Notes for animation
DigiCel Flipbook lets you draw right on the computer with your mouse or tablet. Or you can draw on paper, like the pros, and shoot your rough drawings under a camera for speed and then scan your cleaned-up drawings for quality. Flipbook will keep track of all your drawings in its traditional exposure sheet with thumbnail images and play them back instantly with sound. Flipbook also provides specially designed tools to help you paint your drawings quickly and easily without having to learn or go through a lot of difficult steps. You can add pans, zooms, rotation, blurs and dissolves and then export movies that you can play on TV or post on the internet.
Once you've got the idea for the storyline you want need pictures to help you tell story. Traditionally these pictures were tacked up on a cork board and moved around until they were finally in the best sequence to tell the story. Flipbook lets you can scan, shoot or draw these pictures directly into the timeline and drag them up and down to change the sequence until the story unfolds just the way you want it to. Once the sequence is the way you want it, it's time to start working on the timing. If you tell the story too fast your viewers don't have time to get involved. If you tell it too slow they lose interest.
Flipbook lets you add the sound track lengthen or shorten any part of the story by simply dragging the storyboard panels up or down, individually or collectively. You can even pan across or zoom in on any of the storyboard panels to show how the scenes will look in the movie. Click below to see the animatic play.
Animators do rough drawings first and test them for movement before they do the final cleaned-up drawings. These drawings can be basic stick figures, simple shapes with volume or something that actually looks like the character. But right now it's more important to get the position right than to have a perfect drawing. And it's more important to get the images into the computer quickly than it is to get the best possible image quality. Shooting your roughs into Flipbook with a web cam or video camera is the fastest way to capture your roughs.
Flipbook has several features that make camera capture faster and easier. The images are captured directly in a traditional exposure sheet with thumbnails and you can make the paper transparent so you can see through lots of layers.
If you animate "straight ahead", doing each drawing in sequence, you can set Flipbook to automatically hold each drawing for one, two or three frames as needed. But when your animation has to fit in a certain time frame you'll probably do the key frames first. Since your key frames won't all be held for the same number of frames Flipbook lets you capture them and set their timing by pressing a number key on your keyboard. When the key frames are timed out and play correctly then you can go back and fill in the in-betweens or move on to the clean-ups.
Friday, 11 December 2009
the phenaitscope
The phenakistoscope (also spelled phenakistiscope) was an early animation device, the predecessor of the zoetrope. It was invented in 1832 simultaneously by the Belgian Joseph Plateau and the Austrian Simon von Stampfer.
One variant of the phenakistoscope was a spinning disc mounted vertically on a handle. Around the center of the disc a series of pictures was drawn corresponding to frames of the animation; around its circumference was a series of radial slits. The user would spin the disc and look through the moving slits at the disc's reflection in a mirror. The scanning of the slits across the reflected images kept them from simply blurring together, so that the user would see a rapid succession of images with the appearance of a motion picture (see also persistence of vision). Another variant had two discs, one with slits and one with pictures; this was slightly more unwieldy but needed no mirror. Unlike the zoetrope and its successors, the phenakistoscope could only practically be used by one person at a time.The phenakistoscope was only famous for about two years due to the changing of technology.
One variant of the phenakistoscope was a spinning disc mounted vertically on a handle. Around the center of the disc a series of pictures was drawn corresponding to frames of the animation; around its circumference was a series of radial slits. The user would spin the disc and look through the moving slits at the disc's reflection in a mirror. The scanning of the slits across the reflected images kept them from simply blurring together, so that the user would see a rapid succession of images with the appearance of a motion picture (see also persistence of vision). Another variant had two discs, one with slits and one with pictures; this was slightly more unwieldy but needed no mirror. Unlike the zoetrope and its successors, the phenakistoscope could only practically be used by one person at a time.The phenakistoscope was only famous for about two years due to the changing of technology.
types of animation and what is animation
Cartoon animation is often considered to be animation in its classic form. The animated cartoon made its debut in the early part of the 20th century and calls for the use of 24 different drawings per second. In traditional animated cartoons, frames are hand drawn.
Animation is both time-consuming and costly to produce. For this reason, most of the animation made for television and film is produced by professorial studios. However, there are also many independent studios. In fact, there are many resources, such as lower-cost animation programs and distribution networks that make the work of the independent animator much easier than it was in the past.
When animation is used for films or movies, each frame is produced on an individual basis. Frames can be produced using computers or photographs of images that are either drawn or painted. Frames can also be generated by altering a model unit in small ways and using a special camera to take pictures of the results. No matter what method is used, the film or movie that results fools the eye into seeing continuous movement.
Persistence of vision is often projected as the reason the eyes can be fooled into seeing continuous movement that isn't really happening. Basically, the brain and the eyes cooperate, storing images for a mere fraction of a second. Minor jumps or blips are automatically smoothed out by the brain. Since animation frames are shot at very fast rates, most individuals see the movement without stoppages.
Animation is both time-consuming and costly to produce. For this reason, most of the animation made for television and film is produced by professorial studios. However, there are also many independent studios. In fact, there are many resources, such as lower-cost animation programs and distribution networks that make the work of the independent animator much easier than it was in the past.
When animation is used for films or movies, each frame is produced on an individual basis. Frames can be produced using computers or photographs of images that are either drawn or painted. Frames can also be generated by altering a model unit in small ways and using a special camera to take pictures of the results. No matter what method is used, the film or movie that results fools the eye into seeing continuous movement.
Persistence of vision is often projected as the reason the eyes can be fooled into seeing continuous movement that isn't really happening. Basically, the brain and the eyes cooperate, storing images for a mere fraction of a second. Minor jumps or blips are automatically smoothed out by the brain. Since animation frames are shot at very fast rates, most individuals see the movement without stoppages.
stop-animation
A frame-by-frame animation changes the contents of the Stage in every frame and is best suited to a complex animation in which an image changes in every frame instead of simply moving across the Stage. This type of animation increases the file size more rapidly than tweened animation because Flash stores the values for each keyframe.
To create a frame-by-frame animation, you define each frame as a keyframe and create a different (typically modified) image for each frame. Each new keyframe on a layer typically contains the same contents as the keyframe preceding it because the contents of a frame are copied to the next keyframe when you select a frame and press F6. By selecting a frame and pressing F6, you can modify each new keyframe in the animation incrementally. In Figure 14, you can see that a frame-by-frame animation was used to move a pirate's head very slightly on sequential frames.
To create a frame-by-frame animation, you define each frame as a keyframe and create a different (typically modified) image for each frame. Each new keyframe on a layer typically contains the same contents as the keyframe preceding it because the contents of a frame are copied to the next keyframe when you select a frame and press F6. By selecting a frame and pressing F6, you can modify each new keyframe in the animation incrementally. In Figure 14, you can see that a frame-by-frame animation was used to move a pirate's head very slightly on sequential frames.
bird and cage animation
Bird in the cage animation
Bird in the cage animation is really easy to make, because all it is pieces of paper stuck together and some string on the outside that you can twist it so the paper spins around. On one side there is a cage and on the other side is a bird. So when the string spins, it appears as the bird is in the cage.
Bird in the cage animation is really easy to make, because all it is pieces of paper stuck together and some string on the outside that you can twist it so the paper spins around. On one side there is a cage and on the other side is a bird. So when the string spins, it appears as the bird is in the cage.
Flipbook animation
Flip Books
Flip book animation is easy to make, all it is a flipbook with images drawn or stuck on to the like a storyboard. Not many people use flipbook animation anymore because it was first made in the 16th-17th century and there are many more and more effective types of animation.
Flip book animation is easy to make, all it is a flipbook with images drawn or stuck on to the like a storyboard. Not many people use flipbook animation anymore because it was first made in the 16th-17th century and there are many more and more effective types of animation.
Hula Hoop animation
Hula Hoop Animation
I made a Hula Hoop Animation that was about 2-3minutes long about D-Day.
I used two packets of Hula Hoops, some scenery and some pictures of the actual D-Day. I liked this because it gave me a chance to improve my media skills and it was also quite fun. This type of animation is reletivly easy to produce and easy to edit. The only thing that I didn’t like was that you need to to small scenes of about 3-5 seconds long, and its really hard to not get your hands in the shot. This was the first animation i made. It took about 2 hours to set-up, film and edit
I made a Hula Hoop Animation that was about 2-3minutes long about D-Day.
I used two packets of Hula Hoops, some scenery and some pictures of the actual D-Day. I liked this because it gave me a chance to improve my media skills and it was also quite fun. This type of animation is reletivly easy to produce and easy to edit. The only thing that I didn’t like was that you need to to small scenes of about 3-5 seconds long, and its really hard to not get your hands in the shot. This was the first animation i made. It took about 2 hours to set-up, film and edit
Animation Timeline
Animation Timeline
Date Event
1824 Peter Mark Roget, who did research in physiology at the University of London, published "Persistence of Vision with Regard to Moving Objects." This book presented the idea that a succession of still images could create the appearance of motion.
1832 Joseph Plateau (a Belgian scientist) developed the phenakistiscope.
1889 Emile Reynaud (from France) patents the praxinoscope .. a device that used mirrors to project a sequence of images (along with a fixed background) onto a screen. It was sufficiently complex that only he could run it. The infinite length tape changed the medium from a curiosity into entertainment.
1895 The age of movie camera and projector begins .. experimentors discover they can stop the crank and restart it again to obtain special effects. Example: James Stuart Blackton creates "The Enchanted Drawing" in 1900 .. a caricature is drawn with no evidence of an artist.
1907 Emil Cohl (from France) begins a long animation career..
1914 Windsor McCay produces perhaps the first popular animation .. Gertie the Dinosaur, which becomes part of his vaudeville act
1915 John Bray patents the use of clear cels over a background
1917 John Bray patents rotoscoping (developed by Max Fleischer)
1919 Koko the clown (Max Fleischer) appears
1920's Otto Mesmer creates Felix the Cat
1928 Walt Disney releases "Steamboat Willie" .. an early cartoon w/ sound -- cartoons are now seen as entertainment. Disney innovations over the next 10-20 years include the storyboard, pencil tests, and the multi-plane camera stand (3D effects). Disney also promoted the analysis of real-life motion.
1937 Snow White is released at cost of $1.5M
1930's Fleischer studios create Betty Boop and Popeye
1930's Warner Bros .. Porky Pig, Daffy Duck, and Bugs Bunny appear
1940's Walter Lantz and Woody Woodpecker, Paul Terry and Mighty Mouse, MGM w/ Tom & Jerry (animators William Hanna and Joseph Barbera)
1963 Ivan Sutherland and SKETCHPAD at MIT/Lincoln Labs
1972 University of Utah, Ed Catmull develops an animation scripting language and creates an animation of a smooth shaded hand. Ref: E. Catmull, "A System for Computer Generated Movies", Proceedings of the ACM National Conference, 1972. (In the SIGGRAPH 98 Seminal Graphics collection.)
1972 University of Utah, Fred Parke creates first computer generated facial animation. Ref: F. Parke, "Computer Generated Animation of Faces", Proceedings of the ACM National Conference, 1972. (In the SIGGRAPH 98 Seminal Graphics collection.)
1974 National Research Council of Canada releases Hunger/La Faim directed by Peter Foldes and featuring Burtnyk and Wein interactive keyframing techniques. Ref: N. Burtnyk and M. Wein, "Interactive Skeleton Techniques for Enhancing Motion Dynamics in Key Frame Animation", Communications of the ACM, 19(10), October 1976. (In the SIGGRAPH 98 Seminal Graphics collection.)
1982 Tron, MAGI, movie with CG premise
1983 Bill Reeves at Lucasfilm publishes techniques for modeling particle systems. "Demo" is Star Trek II: The Wrath of Kahn. The paper also promotes motion blur. Ref: W. Reeves, "Particle Systems -- A Technique for Modeling a Class of Fuzzy Objects", Computer Graphics, 17(3), July 1983. (In the SIGGRAPH 98 Seminal Graphics collection.)
1984 The Last Starfighter, CG is used in place of models
1984 Porter and Duff at Lucusfilm publish paper on digital compositing using an alpha channel. Ref: T. Porter and T. Duff, "Compositing Digital Images", Computer Graphics, 18(3), July 1984. (In the SIGGRAPH 98 Seminal Graphics collection.)
1985 Girard and Maciejewski at OSU publish a paper describing the use of inverse kinematics and dynamics for animation. Their techniques are used in the animation "Eurythmy." Ref: M. Girard and A. A. Maciejewski, "Computational Modeling for the Computer Animation of Legged Figures", Computer Graphics, 19(3), July 1985. (In the SIGGRAPH 98 Seminal Graphics collection.)
1985 Ken Perlin at NYU publishes a paper on noise functions for textures. He later applied this technique to add realism to character animations. Ref: K. Perlin, "An Image Synthesizer", Computer Graphics, 19(3), July 1985. (In the SIGGRAPH 98 Seminal Graphics collection.)
1987 John Lasseter at Pixar publishes a paper describing traditional animation principles. "Demos" are Andre and Wally B and Luxo Jr. Ref: J. Lasseter, "Principles of Traditional Animation Applied to 3D Computer Animation", Computer Graphics, 21(4), July 1987. (In the SIGGRAPH 98 Seminal Graphics collection.)
1987 Craig Reynolds then at Symbolics (now at Dreamworks SKG) publishes a paper on self-organizing behavior for groups. "Demos" are Stanley and Stella and Batman Returns. Ref: C. W. Reynolds, "Flocks, Herds, and Schools: A Distributed Behavioral Model", Computer Graphics, 21(4), July 1987. (In the SIGGRAPH 98 Seminal Graphics collection.)
1988 Willow uses morphing in live action film
1992 Beier and Neely, at SGI and PDI respectively publish an algorithm where line correspondences guide morphing between 2D images. "Demo" is Michael Jackson video Black and White. Ref: T. Beier and S. Neely, "Feature-Based Image Metamorphosis", Computer Graphics, 26(2), July 1992. (In the SIGGRAPH 98 Seminal Graphics collection.)
1993 Chen and Williams at Apple publish a paper on view interpolation for 3D walkthroughs. Ref: S. E. Chen and L. Williams, "View Interpolation for Image Synthesis", Computer Graphics Proceedings, Annual Conference Series, 1993. (In the SIGGRAPH 98 Seminal Graphics collection.)
1993 Jurassic Park use of CG for realistic living creatures
1995 Toy Story first full-length 3D CG feature film
Date Event
1824 Peter Mark Roget, who did research in physiology at the University of London, published "Persistence of Vision with Regard to Moving Objects." This book presented the idea that a succession of still images could create the appearance of motion.
1832 Joseph Plateau (a Belgian scientist) developed the phenakistiscope.
1889 Emile Reynaud (from France) patents the praxinoscope .. a device that used mirrors to project a sequence of images (along with a fixed background) onto a screen. It was sufficiently complex that only he could run it. The infinite length tape changed the medium from a curiosity into entertainment.
1895 The age of movie camera and projector begins .. experimentors discover they can stop the crank and restart it again to obtain special effects. Example: James Stuart Blackton creates "The Enchanted Drawing" in 1900 .. a caricature is drawn with no evidence of an artist.
1907 Emil Cohl (from France) begins a long animation career..
1914 Windsor McCay produces perhaps the first popular animation .. Gertie the Dinosaur, which becomes part of his vaudeville act
1915 John Bray patents the use of clear cels over a background
1917 John Bray patents rotoscoping (developed by Max Fleischer)
1919 Koko the clown (Max Fleischer) appears
1920's Otto Mesmer creates Felix the Cat
1928 Walt Disney releases "Steamboat Willie" .. an early cartoon w/ sound -- cartoons are now seen as entertainment. Disney innovations over the next 10-20 years include the storyboard, pencil tests, and the multi-plane camera stand (3D effects). Disney also promoted the analysis of real-life motion.
1937 Snow White is released at cost of $1.5M
1930's Fleischer studios create Betty Boop and Popeye
1930's Warner Bros .. Porky Pig, Daffy Duck, and Bugs Bunny appear
1940's Walter Lantz and Woody Woodpecker, Paul Terry and Mighty Mouse, MGM w/ Tom & Jerry (animators William Hanna and Joseph Barbera)
1963 Ivan Sutherland and SKETCHPAD at MIT/Lincoln Labs
1972 University of Utah, Ed Catmull develops an animation scripting language and creates an animation of a smooth shaded hand. Ref: E. Catmull, "A System for Computer Generated Movies", Proceedings of the ACM National Conference, 1972. (In the SIGGRAPH 98 Seminal Graphics collection.)
1972 University of Utah, Fred Parke creates first computer generated facial animation. Ref: F. Parke, "Computer Generated Animation of Faces", Proceedings of the ACM National Conference, 1972. (In the SIGGRAPH 98 Seminal Graphics collection.)
1974 National Research Council of Canada releases Hunger/La Faim directed by Peter Foldes and featuring Burtnyk and Wein interactive keyframing techniques. Ref: N. Burtnyk and M. Wein, "Interactive Skeleton Techniques for Enhancing Motion Dynamics in Key Frame Animation", Communications of the ACM, 19(10), October 1976. (In the SIGGRAPH 98 Seminal Graphics collection.)
1982 Tron, MAGI, movie with CG premise
1983 Bill Reeves at Lucasfilm publishes techniques for modeling particle systems. "Demo" is Star Trek II: The Wrath of Kahn. The paper also promotes motion blur. Ref: W. Reeves, "Particle Systems -- A Technique for Modeling a Class of Fuzzy Objects", Computer Graphics, 17(3), July 1983. (In the SIGGRAPH 98 Seminal Graphics collection.)
1984 The Last Starfighter, CG is used in place of models
1984 Porter and Duff at Lucusfilm publish paper on digital compositing using an alpha channel. Ref: T. Porter and T. Duff, "Compositing Digital Images", Computer Graphics, 18(3), July 1984. (In the SIGGRAPH 98 Seminal Graphics collection.)
1985 Girard and Maciejewski at OSU publish a paper describing the use of inverse kinematics and dynamics for animation. Their techniques are used in the animation "Eurythmy." Ref: M. Girard and A. A. Maciejewski, "Computational Modeling for the Computer Animation of Legged Figures", Computer Graphics, 19(3), July 1985. (In the SIGGRAPH 98 Seminal Graphics collection.)
1985 Ken Perlin at NYU publishes a paper on noise functions for textures. He later applied this technique to add realism to character animations. Ref: K. Perlin, "An Image Synthesizer", Computer Graphics, 19(3), July 1985. (In the SIGGRAPH 98 Seminal Graphics collection.)
1987 John Lasseter at Pixar publishes a paper describing traditional animation principles. "Demos" are Andre and Wally B and Luxo Jr. Ref: J. Lasseter, "Principles of Traditional Animation Applied to 3D Computer Animation", Computer Graphics, 21(4), July 1987. (In the SIGGRAPH 98 Seminal Graphics collection.)
1987 Craig Reynolds then at Symbolics (now at Dreamworks SKG) publishes a paper on self-organizing behavior for groups. "Demos" are Stanley and Stella and Batman Returns. Ref: C. W. Reynolds, "Flocks, Herds, and Schools: A Distributed Behavioral Model", Computer Graphics, 21(4), July 1987. (In the SIGGRAPH 98 Seminal Graphics collection.)
1988 Willow uses morphing in live action film
1992 Beier and Neely, at SGI and PDI respectively publish an algorithm where line correspondences guide morphing between 2D images. "Demo" is Michael Jackson video Black and White. Ref: T. Beier and S. Neely, "Feature-Based Image Metamorphosis", Computer Graphics, 26(2), July 1992. (In the SIGGRAPH 98 Seminal Graphics collection.)
1993 Chen and Williams at Apple publish a paper on view interpolation for 3D walkthroughs. Ref: S. E. Chen and L. Williams, "View Interpolation for Image Synthesis", Computer Graphics Proceedings, Annual Conference Series, 1993. (In the SIGGRAPH 98 Seminal Graphics collection.)
1993 Jurassic Park use of CG for realistic living creatures
1995 Toy Story first full-length 3D CG feature film
Tuesday, 1 December 2009
Animation
Bird in the cage animation was invented in 1825. Today we use paper and string to work it, the string spins the cage around and it appears as the bird on the other side of the paper is in the cage. Light reflects off the picture.
Flipbook animation was quite popular because its easy to use and quite cheap. Now there are lots more ways of animation.
Animation
This is bird in the cage is an easy form of animation. It was very popular in the Victorian I
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