2D Animation Prelim Reviewer PDF

2D ANIMATION Prelim 2D ANIMATION ESSENTIALS 2. Thaumatrope (19th century) 2D Animation - optical toy w/ 2 strings holding a...

2D ANIMATION Prelim 2D ANIMATION ESSENTIALS 2. Thaumatrope (19th century) 2D Animation - optical toy w/ 2 strings holding a picture - breathes life into flat images with disk; twirling and spinning movement and expression - “persistence of vision” creates illusion of movement HISTORY OF ANIMATION Animation 3. Phenakistoscope (1833) - aka fantascope; spins painted cardboard - bringing traditional drawings into disks reflected in mirrors creating moving image illusion of movement - Grecian pottery – considered the early - viewable by one person at a time form of animation (aka comic strip) - began when early animators found ways 4. Zoetrope (after phenakistoscope) to create films w/o recording - cylindrical; displays sequential images to technology multiple viewers at once - 19th century: first animation/standard - vertical slits in it prevents images from feature film: “The Enchanted Drawing” blurring together while moving by J. Stuart Blackton (used live-action actor, props, stop-motion) (2 min 5. Kineograph (1868) comedic scene) - aka flipbook; small book of drawings w/ - 1908: “Fantasmagorie” by Emile Cohl – each page having diff movements 2 min stick figure; one of the first cartoons 6. Praxinoscope (1877) - 1914: “Gertie the Dinosaur” by Winsor - used angled mirrors instead of vertical McCay – first to use keyframing, slits, thus, clearer animation inbetweening, tweenig, and animation - improved version of zoetrope loops - longer image roll = extended viewing - 1928: “Steamboat Willie” by Walt time, just like how “Pauvre Pierrot” was Disney – fully scored animated film; created by Emile Reynaud in 1982 (1st start of Mickey Mouse’s popularity and animated film due to 500 pcs hand- use of sound in animation. painted images. EARLY ANIMATION DEVICES BUT historians said ”Fantasmagorie” daw 1. Magic Lantern (1603) because it used traditional animation - mirror directs light to long glass slides to techniques BUT “Humorous Phases of Funny project slide’s image; together, they Faces” (1906) by Blackton daw kasi stop- move motion and first recorded on standard - first instance of moving pictures feature film.  But regardless, Walt Disney Studios created 5. Motion Graphics “Snow White and the Seven Dwarfs” in 1937 - can be 2D or 3D as their 1st feature-length animated movie - texts, logos, basic illustrations, film (used cel animation, faster and more credits, TV graphics efficient) - use tweens to create smooth transition bet. frames TYPES OF ANIMATION 6. Stop Motion - animate real actors, clay figures, toys, root: prehistoric caves and Victorian era moving props, etc. images - sequentially photographs still images to 1. Traditional Animation (cel animation) simulate action - hand drawn - ex. Tim Burton’s “Nightmare Before - painting characters/objects on Christmas” and “Rudolph the Red-Nosed transparent (or cel) sheets layered over Reindeer” a static background 12 PRINCIPLES OF ANIMATION - animates cels one by one=props move BUT bg remains the same 1. Squash and Stretch - illusion of mass, flexibility, gravity 2. 2D Animation - maintain consistent volume to add - Movement by sequencing images in a 2 fluidity and realism dimensional space - 24 frames per sec typically but 12 2. Anticipation frames lang mostly to save effort - prepares viewers to the next action, more natural and dynamic 3. 3D Animation - without it, animation can be awkward - brings images to life in a virtual 3D and lifeless space - requires collab w/ other departments 3. Staging - can be viewed from any angle (unlike - focuses viewer’s attention on key 2D) which is crucial in video games elements - Maya to set keyframes for major actions - eliminate unnecessary details, as it can generate intermediate frames enhancing story’s impact 4. Motion Capture 4. Straight Ahead vs. Pose to Pose - captures actor’s face and body - straight: spontaneous, fluid movement and translates into digital - pose: offer more control characters then refine them - ex. Avatar, GTA 5. Follow Through and Overlapping - experiment with shapes, features, Action enlarging eyes for youthfulness, etc. - ensure that characters/objects adhere End of Handout 1 to physics - accessories, clothes, etc. continue PRODUCTION moving - pre-production is the top ingredient ; - adds realism by weight and momentum cornerstone - many believe na hardest phase 6. Ease in and Out - objects do not start or stop abruptly (depends) INITIAL PLANNING 1. Conceptualization 7. Arcs - idea, message, purpose, audience - natural movements with curved paths 2. Scriptwriting to look more fluid and lifelike - narrative 3. Storyboarding 8. Secondary Action - sketch scenes to outline narration - adds depth by supporting main action 4. Character Design - enhances realism w/o distracting from - character the primary movement 5. Backgrounds and Asset Creation - design scene/environment 9. Timing - plays crucial role in showing personality or emotion IMPORTANCE OF INITIAL PLANNING - enhances scenes’ impact through subtle 1. Complexity and Cost adjustments in the action’s rhythm - to avoid being costly sa changes 2. Team Coordination 10. Exaggeration - role designation, project vision - for dramatic or comedic effects 3. Scope and Boundaries - makes actions and emotions clearer and - balances artistic freedom w/ financial more engaging and time constraints; what to include or omit 11. Solid Drawing 4. Idea Realization - ensures that characters/objects appear - turns ideas into actionable plans; para 3d and realistic more speedy and efficient - key elements: accurate volume, balance, and weight 12. Appeal - characters should be interesting and charismatic, not perfect MOYSISYAN (2024) MAJOR CHECKLIST: (din daw FILMMAKING PROCESS n kylangan) - Walt Disney Studio: animation film 1. Define the Scope of the Project ranges from 90 mins+ - one vid or multiple vid for campaign etc - sequences last up to 1-7 mins 2. Determine Video Duration - shot is a single camera setup usually 0- - can capture attention or not; will fit in 30 secs platforms or noouurttt - 2-3 yrs to animate full-length animated 3. Decide the Video Placement film - aspect ratio 4. Establish the Main Goal LAYOUT DESIGNING - ok 5. Formulate a Call to Action - one of most crucial elements of - compelling call to action early in the animation lahat nlng kainis script 6. Set a Project Timeline 1. Storyboard Visualization - period - bring storyboards to life 7. Prepare for Alterations or Versions 2. Staging and Cinematography - anticipate changes - staging, angles, camera movement etc 8. Define the Video’s Style 3. Rough Animation - Style - visualize action and movement in each shot (kasama cameras, timing, etc) 4. Creative Input TO CREATE FEELS AND STORYLINE: - add, combine, remove shots 5. Set Preparation 1. Mood Board - props, setup, lights - collection of design materials 6. Composition and Point of View 2. Storyboard - pov is considered while saving up space - series of drawings for a more dynamic frame composition 3. Animatic tas mahaba pa - animated storyboard + sound 7. Finalization after rough animation, animate na, tas layout finalizing stage ulet PRODUCTION 1. Layout - composition, camera angles, character ANIMATION positioning - In technical animation, they use 2. Animation advanced physical simulation systems - yan na for greater detail 3. Texturing and Coloring - adds depth and vibrancy SET EXTENSION ANIMATION SECRETS - interpreting director’s artistic vision; (basahin nlng handout hehwh) mga backgrounds etc 1. Caricatures 2. Human Body a. Diversify your Portfolio POST PRODUCTION b. Drawing Feet 1. Voiceovers and Sound Effects c. Clothing - voice casting d. Drawing Hands 2. Editing and Compositing e. Body Movement - adjust adjust 3. The Face 3. Color Correction and Grading a. Eyes - Colors b. Noses c. Mouths WALT DISNEY PROCESS PA: d. Female Faces 1. Casting e. Head Shapes 2. Lighting and Compositing 4. Design - lighting artist sa light and color, effects a. Giving Life to Props or Objects artist sa magical and natural elements b. Design it as a Purposeful 3. Rendering Arrangement - artists can track render jobs thru coda SOFTWARE TOOLS system-what Disney uses TECHNIQUES AND SKILLS FAVE TECHNIQUES NI PLYMPTON 1. Computer Graphics Animation (CG) 2. Flash 3. Cel Animation 4. Stop Motion Puppets 5. Claymation 6. Stop-Motion 7. Oil on Glass 8. Paper/Cut-out 9. Drawn Animation 10. Pixilation 11. (ito ay others lng dw: sand painting, pin screen, collage, mixed media) ANIMATION FOUNDATION POSE CHARACTER DESIGN 1. Offset Poses 2. Refined Adjustments 1. Showcasing Unique Personality 2. Expressing Emotions 3. Cohesive Personality 1. Avoid Twinning 2. Dynamic Poses 3. Clear Silhouettes 1. Research 4. Strengthened Expressions and 2. Sketching Emotions 3. Construction 4. Tracing 1. Quick Sketch 2. Add Details 1. Character Nature and Visible 3. Refine the Expression and Clothing Characteristics 4. Flip and Correct 2. Character Size and Proportion 5. Transfer Corrections 3. Understanding Proportion 6. Final Line Drawing 7. Scan and Color CHARACTER SHEET 1. Multiple Angles STORYBOARD 2. Different Pose/Stances HISTORY OF STORYBOARD 3. Expression Sheets DRAWING SHORTCUTS CHARACTER DESIGN PREPARATION 1. Simplify 2. Characters and Star People 1. The Script 3. Poses 2. Storyboard 4. Hands 5. Heads 6. Eyes EXPRESSIONS 1. Eyes 2. Eyebrows TYPES OF STORYBOARDS 3. Mouth 1. Beat Boards 4. Neck - key pivotal moments 5. Nose - rough. focuses more on impact and emotion  2. Live Action Boards 3. Script or Outline - planning camera angles and set pieces detailed, with camera and stage directions 1. Read the Script Thoroughly may change based on actors’ 2. Break Down the Script performance 3. Script Notes and Thumbnails 3. Feature Animation Boards 4. Interpret the Script - shapes and designs the story - thousands of images’ - story artists can suggest dialogue and 1. Identify the Story Point make changes 2. Consider Subtext - focuses on story communication over 3. Creating Thumbnails perfect drawing 4. Explore Ideas 4. Advertising Storyboard or Pitch Boards 5. Review and Refine - highly rendered, full color and shading 6. Draw Finished Panels - to pitch idea to clients - focus on presentation 5. TV Animation Boards End of Midterms - precise “on-model” drawings - detailed blueprint for overseas animators - camera work, tight deadlines 6. Video Game Storyboards - in-game actions and cinematic cutscenes - continuity + tv animation - often handled by freelancers 7. Previs - rough 3d animation - to block out scenes - plan complex action sequences - timing and scale for large-scale production THE STORYBOARD PROCESS 1. Gather technical Details a. Aspect Ratio b. Reference Materials c. Research 2. Final Image Delivery Format  Prefinal Introduction to OpenToonz Renaming: Double-click the room tab to enter a new name. OpenToonz is an open-source animation software created by Digital Video S.P.A. in Italy Reordering: Drag tabs to arrange them. and is well-regarded for its professional use, Adding/Deleting Rooms: Right-click to including by Studio Ghibli. This tool enables create a new room or delete existing animators to bring designs to life digitally, ones (note: the current room cannot be allowing messages to be transmitted effectively deleted). in animated video form. Resetting to Default: Go to Windows > Rooms in OpenToonz Workspace > Reset to Default Rooms. OpenToonz organizes its workspace into Rooms These rooms can be customized and organized or specialized workspaces, each serving a to fit the animator's workflow, providing unique function. The primary rooms are: flexibility in managing complex animation 1. Basics – General interface for basic projects. tasks. Panes for Building Rooms in OpenToonz 2. Cleanup – Tools for refining scanned 1. Batch Servers: Manages batch images. processing for rendering animations 3. Drawing – Workspace dedicated to using a render farm setup. This pane creating artwork. shows details about the server nodes (rendering nodes) defined in the farm. 4. Timeline – Manages the animation sequence over time. 2. Cleanup Settings: Allows animators to set parameters for cleaning up scanned 5. Animation – Primary area for animation raster images, converting them into adjustments. Toonz Raster images that are ready to 6. Palette – Color management for be colored. animations. 3. Color Model: Displays images or 7. Xsheet – Used for timing and animation levels loaded as color sequencing frames. references, assisting animators in maintaining consistency across different 8. Browser – File management and access. animation levels. 9. Farm – Allows batch rendering in a 4. File Browser: This pane lets users load server setup. and save files. The file tree on the left Room Management provides access to main directories (My Computer, Network, My Documents, Entering a Room: Click the tab in the etc.), making it easy to retrieve or top menu bar. organize project files. 5. Flipbook: Displays levels, clips, or o FX Schematic: Controls FX, sequences of images for previewing. displaying columns and effects Animators use the Flipbook pane to as nodes for easier connection check levels before loading them or to management. control rendered sequences. 11. Studio Palette: Stores unlimited level 6. Function Editor: Organizes palettes that can be applied across transformations for objects and FX with different levels without the need to two main areas: redefine colors and styles. This pane has a viewer that displays styles from the o Spreadsheet/Graph Editor: Lists currently selected palette. key values and interpolations. 12. Style Editor: This pane is used to modify o Interpolation Viewer: Shows palette styles, providing options for current transformations, with color, texture, vector, and raster styles. an objects/FX tree for easy There’s a settings tab to adjust style navigation. parameters. 7. Level Strip: Displays the sequence of 13. Tasks: Contains the task tree for batch drawings for the currently selected level processing tasks, displaying each task’s in the Xsheet. This pane helps status. Animators can start, stop, or animators view, edit, and sequence remove tasks within the tree as needed. drawings even if they aren’t currently exposed in the Xsheet. 14. Message Center: Displays system messages from OpenToonz, with 8. Palette: Displays the color styles defined filtering options for sorting messages. for the current or selected levels, The list can be cleared using the “Clear” allowing animators to quickly apply button. consistent coloring. 15. Toolbar 9. Scene Cast: Allows users to save, control, and organize files within a It provides tools for drawing, selecting, editing, scene. Files can be organized into and animating elements like cameras, columns, folders or subfolders for efficient and pegbars. It allows for easy access to management. essential functions, supporting various aspects of the animation process. 10. Schematic: Shows the layout of objects (columns, pegbars, cameras, etc.) within Animate: Adjusts position, rotation, and a scene in the form of nodes, allowing size of objects. animators to manage object Selection: Selects areas for connections. transformations like resizing and o Stage Schematic: Manages rotation. objects within a scene.  Brush: Draws freehand lines; Cutter: Splits a vector into sections. customizable thickness, opacity, and Skeleton: Sets up bones in models for color. cutout animation. Geometric: Creates shapes like Hook: Defines reference points for rectangles, circles, and polygons. linking or moving objects. Type: Adds text with customizable font, Plastic: Creates a mesh for deforming size, and alignment. and animating parts. Fill: Fills enclosed areas with the selected color. 16. Tool Option Bar Paint Brush: Applies color to existing linework. It displays adjustable settings for the currently selected tool (e.g., thickness for the Brush Tool). Eraser: Deletes vectors in vector If there are too many options to fit, the bar can drawings and painted areas in raster be scrolled with arrow buttons to access all drawings. settings. Tape: Joins open ends in vector 17. Viewer drawings or closes gaps. It is the main work area where you draw, edit, Style Picker: Picks a color style from the and view your animation. It offers different current drawing. visualization modes to aid in specific tasks, and RGB Picker: Selects RGB values from the you can scroll, zoom, or rotate to adjust your viewer content. view. Control Point Editor: Edits vector 18. ComboViewer shapes by adjusting control points. It integrates the viewer, toolbar, and tool Pinch: Bends vector lines by clicking and options bar into one pane. It serves as an dragging. alternative workspace where you can perform actions like drawing and compositing while Pump: Modifies vector thickness by adjusting settings in one place. It also includes dragging up or down. various visualization options. Magnet: Deforms multiple vectors at 19. Xsheet once by dragging. It organizes scene content in a column-based, Bender: Bends vectors within a shape. timeline-like format. Each column and cell Iron: Smooths out creases in vector represents content in each frame (e.g., images, lines. audio), with frame numbers always visible on the left. Frames are displayed from top to Tracker: Tracks specific regions across bottom. images. 20. Timeline Similar to the Xsheet, the Timeline arranges Western vs. Eastern Animation Styles scene content horizontally in layers. It uses a (McPherson, 2021) time ruler at the top to display frame numbers, Western Animation: with layers representing each frame’s content. Frames render from bottom to top in each o Fluid Movement: Focuses on column. smooth, continuous motion with many in-between frames. 21. History o Exaggeration and Humor: This pane shows all recent actions in the current Known for exaggerated scene, allowing for easy undoing and redoing of expressions and slapstick steps. comedy, as seen in shows like 22. Record Audio "Looney Tunes." This pane lets you record live audio, listen back, o Simplified Character Designs: and insert it directly into an audio column in the Examples include "The Xsheet. Unlike other panes, it opens as a Simpsons" and "Family Guy". floating window for easy access and positioning. o Tech Innovations: Advances in technology enhance smoothness and stylistic End of Handout 1 diversity. Eastern Animation: 2D Animation Foundations II o Detailed Design: Often As the course shifts to digital animation, anatomically accurate and students move to the multimedia computer lab visually intricate. to bring hand-drawn characters into digital o Cultural Depth: Explores format. This transition marks the application of mature, complex themes. two key animation styles: Drawn Animation and Cutout Animation. o Expression and Emotion: Uses exaggerated expressions, Animation Styles Overview particularly in limited 1. Drawn Animation: Known as traditional, animation. hand-drawn animation. Each frame is o Digital Techniques: Advanced individually drawn, making it a time- digital methods improve quality intensive but highly detailed method. and preserve unique aesthetics. 2. Cutout Animation: Involves creating Western and Eastern animation styles inspire characters from separate parts (e.g., each other, creating a dynamic blend that drives head, limbs) and moving or rotating them to animate without redrawing. the future of animation through compelling Tweening: Filling in the frames between visuals and storytelling. key poses to ensure smooth transitions. Straight-Ahead Action: A spontaneous approach to drawing frames in Drawn Animation Basics sequence, allowing fluid motion and Drawn Animation: Traditional hand- spontaneity. drawn method for each animation Challenges: Can affect size and frame. proportions but adds freshness and Digital Keyframe Animation: Moving to spontaneity to fast-action scenes. digital speeds up the process; characters now set for digital animation. Techniques for Effective Animation (Straight- Ahead Action) Keyframes 1. Exaggeration: Adds impact and humor Defined as the start or end points of a by stretching or squashing before big movement, setting parameters for the movements. frames in between. 2. Anticipation: Prepares the audience for Example: A walking sequence with an action (e.g., crouching before a keyframes at the starting position and jump). end position, with contact poses to 3. Follow-Through: Items like hair or enhance smooth transitions. clothing keep moving after the character stops, enhancing realism. Pose-to-Pose Technique 4. Solid Drawing: Consistency in structure, even with quick sketches, ensures Pose-to-Pose: Planning key poses at natural movement. start, end, and in between for structured timing and structure. 5. Appeal: Attractive, lively poses make characters engaging. Key Steps: o Draw extreme poses at significant points. Drawn Animation Process in OpenToonz o Refine key poses for clarity. Steps for creating drawn animation in OpenToonz: o Add in-betweens to complete the sequence. 1. Import Drawings: Drag JPEG or PNG sketches into OpenToonz. In-Betweening (Tweening)  2. Set Keyframes: Start by defining the Replaces the need for both Stage start extreme pose, contact pose, and Schematic and Animate tools. Changes end extreme pose. made with the Skeleton Tool affect the whole character model for cohesive 3. Draw In-Betweens: Add frames movement between key poses in the same column for smooth transitions. 4. Drawing Tools: Use tools like Brush, Creating and Animating Character Assets in Geometric, and Control Point Editor for OpenToonz tracing and adjustments. Steps to set up character assets for Cutout o Anchor Points: Add by pressing Animation in OpenToonz: CTRL and clicking within shapes 1. Start a New Project: Create a new for precise control. project and scene in OpenToonz. 5. Animate and Test: Regularly play the 2. Create Vector Levels: In the animation to check for smooth motion; XSheet/Timeline, right-click an empty adjust frames if needed. cell and choose “New Level” > “Vector Level.” Name each level (e.g., head, right foot, left arm). Cutout Animation Basics in OpenToonz 3. Draw Assets: Use the Brush Tool to Cutout Animation: Animation style draw each part (e.g., body, arms) on its where characters are divided into parts own vector level. (e.g., head, arms, legs), which are then moved or rotated individually instead of o Adjust lines with the Control redrawing each frame. Point Editor Tool. Steps for Cutout Animation in OpenToonz: 4. Add Additional Assets: Create vector levels for each body part in separate 1. Position Parts: Place each body part columns and draw them individually. (e.g., head, arm) in separate columns or layers. 5. Manage Layers: Use the Layer Panel to reorder and preview each layer in the 2. Link Parts with Skeleton Tool: Use this Timeline, making adjustments as tool to create a hierarchy by connecting needed. parts and setting pivot points at joints. 6. Save Work: Save both the scene and 3. Animate Parts: Create keyframes for project for future use. each part to define movement, enabling each part to follow its connected elements. Animating Cutout Characters in OpenToonz Skeleton Tool: Once assets are set up, begin animating: 1. Open Project: Access the project containing the character’s assets. 2. Connect Assets: In Stage Schematic, ensure assets are linked correctly (following red-to-blue patterns). 3. Set Pivot Points: Use the Animate Tool to adjust pivot points at the character’s joints. 4. Check and Adjust Rig: View and modify bones using the Skeleton Tool. Adjust rotation and influence for realistic movement. 5. Animate Character: Using the Skeleton or Animate Tool, set keyframes for start, end, and intermediate positions, refining timing and spacing for smooth, realistic motion.