006). Some other examples are: Fire and Ice (US, 1983) and Heavy Metal (1981).
Live-action/animation is a technique combining hand-drawn characters into live action shots. One of the earlier uses was in Koko the Clown when Koko was drawn over live action footage. Other examples include Who Framed Roger Rabbit (US, 1988), Space Jam (US, 1996) and Osmosis Jones (US, 2001).
Stop motion animation[edit]
Main article: Stop motion
Stop-motion animation is used to describe animation created by physically manipulating real-world objects and photographing them one frame of film at a time to create the illusion of movement. There are many different types of stop-motion animation, usually named after the medium used to create the animation. Computer software is widely available to create this type of animation; however, traditional stop motion animation is usually less expensive and time-consuming to produce than current computer animation.
Puppet animation typically involves stop-motion puppet figures interacting in a constructed environment, in contrast to real-world interaction in model animation. The puppets generally have an armature inside of them to keep them still and steady as well as to constrain their motion to particular joints. Examples include The Tale of the Fox (France, 1937), The Nightmare Before Christmas (US, 1993), Corpse Bride (US, 2005), Coraline (US, 2009), the films of Jiří Trnka and the TV series Robot Chicken (US, 2005–present).
Puppetoon, created using techniques developed by George Pal, are puppet-animated films which typically use a different version of a puppet for different frames, rather than simply manipulating one existing puppet.
Clay animation
Clay animation, or Plasticine animation (often called claymation, which, however, is a trademarked name), uses figures made of clay or a similar malleable material to create stop-motion animation. The figures may have an armature or wire frame inside, similar to the related puppet animation (below), that can be manipulated to pose the figures. Alternatively, the figures may be made entirely of clay, such as in the films of Bruce Bickford, where clay creatures morph into a variety of different shapes. Examples of clay-animated works include The Gumby Show (US, 1957–1967) Morph shorts (UK, 1977–2000), Wallace and Gromit shorts (UK, as of 1989), Jan Švankmajer's Dimensions of Dialogue (Czechoslovakia, 1982), The Trap Door (UK, 1984). Films include Wallace & Gromit: The Curse of the Were-Rabbit, Chicken Run and The Adventures of Mark Twain.
Cutout animation is a type of stop-motion animation produced by moving two-dimensional pieces of material such as paper or cloth. Examples include Terry Gilliam's animated sequences from Monty Python's Flying Circus (UK, 1969–1974); Fantastic Planet (France/Czechoslovakia, 1973) ; Tale of Tales (Russia, 1979), The pilot episode of the TV series (and sometimes in episodes) of South Park (US, 1997).
A clay animation scene from a Finnish television commercial
Silhouette animation is a variant of cutout animation in which the characters are backlit and only visible as silhouettes. Examples include The Adventures of Prince Achmed (Weimar Republic, 1926) and Princes et princesses (France, 2000).
Model animation refers to stop-motion animation created to interact with and exist as a part of a live-action world. Intercutting, matte effects, and split screens are often employed to blend stop-motion characters or objects with live actors and settings. Examples include the work of Ray Harryhausen, as seen in films such Jason and the Argonauts (1963), and the work of Willis O'Brien on films such as King Kong (1933 film).
Go motion is a variant of model animation that uses various techniques to create motion blur between frames of film, which is not present in traditional stop-motion. The technique was invented by Industrial Light & Magic and Phil Tippett to create special effects scenes for the film The Empire Strikes Back (1980). Another example is the dragon named "Vermithrax" from Dragonslayer (1981 film).
Object animation refers to the use of regular inanimate objects in stop-motion animation, as opposed to specially created items.
Graphic animation uses non-drawn flat visual graphic material (photographs, newspaper clippings, magazines, etc.), which are sometimes manipulated frame-by-frame to create movement. At other times, the graphics remain stationary, while the stop-motion camera is moved to create on-screen action.
Brickfilm A sub-genre of object animation involving using Lego or other similar brick toys to make an animation. These have had a recent boost in popularity with the advent of video sharing sites like YouTube and the availability of cheap cameras and animation software.
Pixilation involves the use of live humans as stop motion characters. This allows for a number of surreal effects, including disappearances and reappearances, allowing people to appear to slide across the ground, and other such effects. Examples of pixilation include The Secret Adventures of Tom Thumb and Angry Kid shorts.
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