Computer animation is the process used for generating animated images by using computer graphics. The more general term computer generated imagery encompasses both static scenes and dynamic images, while computer animation only refers to moving images produced by exploiting the persistence of vision to make a series of images look animated. Given that images last for about one twenty-fifth of a second on the retina fast image replacement creates the illusion of movement.Modern computer animation usually uses 3D computer graphics, although 2D computer graphics are still used for stylistic, low bandwidth, and faster real-time renderings. Sometimes the target of the animation is the computer itself, but sometimes the target is another medium, such as film.
Computer animation is essentially a digital successor to the art of stop motion animation of 3D models and frame-by-frame animation of 2D illustrations. Computer generated animations are more controllable than other more physically based processes, such as constructing miniatures for effects shots or hiring extras for crowd scenes, and because it allows the creation of images that would not be feasible using any other technology. It can also allow a single graphic artist to produce such content without the use of actors, expensive set pieces, or props.
For 3D animations, all frames must be rendered after modeling is complete. For 2D vector animations, the rendering process is the key frame illustration process, while tweened frames are rendered as needed. For pre-recorded presentations, the rendered frames are transferred to a different format or medium such as film or digital video. The frames may also be rendered in real time as they are presented to the end-user audience. Low bandwidth animations transmitted via the internet (e.g. 2D Flash, X3D) often use software on the end-users computer to render in real time as an alternative to streaming or pre-loaded high bandwidth animations.
HISTORY
One of the earliest steps in the history of computer animation was the 1973 movie Westworld, a science-fiction film about a society in which robots live and work among humans, though the first use of 3D Wireframe imagery was in its sequel, Futureworld (1976), which featured a computer-generated hand and face created by then University of Utah graduate students Edwin Catmull and Fred Parke.
Developments in CGI technologies are reported each year at SIGGRAPH, an annual conference on computer graphics and interactive techniques, attended each year by tens of thousands of computer professionals. Developers of computer games and 3D video cards strive to achieve the same visual quality on personal computers in real-time as is possible for CGI films and animation. With the rapid advancement of real-time rendering quality, artists began to use game enginesto render non-interactive movies. This art form is called machinima.
DISCUSSION
Early animation
Precursors to Animation
Fig: Five images sequence from a vase found in Iran.
Evidence of artistic interest in depicting figures in motion can be seen as early as the still drawings of Paleolithic cave paintings, where animals are depicted with multiple sets of legs in superimposed positions, clearly attempting to convey the perception of motion.
Other examples include a 5,200-year old earthen bowl found in Iran in Shahr-e Sukhteh and an ancient Egyptian mural. The Persian bowl has five images painted along the sides, showing phases of a goat leaping up to nip at a tree. The Egyptian mural, found in the thomb of Khnumhotep and Niankhkhnum, at the Beni Hassan cemetery. The paintings are approximately 4000 years old and show scenes of young soldiers being trained in wrestling and combat. Seven drawings by Leonardo da Vinci (ca. 1510) extending over two folios in the Windsor Collection, Anatomical Studies of the Muscles of the Neck, Shoulder, Chest, and Arm, show detailed drawings of the upper body (with a less-detailed facial image), illustrating the changes as the torso turns from profile to frontal position and the forearm extends.
Fig:Egyptian burial chamber mural.
Even though all these early examples may appear similar to a series of animation drawings, the lack of equipment to show the images in motion means that these image series are precursors to animation and cannot be called animation in the modern sense. They do, however, indicate the artists' intentions and interests in depicting motion.
Victorian parlor toys
Many of the early inventions designed to animate images were meant as novelties for private amusement of children or small parties. Animation devices which fall into this category include the zoetrope, magic lantern, praxinoscope, thaumatrope, phenakistoscope, and flip book
Zoetrope (180 AD; 1834)
The zoetrope is a device which creates the image of a moving picture. The earliest elementary zoetrope was created in China around 180 AD by the prolific inventor Ting Huan . Made from translucent paper or mica panels, Huan hung the device over a lamp. The rising air turned vanes at the top from which hung the pictures painted on the panels would appear to move if the device is spun at the right speed.
The modern zoetrope was produced in 1834 by William George Horner. The device is essentially a cylinder with vertical slits around the sides. Around the inside edge of the cylinder there are a series of pictures on the opposite side to the slits. As the cylinder is spun, the user then looks through the slits to view the illusion of motion. The zoetrope is still being used in animation courses to illustrate early concepts of animation.
The magic lantern
The magic lantern is the predecessor of the modern day projector. It consisted of a translucent oil painting and a simple lamp. When put together in a darkened room, the image would appear larger on a flat surface. Athanasius Kircher spoke about this originating from China in the 16th century. Some slides for the lanterns contained parts that could be mechanically actuated to present limited movement on the screen.
Thaumatrope (1824)
A thaumatrope was a simple toy used in the Victorian era. A thaumatrope is a small circular disk or card with two different pictures on each side that was attached to a piece of string or a pair of strings running through the centre. When the string is twirled quickly between the fingers, the two pictures appear to combine into a single image. The thaumatrope demonstrates the Phi phenomenon, the brain's ability to persistently perceive an image. Its invention is variously credited toCharles Babbage, Peter Roget, or John Ayrton Paris, but Paris is known to have used one to illustrate the Phi phenomenon in 1824 to the Royal College of Physicians.
Phenakistoscope (1831)
Fig:A phenakistoscope disc byEadweard Muybridge (1893).
The phenakistoscope was an early animation device, the predecessor of the zoetrope. It was invented in 1831 simultaneously by the Belgian Joseph Plateau and the Austrian Simon von Stampfer.
Flip book (1868)
The first flip book was patented in 1868 by John Barnes Linnet. Flip books were yet another development that brought us closer to modern animation. Like the Zoetrope, the Flip Book creates the illusion of motion. A set of sequential pictures flipped at a high speed creates this effect. The Mutoscope (1894) is basically a flip book in a box with a crank handle to flip the pages.
Praxinoscope (1877)
The praxinoscope, invented by French scientist Charles-Émile Reynaud, was a more sophisticated version of the zoetrope. It used the same basic mechanism of a strip of images placed on the inside of a spinning cylinder, but instead of viewing it through slits, it was viewed in a series of small, stationary mirrors around the inside of the cylinder, so that the animation would stay in place, and provide a clearer image and better quality. Reynaud also developed a larger version of the praxinoscope that could be projected onto a screen, called the Théâtre Optique.
THE PRESENT
Traditional animation
The first animated film was created by Charles-Émile Reynaud, inventor of the praxinoscope, an animation system using loops of 12 pictures. On October 28, 1892 at Musée Grévin in Paris, France he exhibited animations consisting of loops of about 500 frames, using his Théâtre Optique system - similar in principle to a modern film projector.
The first animated work on standard picture film was Humorous Phases of Funny Faces (1906) by J. Stuart Blackton. It features what appears to be a cartoonist drawing faces on a chalkboard, and the faces apparently coming to life; whereas it was actually black line art drawn on white paper and then printed as a film-negative to look like white chalk.
Fantasmagorie, by the French director Émile Cohl (also called Émile Courtet), is also noteworthy. It was screened for the first time on August 17, 1908 at Théâtre du Gymnase in Paris. Émile Courtet later went to Fort Lee, New Jersey near New York City in 1912, where he worked for French studio Éclair and spread its technique in the US.
Influenced by Cohl, Russian scientist Ladislas Starevitch started to create animated films using dead insects with wire limbs. In 1911 he created "The Cameraman's Revenge", a complex tale of treason, suicide and violence between several different insects. It is a pioneer work of puppet animation, and the oldest known example of an animated film of such dramatic complexity, with characters filled with motivation, desire and feelings.
In 1914, American cartoonist Winsor McCay released Gertie the Dinosaur, an early example of character animation.
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, which are 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 onto motion picture film against a painted background by a rostrum camera.
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.
Examples of traditionally animated feature films include Pinocchio (United States, 1940), Animal Farm (United Kingdom, 1954), and Akira (Japan, 1988). Traditional animated films which were produced with the aid of computer technology include The Lion King (US, 1994) Sen to Chihiro no Kamikakushi (Spirited Away) (Japan, 2001), and Les Triplettes de Belleville (2003).
Full animation refers to the process of producing high-quality traditionally animated films, which regularly use detailed drawings and plausible movement. Fully animated films can be done 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 'cartoony' styles of those produced by 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) and The Iron Giant (US, 1999), 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). Some examples are; Spongebob Squarepants (USA, 1999–present), The Fairly OddParents (USA, 2001–present) and Invader Zim (USA, 2001–2002, 2006).
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), used as a basis and inspiration for character animation, as in most Disney films, 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 (USA, 1983) and Heavy Metal (1981).
Live-action/animation is a technique, when combining hand-drawn characters into live action shots. One of the earlier uses of it was Koko the Clown when Koko was drawn over live action footage. Other examples would include Who Framed Roger Rabbit? (USA, 1988), Space Jam (USA, 1996) and Osmosis Jones (USA, 2002).
Feature-length films
The first animated feature film was El Apóstol, made in 1917 by Quirino Cristiani from Argentina. He also directed two other animated feature films, including 1931's Peludopolis, the first to use synchronized sound. None of these, however, survive to the present day. The earliest-surviving animated feature, which used colour-tinted scenes, is the silhouette-animated Adventures of Prince Achmed (1926) directed by German Lotte Reiniger and French/Hungarian Berthold Bartosch.Walt Disney's Snow White and the Seven Dwarfs (1937) is often considered to be the first animated feature when in fact at least eight were previously released. However, Snow White was the first to become successful and well-known within the English-speaking world and the first to use cel animation.
The first animation to use the full, three-color Technicolor method was Flowers and Trees (1932) made by Disney Studios which won an Academy Award for this work.
The first Japanese-made feature length anime film was the propaganda film Momotaro's Divine Sea Warriors by the Japanese director Mitsuyo Seo. The film, shown in 1945, was ordered to be made to support the war by theJapanese Naval Ministry. The film's song AIUEO no Uta was later used in Osamu Tezuka's anime series Kimba the White Lion. Originally thought to have been destroyed during the American occupation, a negative copy survived and the film is now available in Japan on VHS.
Stop motion
Stop motion is used for many animation productions using physical objects rather than images of people, as with traditional animation. An object will be photographed, moved slightly, and then photographed again. When the pictures are played back in normal speed the object will appear to move by itself.
The first example of object manipulation and stop-motion animation was the 1899 short film by Albert E. Smith and J. Stuart Blackton called The Humpty Dumpty Circus.[9] A European stop motion pioneer was Wladyslaw Starewicz (1892–1965), who animated The Beautiful Lukanida (1910), The Battle of the Stag Beetles (1910), The Ant and the Grasshopper (1911).
This process is used for many productions, for example, the most common types of puppets are clay puppets, as used in The California Raisins and Wallace and Gromit, and figures made of various rubbers, cloths and plastic resins, such asThe Nightmare Before Christmas and James and the Giant Peach. Sometimes even objects are used, such as with the films of Jan Švankmajer.
Stop motion animation was also commonly used for special effects work in many live-action films, such as the 1933 version of King Kong and The 7th Voyage of Sinbad.
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 type of media used to create the animation. Computer software is widely available to create this type of animation.
Puppet animation typically involves stop-motion puppet figures interacting with each other in a constructed environment, in contrast to the real-world interaction in model animation. The puppets generally have an armature inside of them to keep them still and steady as well as constraining them to move at 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.
Fig:Clay animation
Clay animation, or Plasticine animation often abbreviated as claymation, uses figures made of clay or a similar malleable material to create stop-motion animation. The figures may have anarmature or wire frame inside of them, similar to the related puppet animation (below), that can be manipulated in order 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 2-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).
Fig:A clay animation scene from a Finnishtelevision 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 (1961), and the work of Willis O'Brien on films such as King Kong (1933 film).
Go motion is a variant of model animation which 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.
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.
CGI animation
Computer-generated imagery (CGI) revolutionized animation. The first film done completely in CGI was Toy Story, produced by Pixar. The process of CGI animation is still very tedious and similar in that sense to traditional animation, and it still adheres to many of the same principles.
A principal difference of CGI Animation compared to traditional animation is that drawing is replaced by 3D modeling, almost like a virtual version of stop-motion, though a form of animation that combines the two worlds can be considered to be computer aided animation but on 2D computer drawing (which can be considered close to traditional drawing and sometimes based on it).
Computer animation
Computer animation encompasses a variety of techniques, the unifying factor being that the animation is created digitally on a computer.
2D animation
2D animation figures are created and/or edited on the computer using 2D bitmap graphics or created and edited using 2D vector graphics. This includes automated computerized versions of traditional animation techniques such as of tweening, morphing, onion skinning and interpolated rotoscoping.
Examples: Foster's Home for Imaginary Friends, Danny Phantom, Waltz with Bashir, The Grim Adventures of Billy and Mandy
Analog computer animation
Flash animation
PowerPoint animation
3D animation
3D animation are digitally modeled and manipulated by an animator. In order to manipulate a mesh, it is given a digital skeletal structure that can be used to control the mesh. This process is called rigging. Various other techniques can be applied, such as mathematical functions (ex. gravity, particle simulations), simulated fur or hair, effects such as fire and water and the use of Motion capture to name but a few, these techniques fall under the category of 3d dynamics. Many 3D animations are very believable and are commonly used as Visual effects for recent movies
Terms
Fig:A 3-D computer animation of hypercube
Photo realistic animation, is used primarily for animation that attempts to resemble real life. Using advanced rendering that makes detailed skin, plants, water, fire, clouds, etc. to mimic real life. Examples include Up (2009, USA), Kung-Fu Panda, Ice Age (2002, USA).
Cel-shaded animation, is used to mimic traditional animation using CG software. Shading looked stark and less blending colors. Examples include, Skyland (2007, France), Appleseed (2007, Japan), The Legend of Zelda: Wind Waker (2002, Japan)
Motion capture, is used when live action actors wear special suits that allow computers to copy their movements into CG characters. Examples include Polar Express (2004, USA), Beowulf(2007), Disney's A Christmas Carol (2009 USA), Avatar (2009, USA).
2D animation techniques tend to focus on image manipulation while 3D techniques usually build virtual worlds in which characters and objects move and interact. 3D animation can create images that seem real to the viewer.
TYPES OF COMPUTER ANIMATION
Computer animation encompasses a variety of techniques, the unifying factor being that the animation is created digitally on a computer.
2D animation.
3D animation.
2D ANIMATION
"An animator is an actor with a pencil", goes the oldest and truest animation cliché. Not "a draftsman that acts", but first and foremost - an actor. If you're trying to tell a story through a character, inevitably you're an actor. The only question is whether you are a good actor or a bad one.
My feeling is that in the past few years, while there's been great progress technology-wise, the art of acting in animation has been abandoned. Compared with the acting quality of characters such as Shere-Khan (The Jungle Book), Captain Hook (Peter Pan) and others, today's characters are pale, dull, and lack personality. In better cases, an exceptionally interesting voice-talent saves the day (Robin Williams as the genie in Aladdin); but usually the script alone is responsible for providing the characters with some sort of personality.
In the various internet forums one can find threads concerning software, design, textures - some even talk about movement - but it's rare to read something about acting. I haven't yet seen a comment saying something like "the animation is good, but the character has no personality". It seems that the level of expectations is so low, that it's enough for an animator not to make technical errors. Would you consider praising a writer simply because he made no spelling mistakes? .
I. Believable acting. .
In the life of an animator there are short and rare moments of true magic. Those moments are the reason I became an animator, and they are the reason I still am one. I'm talking about a moment in which you look at the animation you've just created, and suddenly you believe your own character. Suddenly it's alive, it's there in its own right. Those are the moments of believable acting.
Believable acting holds a great power over the viewers, because the character they're watching gets a sort of meaning. Every man has meaning to us - even if we don't always think about it: If a total stranger sitting next to you on the bus suddenly collapses, you will not be indifferent - because the very fact that he is a flash and blood human earns him that meaning. This is why we feel sorry when Bambi's mother dies: we believe her and we believe Bambi, and both of them mean something to us. On the other hand, the characters in South Park are anything but believable, which is why there's no problem killing Kenny in each chapter. .
(This might be the right place to reemphasize that the animator is of course not solely responsible for contributing meaning to the characters - script has an important part in it too. This article, however, is dealing with animation).
Believable acting means that the audience feels that the character's actions are the result of its own inner motives, and not the animator's inner motives; that the character feels, thinks and reacts consistently according to its personality and mood. I emphasized the last sentence since it encapsulates many of the ingredients of convincing acting: .
Feel.
The aim here is not just to portray clear and defined feelings (happy, sad, etc.) but to look for a kind of inner feeling that we have in us all the time - maybe it can be called "consciousness". Try to "feel" your character when you create animation, not just move it around according to the principles of animation.
Think.
Your character shouldn't always act on immediate instincts. Look for opportunities to show thinking process, which leads to decision and action. It will enrich your animation with depth, complexity and believability.
React.
Acting is actually more or less a series of reactions - the character reacts to its environment, to other characters, to stimulus. Every action must have a reason. Make sure you know what your character is reacting to, and that the reaction is reasonable (in other words: it's reasonable that this particular character will react in this particular way) .
Consistency.
Retain a consistent attitude to your character's reactions. A shy character (small, timid movements) that unexpectedly acts in an extroverted way with no clear reason, will suffer great damage to its credibility.
Personality.
The character's personality dictates its reactions - i.e., its acting. Again, we are not necessarily talking about a definite personality such as "arrogant", "grumpy", etc. Try to get to know your character the way you know a family member or someone you work with. What makes him tick? What is he afraid of? What are his problems? .
Mood.
Mood resembles personality - it, too, dictates the character's reactions - but unlike personality, its effect is temporary. For example: a guy who's hurrying to work acts and reacts in a very different way than the very same guy as he calmly walks his dog in the evening.
ANALOG COMPUTER ANIMATION
The Scanimate systems were used to produce much of the video-based animation seen on television between most of the 1970s and early 1980s in commercials, promotions, and show openings. One of the major advantage the Scanimate system had over film-based animation and computer animation was the ability to create animations in real time. The speed with which animation could be produced on the system because of this, as well as its range of possible effects, helped it to supersede film-based animation techniques for television graphics. By the mid-1980s it was superseded by digital computer animation, which produced sharper images and more sophisticated 3D imagery.
Animations created on Scanimate and similar analog computer animation systems have a number of characteristic features that distinguish them from film-based animation: The motion is extremely fluid, using all 60 fields per second (inNTSC format video) or 50 fields (in PAL format video) rather than the 24 frames per second that film uses; the colors are much brighter and more saturated; and the images have a very "electronic" look that results from the direct manipulation of video signals through which the Scanimate produces the images.
Flash animation
A Flash animation or Flash cartoon is an animated film which is created using Adobe Flash or similar animation software and often distributed in the .swf file format. The term Flash animation not only refers to the file format but to a certain kind of movement and visual style which, in many circles, is seen as simplistic or unpolished. However, with dozens of Flash animated television series, countless more Flash animated television commercials, and award-winning online shorts in circulation, Flash animation is enjoying a renaissance.
In the late 1990s, when for most Internet users, bandwidth was still at 56 kbit/s, many Flash animation artists employed limited animation or cutout animation when creating projects intended for web distribution. This allowed artists to release shorts and interactive experiences well under 1 MB, which could stream both audio and high-end animation. One example is the first episode of The Goddamn George Liquor Program released in 1999, rendered at only 628kB.
Some hallmarks of poorly-produced Flash animation are jerky natural movements (seen in walk-cycles and gestures), auto-tweened character movements, lip-sync without interpolation, and abrupt changes from front to profile view. Although Flash is able to integrate bitmaps and other raster-based art, as well as video, most Flash films are created using only vector-based drawings which often result in a somewhat clean graphic appearance.
Flash animations are typically distributed by way of the World Wide Web, in which case they are often referred to as Internet cartoons, online cartoons, or webtoons. Web Flash animations may be interactive and are often created in a series. A Flash animation is distinguished from a Webcomic, which is a comic strip distributed via the Web, rather than an animated cartoon. Flash animation is now taught in schools throughout the UK and can be taken as a GCSE and O-level.
PowerPoint animation
PowerPoint animation is a form of animation which uses Microsoft PowerPoint and similar programs to create a game or movie. The artwork is generally created using PowerPoint's AutoShape features, and then animated slide-by-slide or by using Custom Animation. These animations can then be shared by transferring the PowerPoint file they were created in, and can be viewed with PowerPoint or Microsoft's free PowerPoint Viewer.
Custom Animation is a set of effects which can be applied to objects in PowerPoint so that they will animate in the Slide Show. They can be added under the Custom Animation function or through the use ofVisual Basic for Applications (VBA). PowerPoint 2000 and earlier versions introduced basic effects such as Appear, Dissolve, Fly In and so forth. In PowerPoint 2002/XP and later versions, the Custom Animation feature was improved, adding new animation effects grouped into four categories: Entrance, Emphasis, Motion and Exit Paths. The effects were later modified in PowerPoint 2010.
Transitions are effects similar to Custom Animation, but are different in that they can only be applied singularly to individual slides as they change from one slide to another and are limited in options. More slide transitions were added to the selection in PowerPoint 2010.
Entrance effects can be set to objects so that they enter with animations during Slide Show. Emphasis effects animate the objects on the spot. Exit effects allow objects to leave the Slide Show with animations. Motion Paths allow objects to move around the Slide Show. Each effect contains variables such as start (On click, With previous, After previous), delay, speed, repeat and trigger. This makes animations more flexible and interactive, similar to Adobe Flash.
Animation Trigger is another feature introduced in Microsoft PowerPoint 2002/XP and the later versions (but, to date, not for Macintosh). This feature allows animators to apply effects that can be triggered when a specific object on the Slide Show is clicked.This feature is the basis for the majority of PowerPoint games, which usually involve clicking objects to advance in the game.
Using hyperlinks and Animation Triggers, one can create games such as Jeopardy, using the tools to maneuver from question to answer. Taking this same principle, the animator can also make more complex games similar to a dungeon game or escape-the-room game. In this format, the animator can create a domain where the player chooses to go right or left, or pick up objects, and so forth. The process takes time, but is generally cheaper and easier than using multimedia software such as Adobe Flash.
For more experienced users, Visual Basic for Applications (VBA) is also commonly used in PowerPoint to keep scores, enter inputs and so forth. With the help of VBA, animations can be programmed with more flexibility. VBA also adds the functions of being able to keep score and save games, along with other features only available through programming rather than the usual interface.
FIG:A battle scene in the PowerPoint short movie, Shadow Fighter: The Movie, produced by PowerPoint Heaven
PowerPoint can also function as a movie maker program. The animator using PowerPoint works similarly to an animator using cels, using a succession of slides to create the illusion of movement. Many tools within the PowerPoint program can be easily used for maximum effect. Drawing tools such as AutoShapes, contains lines, connectors, basic shapes, block arrows, flowchart components, 'freeforms' (AutoShapes drawn by the mouse on pen tool)
and banners, callouts and action buttons, help draw out a slide. Custom Animations and sound tools can also be used to help add excitement to the project and create interest in what might have been an otherwise dull presentation. The process of drawing out multiple slides takes time, but, again, it is considered to be less expensive and easier to use than buying and using professional graphics animation software.
Another way to produce these animations is by animating a cartoon as a single slide acting as a frame of film. This allows the slide show to run like an animated film. This is time consuming, but the artist has much more control and can do much more detailed and precise animation. It also allows control over the timing of the animation. This also make editing of the animation easier afterward. On average, month's work of such animation usually ends up at about a minute in length. A three minute animation can take around three to four months to complete depending on the amount of detail, these lengthy cartoons usually run around 1,800 slides.
Using Custom Animation, cartoons or movies similar to those created in Adobe Flash can be done with PowerPoint. With minimum time, an animator can produce a simple show similar to a stick figuremovie, where the body movements are animated using Motion Paths and Emphasis effects. An example released under PowerPoint Heaven, has a section called the Shadow Fighter series which demonstrates PowerPoint movies.
3D Animation
Fig:One of the earliest 3D animations was The rotating Utah Teapot. This is not the Utah Teapot though, but a teapot from Boston.
3D Animation was invented in the summer of 1912 by Adolf Hitler, who went on to become the leader of the Unfree World and the host of the 1936 Summer Olympics. Hitler managed to revolutionize cinematic animation.
Unfortunately for him, for us, and for the world of 3D animation, his tools were painfully slow. After nine years locked in his mother's basement with his tools and shelves of energy drinks, Hitlermanaged to complete only 240 frames--eight seconds--of his first 3D-animated film, Herr Toy Story. The frustration this brought him led him to abandon his work, change careers, and become leader of the Nazi party in 1921.
In an interview on his experiences as a 3D animator, the new leader said, "Eight seconds in nine years! If I could have produced an average of at least 1 second of footage per year, I might have considered continuing. Still, I think there's something big around the corner for me. I don't feel angry about the failure to fully establish 3D Animation as a profitable industry, but I do blame the limitations of my tools. I want to hurt things now".
When he returned to the United States, he viewed this film on an old reel-to-reel projector. Jobs knew genius when he saw it. He immediately purchased Pixar from Herr George Lucas, taught theartists about this scheme of motion-cartoons, and before long, hired a team of programmers. They worked day and night and invented a similar but faster process based on the computer.
Over the years, Pixar created many 3D animated shorts, but it wasn't until 1992 that Jobs thought the artists were ready for their biggest task; completing what became known as Herr Hitler's Toy Story. It wasn't hard finding the voice talent, both Tim Allen and Tom Hanks leaped at the opportunity when they heard Hitler's name was attached to the project.
Over three years were spent creating the film. In a little over 8999 hours of rendering on a RenderFarm consisting of 87 2-CPU SparcStation 20's, 30 4-CPU Sparc-Station 20's and an abacus--which produced most of the work--Pixar animation technicans managed to produce almost 6 seconds of film, far surpassing Herr Hitler's productivity high-water mark. The remaining two hours of the movie were filmed using live actors, to reduce production costs.
In the BBC documentary The Makers of Herr Toy Story Steve Jobs stated that the movie's production time shortened after the TAB key was removed from all keyboards, an innovation that Jobs became known for.
Toy Story was an amazing success across the world. It was the first fully 3D animated film ever released, and the public clamored for more. Pixar released a slew of films in the years following and each one was a giant success. Before long, other studios were horning in on the action. Pixar came out with A Bug's Wife and DreamWorks was right there with Auntz. It wasn't until Dreamworks bought the rights to an old story written by Mao Zedong, Comrade Shrek, that they were finally able to compete with the big boys.
Terms
Photo realistic animation, is used primarily for animation that attempts to resemble real life. Using advanced rendering that makes detailed skin, plants, water, fire, clouds, etc. to mimic real life. Examples include Up (2009, USA), Kung-Fu Panda, Ice Age (2002, USA).
Cel-shaded animation, is used to mimic traditional animation using CG software. Shading looked stark and less blending colors. Examples include, Skyland (2007, France), Appleseed (2007, Japan), The Legend of Zelda: Wind Waker (2002, Japan)
Motion capture, is used when live action actors wear special suits that allow computers to copy their movements into CG characters. Examples include Polar Express (2004, USA), Beowulf(2007), Disney's A Christmas Carol (2009 USA), Avatar (2009, USA).
PHOTO REALISTIC ANIMATION
Computer animation is the process used for generating animated images by using computer graphics. The more general term computer generated imagery encompasses both static scenes and dynamic images, while computer animation only refers to moving images produced by exploiting the persistence of vision to make a series of images look animated. Given that images last for about one twenty-fifth of a second on the retina fast image replacement creates the illusion of movement.
Modern computer animation usually uses 3D computer graphics, although 2D computer graphics are still used for stylistic, low bandwidth, and faster real-time renderings. Sometimes the target of the animation is the computer itself, but sometimes the target is another medium, such as film.
Computer animation is essentially a digital successor to the art of stop motion animation of 3D models and frame-by-frame animation of 2D illustrations. Computer generated animations are more controllable than other more physically based processes, such as constructing miniatures for effects shots or hiring extras for crowd scenes, and because it allows the creation of images that would not be feasible using any other technology. It can also allow a single graphic artist to produce such content without the use of actors, expensive set pieces, or props.
To create the illusion of movement, an image is displayed on the computer screen and repeatedly replaced by a new image that is similar to the previous image, but advanced slightly in the time domain (usually at a rate of 24 or 30 frames/second). This technique is identical to how the illusion of movement is achieved with television and motion pictures.
For 3D animations, objects (models) are built on the computer monitor (modeled) and 3D figures are rigged with a virtual skeleton. For 2D figure animations, separate objects (illustrations) and separate transparent layers are used, with or without a virtual skeleton. Then the limbs, eyes, mouth, clothes, etc. of the figure are moved by the animator on key frames. The differences in appearance between key frames are automatically calculated by the computer in a process known as tweening or morphing. Finally, the animation is rendered.
For 3D animations, all frames must be rendered after modeling is complete. For 2D vector animations, the rendering process is the key frame illustration process, while tweened frames are rendered as needed. For pre-recorded presentations, the rendered frames are transferred to a different format or medium such as film or digital video. The frames may also be rendered in real time as they are presented to the end-user audience. Low bandwidth animations transmitted via the internet (e.g. 2D Flash, X3D) often use software on the end-users computer to render in real time as an alternative to streaming or pre-loaded high bandwidth animations.
CEL SHADED ANIMATION
Cel-shaded animation (also known as Cel shading or Toon shading) is a type of non-photorealistic rendering designed to make computer graphics appear to be hand-drawn. Cel-shading is often used to mimic the style of a comic book or cartoon. It is a somewhat recent addition to computer graphics, most commonly turning up in video games. However, the end result of cel-shading has a very simplistic feel like that of hand-drawn animation. The name comes from the clear sheets of acetate, called cels, which are painted on for use in traditional 2D animation, such as Disney classics.
The cel-shading process starts with a typical 3D model. Where cel-shading differs from conventional rendering is in its use of non-photorealistic lighting. Conventional (smooth) lighting values are calculated for each pixel and then mapped to a small number of discrete shades to create the characteristic flat look – where the shadows and highlights appear more like blocks of color rather than mixed in a smooth way.
Black "ink" outlines and contour lines can be created using a variety of methods. One popular method is to first render a black outline, slightly larger than the object itself. Backface culling is inverted and the back-facing triangles are drawn in black. To dilate the silhouette, these back faces may be drawn in wireframe multiple times with slight changes in translation. Alternately, back-faces may be rendered solid-filled, with their vertices translated along their vertex normals in a vertex shader. After drawing the outline, back-face culling is set back to normal to draw the shading and optional textures of the object. Finally, the image is composited via Z-buffering, as the back-faces always lie deeper in the scene than the front-faces. The result is that the object is drawn with a black outline and interior contour lines. Popularly, this "ink" outline applied to animation and games is what’s called cel shading, while originally the term referred to the shading technique, regardless of whether outline is being applied or not.
The Utah teapot rendered using cel-shading:
The back faces are drawn with thick lines
The object is drawn with a basic texture
Shading
MOTION CAPTURE
Motion capture, motion tracking, or mocap are terms used to describe the process of recording movement and translating that movement on to a digital model. It is used in military, entertainment, sports, and medical applications, and for validation of computer vision and robotics. In filmmaking it refers to recording actions of human actors, and using that information to animate digital character models in 2D or 3D computer animation. When it includes face and fingers or captures subtle expressions, it is often referred to as performance capture.
In motion capture sessions, movements of one or more actors are sampled many times per second, although with most techniques (recent developments from Weta use images for 2D motion capture and project into 3D), motion capture records only the movements of the actor, not his/her visual appearance. This animation data is mapped to a 3D model so that the model performs the same actions as the actor. This is comparable to the older technique of rotoscope, such as the 1978 The Lord of the Rings animated film where the visual appearance of the motion of an actor was filmed, then the film used as a guide for the frame-by-frame motion of a hand-drawn animated character.
Camera movements can also be motion captured so that a virtual camera in the scene will pan, tilt, or dolly around the stage driven by a camera operator while the actor is performing, and the motion capture system can capture the camera and props as well as the actor's performance. This allows the computer-generated characters, images and sets to have the same perspective as the video images from the camera. A computer processes the data and displays the movements of the actor, providing the desired camera positions in terms of objects in the set. Retroactively obtaining camera movement data from the captured footage is known as match moving or camera tracking.
APPLICATIONS
Multimedia in Animation
Animation has brought many imaginary characters and stories to life. From Mickey Mouse's endearing antics to Lara Croft's edge-of-the-seat adventures, generations have grown up admiring this magic. In India alone, 300.000* professionals by 2008 are expected to be employed in the animation Industry. Animation Application Areas include Entertainment (Movies, Television). Business (Marketing Demos, Product Promotions), Sales (Presentations), Education (CBTs/ WBTs), Tourism (Kiosks), Publishing (Graphics & Printing), Web Design, Virtual Reality for Simulations in Defense, Engineering. Advertising (Commercials, Print Ads), Interiors and Fashion Design.
Visualizers, Ink and Paint Artists, Special Effects Persons, Character Animators and Modeling Artists.
Multimedia in Entertainment
Entertainment has undergone a complete facelift with the help of Multimedia. From the fearsome dinosaurs in Jurassic Park to the nifty sound and video effects in television commercials. Multimedia has changed the way we see the world. With the growth of this industry, there is an increasing demand for multimedia professionals in India and abroad. With proper training and experience, sky is the limit for you!
Video Editor, Visual effects designer, Software Editor. Software mixer. Audio & Video Specialist, Author, Script Writer, Animator, Visual effects Professional, Cartoon Animator, Set Designer. Audio Editor, 3D Animator, Character Animator, Special Effects Manager.
Multimedia on the Web
Emails and websites have been given an entirely new dimension by Multimedia. Internet has become the new Art of communication that has opened the gateway to the global community. Extensive knowledge of multimedia can equip one for unimaginable growth prospects in this field
Page Layout Artist, Layout Artist. Web Graphics Designer, Web Developer, Visualizer, Graphic Designer, Web Programmer, Web Content Developer, Web Animators, Site Manager, Art Consultant. Project Manager, Content Editor.
Multimedia in Imaging, Print and Publishing:
Computer technology has increased the potency and power of the print media, making it far more visually stunning and internationally acceptable. And the effect is visible in the obviously impro ved layouts, and the unprecedented Quality of the print work that we see everyday. The wide acc eptance and deliverability of print media makes it a lucrative field for a multimedia professional.
Creative Director, Art director, Visualizer, Graphic Designer, DTP Specialist, Cartographer, Page Layout Artist, Studio Manager, Art Consultant, Cartoonist, Editing Professional
Multimedia in Designing:
Multimedia allows the designer to play around with colors, styles, material and tones before finalizing the product. Multimedia enables the designers to see their imagination take shape virtually. Through static 3D –object modeling and scene designing through computer graphics, designers can now experiment with designs, using a range of colors. forms, textures and tones. Thus expanding their creativity beyond every conceivable barrier.
Visualizer, Fashion Designer, Architecture Designer & Walk-through Artist, Interior Designer, Dress Designers, Jewelry Designers, Set Designer, Industrial Designer
Gaming:
Multimedia has expanded the potential and opportunities in Gaming and Interactive Communication industries. From fun-filled edutainment to addictive games on the internet, Cellular Phones and personal Digital Assistants, the field holds immense promise for those looking for an exciting career in a growing industry.
CD Rom Author, Multimedia Programmer, Game Developer, Graphic Designer, Content Developer, Media Content Manager, Animator, Edutainment Specialist, Layout artist.
CONCLUSION
One open challenge in computer animation is a photorealistic animation of humans. Currently, most computer-animated movies show animal characters (A Bug's Life, Finding Nemo, Ratatouille, Ice Age, Over the Hedge), fantasy characters (Monsters Inc., Shrek, Teenage Mutant Ninja Turtles 4, Monsters vs. Aliens), anthropomorphic machines (Cars, WALL-E, Robots) or cartoon-like humans (The Incredibles, Despicable Me, Up). The movie Final Fantasy: The Spirits Within is often cited as the first computer-generated movie to attempt to show realistic-looking humans. However, due to the enormous complexity of the human body, human motion, and human biomechanics, realistic simulation of humans remains largely an open problem. Another problem is the distasteful psychological response to viewing nearly perfect animation of humans, known as "the uncanny valley." It is one of the "holy grails" of computer animation. Eventually, the goal is to create software where the animator can generate a movie sequence showing a photorealistic human character, undergoing physically-plausible motion, together with clothes, photorealistic hair, a complicated natural background, and possibly interacting with other simulated human characters. This could be done in a way that the viewer is no longer able to tell if a particular movie sequence is computer-generated, or created using real actors in front of movie cameras. Complete human realism is not likely to happen very soon,but when it does it may have major repercussions for the film industry.
For the moment it looks like three dimensional computer animation can be divided into two main directions; photorealistic and non-photorealistic rendering. Photorealistic computer animation can itself be divided into two subcategories; real photorealism (where performance capture is used in the creation of the virtual human characters) and stylized photorealism. Real photorealism is what Final Fantasy tried to achieve and will in the future most likely have the ability to give us live action fantasy features as The Dark Crystal without having to use advanced puppetry and animatronics, while Antz is an example on stylistic photorealism (in the future stylized photorealism will be able to replace traditional stop motion animation as in Corpse Bride). None of these mentioned are perfected as of yet, but the progress continues.
The non-photorealistic/cartoonish direction is more like an extension of traditional animation, an attempt to make the animation look like a three dimensional version of a cartoon, still using and perfecting the main principles of animation articulated by the Nine Old Men, such as squash and stretch.
While a single frame from a photorealistic computer-animated feature will look like a photo if done right, a single frame vector from a cartoonish computer-animated feature will look like a painting (not to be confused with cel shading, which produces an even simpler look).
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