Animator XI PDF: Media and Entertainment Workbook

ACKNOWLEDGEMENTS Advisory, Editorial & Creative Inputs: Smt. Nidhi Chhibber (IAS), Chairperson, Central Board of Secondary Education, Delhi Guidance and Support: Dr. Biswajit Saha, Director (Skill Education), Central Board of Secondary Education, Delhi Dr. Joseph Emmanuel, Director (Academics), Central Board of Secondary Education, Delhi Shri. R. P. Singh, Joint Secretary (Skill Education), Central Board of Secondary Education, Delhi Coordinator: Smt. Niti Shanker Sharma, Deputy Secretary (Skill Education), Central Board of Secondary Education, Delhi Book Redesign Team: Mr. Gaurav Birla, Head - Standards & QA, Media & Entertainment Skills Council, (MESC) Delhi. Mr. Ritik Kumar, Chief Designer, Ridosk Studios, India Original Content Source: The PSS Central Institute of Vocational Education (PSSCIVE) PSSCIVE Acknowledgement: Special thanks to the Ministry of Human Resource Development (MHRD), Government of India for funding the project on the development of curricula and courseware for Classes 9 to 12 (NSQF Levels 1-4). National Skill Development Corporation (NSDC) and Media and Entertainment Skills Council (MESC) for making available the Qualification Packs (QP) and National Occupational Standards (NOS), which were utilized for developing the course content. PSSCIVE thankfully acknowledges the valuable suggestions of the members of the Standing Committee of the project and the guidance provided by Prof. R.B. Shivagunde, Joint Director, PSSCIVE in the execution of the project. Special thanks are due to Prof. (Dr.) Vinay Swarup Mehrotra, Project Coordinator and Head, Curriculum Development and Evaluation Centre (CDEC) and National Skills Qualifications Framework Cell (NSQFC), PSSCIVE for guidance and review of the course material. The contributions of Shri Sourabh Kulparia and Shri Meet Vishwakarma in type setting and composing the material in its present form are thankfully acknowledged and appreciated. ABOUT YOUR WORKBOOK This workbook is to assist you with completing the Unit of Competency Introduction to Computers and Internet Navigation. You should work through the workbook in the classroom, at the workplace or in your own time under the guidance and supervision of your teacher or trainer. This workbook contains sessions which will help you to acquire relevant knowledge and skills (soft and hard) on various aspects of the unit of competen- cy. Each session is small enough to be easily tackled and digested by you before you move on to the next session. Animated pictures and photographs have been included to bring about visual appeal and to make the text lively and interactive for you. You can also try to create your own illustrations using your imagination or taking the help of your teacher. Let us now see what the sections in the sessions have for you. Section 1: Introduction This section introduces you to the topic of the Unit. It also tells you what you will learn through the various sessions covered in the Unit. Section 2: Relevant Knowledge This section provides you with the relevant information on the topic(s) covered in the session. The knowledge developed through this section will enable you to perform certain activities. You should read through the information to develop an understanding on the various aspects of the topic before you complete the exercise(s). Section 3: Exercise Each session has exercises, which you should complete on time. You will perform the activities in the classroom, at home or at the workplace. The activities included in this section will help you to develop necessary knowledge, skills, and attitude that you need for becoming competent in performing the tasks at workplace. The activities should be done under the supervision of your teacher or trainer who will guide you in completing the tasks and also provide feedback to you for improving your performance. To achieve this, prepare a timetable in consultation with your teacher or trainer and strictly adhere to the stipulated norms or standards. Do not hesitate to ask your teacher or trainer to explain anything that you do not understand. Section 4: Assessment The review questions included in this section will help you to check your progress. You must be able to answer all the questions before you proceed to the next session. TABLE OF CONTENTS CONTENT Acknowledgement Preface About your work book Introduction.......................................................................................09 Session 1: Introduction To Animation..................................................10 Session 2: Traditional Animation.........................................................20 Session 3: Stop Motion Animation......................................................30 Session 4: 3D And 2D Animation........................................................36 Session 5: Production Pipeline.............................................................44 Session 6: Pre-Production And Storyboarding......................................50 Glossary.............................................................................................56 Suggested reading..............................................................................57 List of contributors.............................................................................58 INTRODUCTION Animation is the process of displaying still images in a rapid sequence to create the il- lusion of movement. These images can be hand drawn, computer generated, or pictures of 3D objects. There are three main types of animation: traditional, stop motion, and computer generated. Each can be used to make 2D or 3D images. There are also other less common forms, many of which focus on using an unusual medium like sand or glass to create the images, as well as combination of live action and drawings or computer created images. Animated films and models aren’t actually moving, but people see the illusion of move- ment because of a phenomenon called persistence of vision. In this phenomenon, the brain and eyes cooperate to store images for fractions of a second, and the brain smooth out any minor jumps or blips automatically. Since animated frames are shot at very fast rates, people generally see the movement without stoppages. Animation has many other uses. It’s commonly used in educational videos and advertise- ments both on TV and on the Internet, and it can also be used in the process of research and development to create simulations of how a machine or process would work. Character design script writing storyboarding dialog recording – dialog is recorded first, so the animator can match the voice to the lips. Animation as a learning tool can help children that to solve problems in a much more flexible, creative and collaborative man- ner. It can also make children them aware of the media and how the cartoon films are made which they see on television. In this unit, we will take an overview of the various aspects of animation and study the history of animation. Animation can be classified in two categories: Classic animation and modern animation. Classic animations are the old traditional animations, whereas modern animation includes fully computer generated graphics called as CG. 09 COURSE: MEDIA AND ENTERTAINMENT SESSION ONE INTRODUCTION TO ANIMATION 10 SESSION ONE INTRODUCTION TO ANIMATION In this session, you will learn about the common terms used in animation and an overview of the historical de- velopments in the field of animation. RELEVANT KNOWLEDGE Animation is the process of creating a continuous motion and shape change illusion by means of a rapid display of a sequence of static images that minimal- ly differ from each other. The illusion— Key frame as in motion pictures in general—is A key frame is a single still image (frame) thought to rely on the phiphenomenon. in an animated sequence that occurs at an important point in that sequence. Key frame is always drawn or constructed by Phi phenomenon the user. Key frames are defined through- The phi phenomenon is the optical il- out an animation and they define crucial lusion of perceiving continuous motion points of motion, for example start of between separate objects viewed rapidly a motion and end of a motion. In hand in succession. The basic technique of an- drawn animation, an experienced anima- imation remains a continuous loop of two tor would draw key frames and beginner steps: animators would draw tween frames (also known as in-between frames). In comput- - Loading a”frame” er animation, user of an animation pro- - Displaying the “frame” on screen gram would draw key frames and com- puter would insert tween frames. A frame is defined by a combination of the image to be displayed and the time the image is to be displayed. A sequence Tween frame Tween frames actually create illusion of frames makes an animation. Each of motion. Tween frames are interme- frame is displayed on the screen until the diate frames with the purpose of creat- next frame overwrites it. Since each frame ing smooth transition between two key remains displayed on the screen for a tiny frames. For smooth appearance, anima- but finite time period, you can think of an tion requires at least 24 frames per second animation as frames displayed at discreet (fps). For example, you can create only intervals of time in a continued sequence. two key frames, one to begin and one to There are two types of frames: key frames end a movement. Computer program will and tween frames. then create remaining 22 tween frames. 11 NOTE :............................................................................................................................................................... The final result would be one second of linear bumps and dips. Digital media is smooth animation with a little effort from more compatible and does not degrade user. For example, the bouncing ball over time therefore, it has animation consists of the following six- Become the common choice for today’s frames: audio and video formats. Types of Animation Animation creation methods include the traditional animation creation meth- od and those involving stop motion an- imation of two and three-dimensional objects, such as paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, or 30 frames per second. The various types of animation include the following: Animations can be recorded on either analog media or on digital media. A typ- 1. Flip book animation ical analog device is a clock on which 2. Traditional animation the hands move continuously around the 3. Cut-out animation face. In contrast, a digital clock is capa- 4. Clay animation ble of representing only a finite number 5. Stop motion animation of times (for example, every 10th of a 6. Computer animation second). VCRs, tape players, and record players, on the other hand, are analog Flip book animation devices. This is because they record data linearly from one point to another. All an- Flip book animation is a very primi- alog audio or video media must be con- tive way of creating animation purely verted to digital to work on a computer. with pencil, eraser and a stack of draw- Once the information is digital, comput- ing pads, such as post-it pads. It is cheap ers can be used to edit the data and create and readily available at all stationery effects that were never possible with an- stores. It help you to use your existing alog media. Digital media is non-linear, drawing skill and you can easily under- which means it can be edited or played stand the basic concept of animation. back starting at any point, which can be a huge time saver compared to working with tape. Digital information also does Traditional animation not “wear out” after repeated use like Traditional animation, also called cel tapes or records do, which results in much animation, classical animation or hand- better longevity for digital media. Digital drawn animation, is an animation tech- recordings are made with ones and zeros, nique where each frame is drawn by hand. while analog recordings are made with 12 SESSION ONE INTRODUCTION TO ANIMATION This was the process used for most ani- mator has achieved the desired amount of mated films of the 20th century. To create film. Upon playback, the human mind of the illusion of movement, each drawing the viewer perceives the series of slightly differs slightly from the one before it. The animators’ drawings are traced or pho- tocopied onto transparent acetate sheets called cels, which are filled in with paints in assigned colors or tones on the side op- posite the line drawings. The completed character cels are photographed one-by one against a painted background by a rostrum camera onto motion picture film. Cut-out animation Cut-out animation is a stop-motion tech- nique for producing animations, using flat characters, props and backgrounds made out of different materials such as paper, card, stiff fabric or even photographs. changing, rapidly succeeding images as motion. Stop motion animation Clay animation Stop-motion animation is used to describe Clay animation, also known as Clayma- animation created by physically manipu- tion is any animation done using a char- lating real-world objects and photograph- acter or characters created out of clay. ing them one frame of film at a time to Traditionally, create the illusion of movement. There are many different types of stop motion Storytelling and creative -writing􀀀 are animation, usually named after the medi- some of the more obvious ways to use um used to create the animation. claymation. It is also helpful for explana- tions of scientific processes, human body functions, visualizing mathematical con- cepts such as fractions, recreating histor- ical time periods and events, and demon- strating physical activities such as proper exercises and stretches. Each object or character is sculpted from clay or other such similarly pliable material as plasti- cine, usually around a wire skeleton called an armature, and then arranged on the set, where it is photographed once before being slightly moved by hand to prepare it for the next shot, and so on until the ani- 13 NOTE :............................................................................................................................................................... Computer animation It is now also possible for animators to draw directly into a computer using a graphics tablet or a similar device, where the outline drawings are done in a similar manner as they would be on paper. Com- puter animation or Computer Generated Imagery (CGI) animation is the process used for generating animated images by using computer graphics. Modern com- puter animation usually uses 3D comput- er graphics, although 2D graphics are still used for stylistic, low bandwidth and fast- er real- time renderings. Computer-generated animations are more controllable than other more physical- Computer animation is essentially a dig- ly based processes, such as constructing ital successor to the stop motion tech- miniatures for effects shots or hiring ex- niques used in traditional animation tras for crowd scenes, and because it al- with 3D models and frame-by-frame an- lows the creation of images that would imation of 2D illustrations. Classical 2D not be feasible using any other technolo- animation is also known as hand-drawn gy. It can also allow a single graphic artist 2D animation or traditional animation. to produce such content without the use In this technique animators need to make of actors, expensive set pieces, or props. at least 12 drawings on paper for one sec- ond length of film. The drawings are later History of Animation scanned or captured for post production Animation refers to the recording of any using computer. This technique was the image which goes through changes over dominant form of animation in film and time to portray the illusion of motion. Be- TV series, until the development of CGI fore the invention of film, the depiction of animation. In digital 2D animation tech- figures in motion through static art existed nique, animation frames are drawn direct- as far back as the Paleolithic. In the 19th ly on software using mouse or pen tablet. century there were several devices which This technique is used mostly for TV se- successfully displayed animated images. ries and web animation. Early examples of attempts to capture the phenomenon of motion into a still drawing can be found in paleolithic cave paintings, where animals are often depict- ed with multiple legs in superimposed po- sitions, clearly attempting to convey the perception of motion. 14 SESSION ONE INTRODUCTION TO ANIMATION In the first century BC, the Chinese crafts- In 1900, more than 500,000 people had man Ding Huan invented a zoetrope-like attended these screenings. optical device that created the impression of motion from the rapid movement of static images. A circular canopy of trans- lucent paper painted with images of birds and animals was placed over a lamp. The rising convection currents of the lamp rotated the vanes on the top of the can- opy. When the device was spun at the right speed, pictures painted on the panels would appear to move. In the 19th century, the phenak is to scope Praxinoscope, the first projection (1877) (1832), modern zoetrope (1834) and prax- inoscope (1877), as well as the common flip book, were early animation devices to The first film that was recorded on stan- produce movement from sequential draw- dard picture film and included animated ings using technological means, but ani- sequences was the 1900 Enchanted Draw- mation did not develop further until the ing, which was followed by the first en- advent of motion picture film and cine- tirely animated film - the matography in the 19thcentury. 1906 Humorous Phases of Funny Faces by J. Stuart Blackton, who, because of that, is considered the father of American The cinématographe was a projector, animation. printer, and camera in one machine that allowed moving pictures to be shown suc- cessfully on a screen which was invented by history’s earliest film makers, Auguste and Louis Lumière, in 1894. The first an- imated projection (screening) was created in France, by Charles-Émile Reynaud, who was a French science teacher. Rey- naud created the Praxinoscope in 1877 and the Théâtre Optique in December 1888. On 28 October 1892, he projected the first animation in public, Pauvre Pier- rot, at the Musée Grévin in Paris. This film is also notable as the first known instance of film perforations being used. His films were not photographed, but drawn directly onto the transparent strip. 15 NOTE :............................................................................................................................................................... In Europe, the French artist, Émile Cohl, directed by Winsor McCay, a successful created the first animated film using what newspaper cartoonist, including the 1911 came to be known as traditional anima- Little Nemo, the 1914 Gertie the Dino- tion creation methods - the 1908 Fantas- saur, and the 1918 The Sinking of the Lu- magorie. The film largely consisted of a sitania. During the 1910s, the production stick figure moving about and encounter- of animated short films, typically referred ing all manner of morphing objects, such to as “cartoons”, became an industry of as a wine bottle that transforms into a its own and cartoon shorts were produced flower. There were also sections of live ac- for showing in movie theaters. The most tion in which the animator‘s hands would successful producer at the time was John enter the scene. The film was created by Randolph Bray, who, along with anima- drawing each frame on paper and then tor Earl Hurd, patented the cel animation shooting each frame onto negative film, process which dominated the animation which gave the picture a blackboard look. industry for the rest of the decade. The author of the first puppet-animated El Apóstol (Spanish: “The Apostle”) was film (The Beautiful Lukanida (1912) was a 1917 Argentine animated film utilizing the Russian-born (ethnically Polish) di- cutout animation, and the world’s first rector Wladyslaw Starewicz, known as animated feature film. Unfortunately, Ladislas Starevich. a fire that destroyed producer Frederico Valle’s film studio incinerated the only The more detailed hand-drawn anima- known copy of El Apóstol, and it is now tions, requiring a team of animators draw- considered a lost film. ing each frame manually with detailed backgrounds and characters, were those 16 SESSION ONE INTRODUCTION TO ANIMATION Exercise Prepare an animal or cartoon using clay and other material. Seek the help of your teach- er/trainer to perform the activity. First draw your character on a piece of paper (full size). Using your drawing as a guide you need to measure and cut the lengths of wire for the armature (skeleton). Use the polymer clay to block out the chest, pelvis, hands and feet of the skeleton, and to hold the wire together. Put the clay around to prepare your character. Visit some of the websites on claymation to learn about how to prepare a character out of clay. You will need the following materials: Materials Needed 1. Armature wire(1/16”) 2. Plastalina clay 3. Polymerclay 4. Plier 5. Foam board 6. Paper 7. Packing tape 8. Insta mold making compound 9. Petroleumjelly 10. Baby oil (mineraloil) 11. Double boiler (or cooking pot and glass mixing bowl) 12. Sculpting tools 13. Paint 14. Brushes 17 NOTE :............................................................................................................................................................... Assessment Answer the following questions 1. Describe how the animation industry evolved from its early days. __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ 2. Give a brief description of any two types of animation. __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ 3. Give examples of the uses of animation. __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ 18 SESSION ONE INTRODUCTION TO ANIMATION Checklist for Assessment Activity Use the following checklist to see if you have met all the require- ments for assessment activity. Part A Differentiated between the following: 1. Analog and digital medium Part B Discussed in the class the following: 1. What are the various types of animation? 2. What is the difference between key frame and tween frame? 3. How analog medium differs from digital medium? Part C Performance standards The performance standard may include, but not limited to: Performance standards Yes No Demonstrate the knowledge of the evolution of animation Demonstrate the knowledge of traditional animation Demonstrate the knowledge of stop motion animation Demonstrate the knowledge of computer animation 19 COURSE: MEDIA AND ENTERTAINMENT SESSION TWO TRADITIONAL ANIMATION SESSION TWO TRADITIONAL ANIMATION In this lesson you will learn about the tra- ply takes a storyboard and inserts the ditional animation. intermediary steps needed to create the illusion of motion. The first time, have them use the basic compositional forms RELEVANT KNOWLEDGE of drawing that they are already used to, like dots, lines or circles, so that Flip Book they focus on placement and sequence Flip books offer the most versatility and rather than the detail within the object. creativity in hands-on animation projects because they are not limited in length or materials, as is the case with some other Traditional Animation Traditional Animation was the process techniques. They’re inexpensive to cre- used for most animated films of the 20th ate with common materials and require century. The individual frames of a tradi- no viewing devices. Most important, the tionally animated film are photographs of process used to make a flip book forms drawings, first drawn on paper. To create the basis for all of the more sophisticated the illusion of movement, each drawing animation techniques, including filmed differs slightly from the one before it. The animation. The basic rule is, if it will animators’ drawings are traced or pho- flip, it will work, so try index cards, Post- tocopied onto transparent acetate sheets called cels, which are filled in with paints in assigned colors or tones on the side op- posite the line drawings. The completed character cels are photographed one-by- one against a painted background by a rostrum camera onto motion picture film. The traditional animation process be- came 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 animat- ed piece is output to one of several deliv- it notepads or other “flippable” media. ery media, including traditional 35 mm For a flip book you first need a story, film and newer media such as digital vid- maybe one as simple as a dot moving eo. The “look” of traditional cel anima- from one side of the page to the other, tion is still preserved, and the character or as complicated as a truck that seems animators’ work has remained essentially to disappear in traffic. A flip book sim- 21 NOTE :............................................................................................................................................................... the same over the past 70 years. Some animation producers have used the term “tradigi- tal” to describe cel animation which makes extensive use of computer technology. 22 SESSION TWO TRADITIONAL ANIMATION Excerpt from the 1919 Feline Fol- artists at the American studio United Pro- lies with Felix the Cat. ductions of America, limited animation can be used as a method of stylized artistic ex- Examples of traditionally animated fea- pression, as in Gerald McBoing Boing (US, ture films include -Pinocchio|| (United 1951), Yellow Submarine (UK, 1968), and States, 1940), Animal Farm (United King- much of the anime produced in Japan. Its dom, 1954), and, -L’Illusionniste|| (Brit- primary use, however, has been in produc- ish-French,2010). ing cost-effective animated content for me- dia such as television and later the Internet (web cartoons). Rotoscoping is a technique patented by Pinocchio Traditional animated films which were produced with the aid of computer tech- nology include The Lion King (US, 1994), Akira (Japan, 1988), Sen to Chihiro no Ka- mikakushi (Spirited Away) (Japan, 2001), Max Fleischer in 1917 where animators -Les Triplettes de Belleville (France, 2003), trace live-action movement, frame by frame. and The Secret of Kells (Irish-French- Bel- The source film can be directly copied from gian,2009). actors’ outlines into animated drawings, as in The Lord of the Rings (US, 1978), or Full Animation refers to the process of pro- used in a stylized and expressive manner, as ducing high-quality traditionally animated in Waking Life (US, 2001) and A Scanner films that regularly use detailed drawings Darkly(US,2006).Some other examples are: and plausible movement. Fully animated Fire 14 and Ice (US, 1983) and Heavy Metal films can be made in a variety of styles, from (1981). more realistically animated works, such as those produced by the Walt Disney studio Live-Action/Animation is a technique (Beauty and the Beast, Aladdin, Lion King) combining hand-drawn characters into live to the more ‘cartoon’ styles of the Warner action shots. One of the earlier uses was in Brothers. Koko the Clown when Koko was drawn over live action footage. Other examples Limited Animation involves the use of less include Who Framed Roger Rabbit (US, detailed and/or more stylized drawings and 1988),-Space Jam|| (US,1996)and-Osmo- methods of movement. Pioneered by the sis Jones|| (US,2001). 23 NOTE :............................................................................................................................................................... Exercise 1. Draw the moments of the two legged figures given below and Paste them on the sheets of your portfolio book. 24 SESSION TWO TRADITIONAL ANIMATION 2. Prepare a Flipbook Print out the frames given below and glue onto individual index cards in the same position (upper right corner is the best). Staple the left edge together, or use a rubber band to keep the cards stacked in a little book. Flip them cards with your thumb and see how the character moves. Use colour or add images to customize your flipbook (source:flipbook.http:www.zuzu.org/printout.html). Try this! You can sketch your own images and prepare a flipbook. 25 NOTE :............................................................................................................................................................... 26 SESSION TWO TRADITIONAL ANIMATION 4. Sketch the picture of Pinocchio and paste it on your student portfolio book. Assessment Answer the following questions. 1. What is hand drawn animation? __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ 27 NOTE :............................................................................................................................................................... 2. What do you understand by the term -full animation||? __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ 3. What do you understand by the term Claymation? __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ Checklist for Assessment Activity Use the following checklist to see if you have met all the requirements for assessment activity. Part A Differentiated between the following: 1. Traditional animation and computer animation. Part B Discussed in the class the following: What are the benefits of learning animation? Part C Performance standards 28 SESSION TWO TRADITIONAL ANIMATION The performance standards may include, but not limited to: Performance standards Yes No Differentiate between full animation and limited animation Differentiate between traditional animation and computer animation Demonstrate the knowledge of claymation Prepare a flipbook Draw movements of two-legged figure 29 COURSE: MEDIA AND ENTERTAINMENT SESSION THREE STOP MOTION ANIMATION SESSION THREE STOP MOTION ANIMATION In this lesson you will learn about stop motion animation. RELEVANT KNOWLEDGE Stop-motion Animation that is captured one frame at time, with physical objects that are moved between Stop-motion Animation is used to de- frames. When you play back the sequence scribe animation created by physically ma- of images rapidly, it creates the illusion of nipulating real-world objects and photo- movement. The basic process of anima- graphing them one frame of film at a time tion involves taking a photograph of your to create the illusion of movement. There objects or characters, moving them slight- are many different types of stop-motion ly, and taking another photograph. When animation, usually named after the me- you play back the images consecutively, dium used to create the animation. Com- the objects or characters appear to move puter software is widely available to create on their own. this type of animation, however, tradi- tional stop motion animation is usually Puppet Animation typically involves less expensive and time-consuming than stop-motion puppet figures interacting in the computer animation. a constructed environment, in contrast to real world interaction in model anima- Stop motion animation is animation tion. The puppets generally have an arma- 31 NOTE :............................................................................................................................................................... Cutout Animation is a type of stop-mo- tion animation produced by moving two-dimensional pieces of material such as paper or cloth. Silhouette Animation is a variant of cutout animation in which the characters are backlit and only visible assilhouettes. Model Animation refers to stop-motion animation created to interact with and ture inside of them to keep them still and exist as a part of a live-action world. In- steady as well as to constrain their motion ter-cutting, matte effects, and split screens to particular joints. are often employed to blend stop-motion characters or objects with live actors and Clay Animation, or Plasticine anima- settings. tion (often called claymation, which, however, is a trademarked name), uses A clay animation scene from a figures made of clay or a similar mallea- Finnish television commercial ble material to create stop-motion anima- tion. The figures may have an armature Go Motion is a variant of model anima- or wire frame inside, similar to the related tion that uses various techniques to create puppet animation that can be manipulat- motion blur between frames of film, which ed to pose the figures. Alternatively, the is not present in traditional stop-motion. figures may be made entirely of clay, such The technique was invented by Industrial as in the films of Bruce Bickford, where Light and Magic and Phil Tippett to cre- clay creatures morph into a variety of dif- ate special effects scenes for the film The ferent shapes. Empire Strikes Back(1980). 32 SESSION THREE STOP MOTION ANIMATION times, the graphics remain stationary, while the stop motion camera is moved to create on-screen action. Brick film A sub-genre of object anima- tion involving using Lego or other similar brick toys to make an animation. These have had a recent boost in popularity with the advent of video sharing sites like You- Tube and the availability of cheap camer- as and animation software. Pixilation involves the use of live humans Object Animation refers to the use of reg- as stop motion characters. This allows ular inanimate objects in stop-motion an- for a number of surreal effects, includ- imation, as opposed to specially created ing disappearances and reappearances, items. allowing people to appear to slide across the ground, and other such effects. Exam- Graphic Animation uses non-drawn flat ples of pixilation include The Secret Ad- visual graphic material (photographs, ventures of Tom Thumb and Angry Kid newspaper clippings, magazines, etc.), shorts. Which are sometimes manipulated frame- by-frame to create movement. At other 33 NOTE :............................................................................................................................................................... Exercise 1. Visit an Animation Studio for understanding the various methods of animation. 2. Make a short stop motion animation film by following the given steps. Perform the activity under the supervision of your teacher/trainer. A) Get objects and figures to use in your movie. Some good choices include clay, wire, Lego or similar building block figures. Be imaginative in the types of objects and figures that might workforyourmovie.You can also use a whiteboard, animating figures and ed- iting the drawing slightly with each frame. b) Set up the figures (characters) in a particular position and within the”set.” c) Place your camera in front of the “set” that you are going to take photos. Make sure that it can view the entire frame. d) Set up a good source of lighting. It might be a lamp or a flash light. e) Take a single photo of the figure in the selected position. f) Begin the movement sequence. Move the figure bit by bit, in very small movement seach time. It may be the entire body if the figure is walking, or it may just be an arm, head or leg. g) Repeat the movement sequence until your action step is completed h) Save the pictures on to your computer i) Use your movie-making software. Assessment Answer the following questions 1. Describe the meaning of Stop Motion Animation __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ ______________________________________________ 2. Describe the terms Puppet Animation, Clay Animation, Cutout Animation and Model Animation. 34 SESSION THREE STOP MOTION ANIMATION __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ ______________________________________________ Checklist for Assessment Activity Use the following checklist to see if you have met all the requirements for assessment activity. Part A Differentiated between the following: 1. Clay Animation and object animation. Part B Discussed in the class the following: 1. What are the advantages and limitations of various types of animation? Part C Performance standards The performance standards may include, but not limited to: Performance standards Yes No Demonstrate the knowledge of stop motion animation. Demonstrate the knowledge of clay animation Demonstrate the knowledge of puppet animation 35 COURSE: MEDIA AND ENTERTAINMENT SESSION FOUR 2D AND 3D ANIMATION SESSION FOUR 2D AND 3D ANIMATION In this session, you will learn about 2D 3D Animation and 3D Animation. 3D animation is digitally modelled and manipulated by an animator. The ani- RELEVANT KNOWLEDGE mator starts by creating an external 3D mesh to manipulate. A mesh is a geo- Computer Animation encompasses a va- metric configuration that gives the visu- riety of techniques, the unifying factor be- al appearance of form to a 3D object or ing that the animation is created digitally 3D environment. The mesh may have on a computer. 2D animation techniques many vertices which are the geomet- tend to focus on image manipulation, ric points which make up the mesh; it is while 3D techniques usually build virtu- given an internal digital skeletal struc- al worlds in which characters and objects ture called an armature that can be used move and interact. 3D animation can cre- to control the mesh with weights. This process is called rigging and can be pro- grammed for movement with key frames. ate images that seem to be real to the viewer. 2D Animation 2D Animation figures are created and/ or edited on the computer using 2D bit- map graphics or created and edited us- Other techniques can be applied, such as ing 2D vector graphics. This includes mathematical functions (e.g., gravity, par- automated computerized versions of tra- ticle simulations), simulated fur or hair, ditional animation techniques, such as and effects such as fire and water simula- interpolated morphing, onion skinning tions. These techniques fall under the cat- and interpolated rotoscoping. 2D ani- egory of 3D dynamics. mation has many applications, includ- ing Analog Computer Animation, Flash Animation and Power Point Animation. 37 NOTE :............................................................................................................................................................... Computer Imagery Animation or CGI single graphic artist to produce such con- Animation is the process used for gener- tent without the use of actors, expensive ating animated images by using computer set pieces, or props. graphics. The more general term comput- er-generated imagery encompasses both To create the illusion of movement, an im- static scenes and dynamic images, while age is displayed on the computer monitor computer animation only refers to mov- and repeatedly replaced by a new image ing images. that is similar to it, but advanced slight- ly in time (usually at a rate of 24 or 30 Modern computer animation usually uses frames/second). This technique is iden- 3D computer graphics, although 2D com- tical to how the illusion of movement is puter graphics are still used for stylistic, achieved with television and motion pic- low bandwidth, and faster real-time ren- tures. derings. Sometimes the target of the an- imation is the computer itself, but some- For 3D animations, objects (models) are times the target is another medium, such built on the computer monitor (modelled) as film. and 3D figures are rigged with a virtual skeleton. For 2D figure animations, sep- Computer animation is essentially a dig- arate objects (illustrations) and separate ital successor to the stop motion tech- transparent layers are used, with or with- niques used in traditional animation with out a virtual skeleton. Then the limbs, 3D models and frame-by-frame anima- eyes, mouth, clothes, etc. of the figure are tion of 2D illustrations. Computer gen- moved by the animator on key frames. erated animations are more controllable The differences in appearance between than other more physically based pro- key frames are automatically calculated cesses, such as constructing miniatures by the computer in a process known as for effects shots or hiring extras for crowd tweening or morphing. Finally, the ani- scenes, and because it allows the creation mation is rendered. of images that would not be feasible using any other technology. It can also allow a For 3D animations, all frames must be ren- dered 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 ren- dered 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 ani- mations transmitted via the internet (e.g. 2D Flash, X3D) often use software on the 38 SESSION FOUR 2D AND 3D ANIMATION end-users computer to render in real time as an alternative to streaming or pre-loaded high bandwidth animations. The process of a 3D animation pipeline is complex and can be a lot more complicated than any other forms of animation. Depending on what project and which 3D animation studio is involved, the number of steps may vary. The 11 most common steps involved in producing a 3D animation project are given be- low: 1. Concept and Storyboards 2. 3DModelling 3. Texturing 4. Rigging 39 NOTE :............................................................................................................................................................... 5. Animation method, to doing every single element in 6. Lighting the computer. 7. Camera Setting 8. Rendering 2D Animation Examples 9. Compositing and Special VFX 10. Music and Foley BugsBunny 11. Editing and Final Output DaffyDuck ElmerFudd The very first step involved in a 3D pro- SnowWhite duction pipeline is the conceptualization The JungleBook of ideas and the creation of the story- The LittleMermaid boards that translate these ideas into vi- The Simpsons sual form. FamilyGuy SouthPark Difference between 2D and 3D Animation 3D or three-dimensional animation has 2D animation is the traditional anima- more depth and is more realistic. The tex- tion. It is one drawing followed by anoth- ture, lighting and colour of the 3D objects er in a slightly different pose, followed by are modified using software programs. another in a slightly different pose, on and Film, advertising, video and gaming are on for 24 frames a second. the fast growing fields for 3D animation. 2D animations deals more with drawing 3D allows you to do things that simply are and framing and is the base of 3D anima- not possible in 2D animation. tion. 2D animators create frames to define a sequence that are then moved at varying 3D objects, once modeled, can be treated speeds to create the illusion of motion. almost as a physical object. You can light Traditionally these were put together in it differently, you can move a camera to an amazing process where artists drew look at it from above, or below. 3D allows pencil drawings of every frame of film, you to create realistic objects. You can use then these images were painted onto clear textures and lighting to create objects that plastic sheets called ‗cels‘, and each of appear solid, and can even be integrated the thousands of hand drawn and paint- seamlessly into live video elements. ed cels were photographed one at a time over a hand painted background image 3D Animation Examples and those thousands of images compiled to run as film at 24 frames a second. Toy Story Shrek Today most 2D animation involves us- The Incredible ing computer software to one degree or Jurassic Park (the dinosaurs) another, from just digitally colouring the The Transformers (the robots) cels to be photographed in the traditional 40 SESSION FOUR 2D AND 3D ANIMATION Exercise 1. Analyze a clip from an animated movie and animate a moment from a scene. Draw the frames for your animation, capture your drawings with a camera or scanner, and ink in and animate the drawings using 2- D software. __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ 2. Watch various 2d and 3d animation clip and make a chart containing the name of studios and artists. __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ 41 NOTE :............................................................................................................................................................... Assessment Answer the following questions: 1. What is Computer Generated Imagery or Computer Animation? __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ 2. Explain the difference between 2D Animation and 3DAnimation. __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ 42 SESSION FOUR 2D AND 3D ANIMATION Checklist for Assessment Activity Use the following checklist to see if you have met all the requirements for assessment activity. Part A Differentiated between the following: 1. 2D and 3D animation. Part B Discussed in the class the following: 1. What are the limitation of 2Danimation? 2. What are the uses of animation? Part C Performance standards The performance standards may include, but not limited to: Performance standards Yes No Demonstrate the knowledge of 2D animation Demonstrate the knowledge of 3D animation 43 COURSE: MEDIA AND ENTERTAINMENT SESSION FIVE PRODUCTION PIPELINE SESSION FIVE PRODUCTION PIPELINE In this session, you will learn about Pro- duction Pipeline and the various steps in- volved in animation production pipeline. RELEVANT KNOWLEDGE Production pipeline is required in all logi- cal organizations to produce an animated feature film. It overlaps with the company organizational structure. Every company has its own pipeline. Every movie changes until a final story is agreed upon. its pipelineas One panel of a story board for Pixar’s film “Finding Nemo.” Requirements are changing To save money To increase the quality of the movie Voice recording Before the animators begin working on STEPS IN THE ANIMATION the different scenes, the voices are re- PRODUCTION PIPELINE corded for the film. Before the actors are brought in to record the lines, people Story Boarding within the studio record scratch voices. These recordings allow the animators to When a film is in its beginning stages of gain ideas for the action based upon the production, the storyboard is one of the movement of the actors. The recordings first aspects to be completed. The story board, a series of pictures with captions that describe the outline of the story, helps in the placement of cameras and the tim- ing of animation later on in the produc- tion process. The story boarding process begins with an initial rough draft. Then, one of the creators acts out and describes the pictures in the story to his or her col- leagues in order to receive feedback. After taking into consideration the suggestions presented, the story board is redrawn with also influence the timing in the scenes. the new ideas. This process is repeated One of the actors recording for Pixar’s 45 NOTE :............................................................................................................................................................... “Ratatouille.” cube, sphere, cylinder, cone and other op- Concept Design tions. Through the manipulation of verti- ces, faces, and edges, the original mesh is Concept design is the process where artists visualize what the director wants the film to look like. In this process, the charac- ters and environment are created through sketches. Later on, the modelers use these sketches as guidelines when they create transformed into the final character. For example, in the picture given here you will see the transformation of the real frog models in the computer. in “Croak” from its beginning stage to the final result. Texturing For texturing, one must “unwrap” the mesh into 2D and then paint in either 3D or 2D. Character designs from Pixar’s “Up.” Character designs for “Croak.” Modelling Given the sketches of the characters, mod- ellers use programs, such as Autodesk Maya and 3D Studio Max to create the 3D computer characters. When model- ling, the base object can be chosen from a 46 SESSION FIVE PRODUCTION PIPELINE Rigging tremes, called “blend shapes” to allow us to combine different shapes in different There are two parts to rigging a charac- proportions and make new expressions. ter for animation. One is constructing the skeletal rig of the model. The skeletal rig is made from joints connected together. When rigging you can choose to use a combination of inverse and forward kine- matics. Inverse kinematics is usually used for legs since this allows the animators to place the foot in the correct spot and the rest of the leg will follow. Forward kine- matics is usually used to rig the arms and the back. This type of rigging requires the animator to move every joint individual- ly. Once the joints are connected proper- ly, the rigger adds controls to them. This Another way to affect the mesh is by using allows the animator to key only the con- clusters or lattice deformers. trols and not to worry about the joints. Once the joints are connected to controls, Animation this rig is connected to the mesh through Once we have our models, our scene and “skinning” and then the rigger must paint cameras set up, we can start animating weights to specify how the joints affect the based on our storyboard. Unlike in tra- mesh geometry. ditional animation, where the animator must draw each individual frame in com- puter animation, the animator only sets the main key frames and the computer “tweens” between them. Secondly, we need to create the extreme positions or modes of the face to give our character expressions. Autodesk Maya, a software interpolates between these ex- 47 NOTE :............................................................................................................................................................... Autodesk Maya gives animators the graph editor and the dope sheet to help with ani- mation. The graph editor is used to change how the computer interpolates between the main key frames set by the animator. The dope sheet is used to change the timing of the animation. Animation is tiring but rewarding. After many hours spent setting key frames and tweak- ing the timing, the character feels like they are alive. Exercise 1. Write a short note on production pipeline. __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ Assessment Answer the following questions: 1. Explain the term pipeline. __________________________________________________________________________ 48 SESSION FIVE PRODUCTION PIPELINE __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ 2. State the steps included under production pipeline __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ ___________________________________________________________ Checklist for Assessment Activity Use the following checklist to see if you have met all the require- ments for assessment activity. Part A Differentiated between the following: 1. Rigging and Texturing 2. Storyboarding and concept design Part B Discussed in the class the following: 1. What are the various steps involved in production pipeline. Part C Performance standards The performance standard may include, but not limited to: Performance standards Yes No Demonstrate the knowledge of production pipeline 49 COURSE: MEDIA AND ENTERTAINMENT SESSION SIX PRE-PRODUCTION AND STORYBOARDING SESSION SIX PRE-PRODUCTION AND STORYBOARDING In this session, you will learn about usually attended by all cast members with pre-production and storyboarding. speaking parts, the director, all heads of departments, financiers, producers, and publicists. RELEVANT KNOWLEDGE Even though the writer may still be work- Pre-production is the process of pre- ing on it, the screenplay is generally page- paring all the elements involved in a film, locked and scene-numbered at the begin- play, or other performance. There are ning of pre-production to avoid confusion. three parts in a production: pre-produc- This means that even though additions tion, production, and post production. and deletions may still be made, any par- Pre-production ends when the planning ticular scene will always fall on the same ends and the content starts being pro- page and have the same scene number. duced. Storyboarding: Storyboards are Pre Production in Films: In film graphic organizers which are in the form making and video production, prepro- of illustrations or images displayed in se- duction formally begins once a project quence for the purpose of pre-visualiz- has been conceptualized and approval. ing a motion picture, animation, motion At this stage, preparations for production graphic or interactive media sequence. go into effect. Financing will generally be Storyboarding became popular in live-ac- confirmed and many of the key elements tion film production during the early such as principal cast members, director 1940s, and grew into a standard medium and cinematographer are set. By the end for pre-visualization of films. of pre-production, the screenplay is usu- ally finalized and satisfactory to all the financiers and other stakeholders. During pre-production, the script is broken down into individual scenes storyboards and all the locations, props, cast members, costumes, special effects and visual ef- fects are identified. An extremely detailed schedule is produced and arrangements are made for the necessary elements to be available to the filmmakers at the ap- propriate times. Sets are constructed, the crew is hired, financial arrangements are put in place and a start date for the begin- ning of principal photography is set. At some point in pre-production there will be a read-through of the script which is 51 NOTE :............................................................................................................................................................... Film Storyboard Animatics A film storyboard is essentially a large In animation and special effects work, the comic of the film or some section of the storyboarding stage may be followed by film produced beforehand to help film di- simplified mock-ups called “animatics” rectors,cinematographers and television to give a better idea of how the scene will commercial advertising clients visualize look and feel with motion and timing. At the scenes and find potential problems be- its simplest, an animatic is a series of still fore they occur. Besides this storyboards images edited together and displayed in also help estimate the cost of the overall sequence with a rough dialogue and/or production and saves time. Often story- rough sound track added to the sequence boards include arrows or instructions that of still images (usually taken from a story- indicate movement. board) to test whether the sound and im- ages are working effectively together. In creating a motion picture with any de- gree of fidelity to a script, a storyboard This allows the animators and directors to provides a visual layout of events as they work out any screenplay, camera position- are to be seen through the camera lens. ing, shot list and timing issues that may In the case of interactive media, it is the exist with the current storyboard. The layout and sequence in which the user or storyboard and soundtrack are amended viewer sees the content or information. In if necessary, and a new animatic may be the storyboarding process, most technical created and reviewed with the director details involved in crafting a film or inter- until the storyboard is perfected. Editing active media project can be efficiently de- the film at the animatic stage can avoid scribed either in picture, or in additional animation of scenes that would be edited text. out of the film. In the context of comput- er animation, it helps minimize the con- Theatre struction of unnecessary scene compo- A common misconception is that story- nents and models, just as storyboarding boards are not used in theatre. They are helps filmmakers evaluate what portions frequently special tools that directors and of sets can be omitted because they will playwrights use to understand the layout never come into the frame. Animation of the scene. The great Russian theatre is usually an expensive, labour-intensive practitioner Constantin Stanislavski de- process, so there should be a minimum of veloped storyboards in his detailed pro- “deleted scenes” if the film is to be com- duction plans for his Moscow Art Theatre pleted within budget. performances (such as of Chekhov’s The Seagull in 1898). The German director Often storyboards are animated with sim- and dramatist Bertolt Brecht developed ple zooms and pans to simulate camera detailed storyboards as part of his drama- movement (using non-linear editing soft- turgical method of “fabels.” ware). These animations can be combined with available animatics, sound effects and dialog to create a presentation of 52 SESSION SIX PRE-PRODUCTION AND STORYBOARDING how a film could be shot and cut together. term ‘digimatic’. Images can be shot and Some feature film DVD special features edited very quickly to allow important include production animatics. creative decisions to be made ‘live’. Photo composite animations can build intricate Animatics are also used by advertising scenes that would normally be beyond agencies to create inexpensive test com- many test film budgets. mercials. A variation, the “rip-o-matic”, is made from scenes of existing movies, television programs or commercials, to Comic books simulate the look and feel of the proposed commercial. Rip, in this sense, refers to ripping-off an original work to create a new one. Photomatic A photomatic (probably derived from ‘an- imatic’ or photo animation) is a series of still photographs edited together and pre- sented on screen in a sequence. Usually, a voiceover, soundtrack and sound effects are added to the piece to create a presenta- tion to show how a film could be shot and cut together. Increasingly used by adver- tisers and advertising agencies to research the effectiveness of their proposed sto- ryboard before committing to a ‘full up’ television advertisement. Originally, photographs were taken using colour negative film. A selection would be made from contact sheets and prints made. The prints would be placed on a rostrum and recorded to videotape us- ing a standard video camera. Any moves, pans or zooms would have to be made in camera. The captured scenes could then beedited. Digital photography, web access to stock photography and nonlinear editing pro- grams have had a marked impact on this way of film making also leading to the 53 NOTE :............................................................................................................................................................... of low resolution 3D figures which can aid in the process. Some 3D applications allow cinematographers to create “techni- cal” storyboards which are optically-cor- rect shots and frames. Novels Storyboards are now becoming more pop- ular with novelists. Because most nov- elists write their stories by scenes rather than chapters, storyboards are useful for plotting the story in a sequence of events Tips and rearranging the scenes accordingly. For a storyboard any kind of paper will do, but make sure that it’s not too fragile. Interactive media The key here is to have a rough idea of More recently the term storyboard has what your story is about before you start been used in the fields of web develop- with the storyboarding. ment, software development and instruc- Storyboards can also be done as video tional design to present and describe, in storyboards, but these can be time con- written, interactive events as well as audio suming. and motion, particularly on user interfac- If you are having trouble visualizing it es and electronic pages. These are then use models to help you draw. presented to the project’s cinematogra- Don’t make them perfect a rough sketch pher who achieves the director’s vision. is perfectly fine. If it helps, you can fold a piece of paper Finally, if needed, 3D storyboards are cre- into 6 squares, to frame your scenes easily ated. The advantage of 3D storyboards is or download a free storyboard template they show exactly what the film camera from the internet. will see using the lenses the film cam- Use storyboarding software as a data- era will use. The disadvantage of 3D is base for script info, props needed, loca- the amount of time it takes to build and tions, camera directions and then gener- construct the shots. 3D storyboards can ate a shotlist. be constructed using 3D animation pro- grams or digital puppets within 3D pro- grams. Some programs have a collection 54 SESSION SIX PRE-PRODUCTION AND STORYBOARDING Exercise 1. Analyzes a clip from an animated movie. Create a detailed storyboard of the moment in the story that you plan to animate. Assessment Answer the following questions: 1. Explain the term -Storyboard||. __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ Checklist for Assessment Activity Use the following checklist to see if you have met all the require- ments for assessment activity. Part A Differentiated between the following: 1. Animatic and photomatic 2. Storyboard and film storyboard Part B Discussed in the class the following: 1. How to prepare a storyboard? 2. Why a storyboard is prepared? Part C Performance standards The performance standard may include, but not limited to: Performance standards Yes No Demonstrate the knowledge of storyboard 55 NOTE :............................................................................................................................................................... Glossary 1. Animation -The process of creating a progressively altering image that gives the ap- pearance of continuous motion. 2. Compositing -The process of combining multiple elements shot separately (still imag- es, movie clips) into a final image or sequence to give the impression they were all shot at the same time. 3. Frame - A still two-dimensional image. In computer animation, the term ‗frames per second‘ (fps) is a measurement of the number of still frames displayed in one second to give the impression of a moving image. For film work, this value is usually 24; for the European PAL broadcast format, 25; and for the US NTSC broadcast format, 30fps. 4. Joints - Points of articulation between the bones in a characterrig. 5. Rigging - The process of preparing a character model for animation, including setting up an underlying skeleton, complete with constraints, controllers and kinematic systems, and linking it to the mesh of the character model. 6. 2D – Two dimensional. 7. 3D-Three-dimensional. 56 Suggested Reading BOOKS 1. EXTRA: Animation for Beginners by MorrMeroz 2. The animator‘s survival kit by RichardWilliams 3. Cartoon Animation by PrestonBlair 4. The Illusions of Life by Frank Thomas and OllieJohnston 5. Simplified Drawing for Planning Animation - WayneGilbert 6. The Male and Female Figure in Motion - EdwardMuybridge 7. Character Animation Crash Course! by EricGoldberg 8. Acting for Animators by Ed Hooks 9. Timing for Animation by Harold Whitaker & JohnHalas 10. Animation from Script to Screen by ShamusCulhane 11. Inspired 3D Short Film Production by Pepe Valencia & JeremyCantor WEBSITES 1. http://en.wikipedia.org/wiki/Phi_phenomenon 2. http://en.wikipedia.org/wiki/Key_frame 3. http://www.cprogramming.com/tutorial/animation/frames_and_layers.html 4. http://www.arena-multimedia.com/blog/index.php/animation-techniques/ 5.http://www.instructables.com/id/Making-an-army-of-Gromits-Claymation-Mold- making/ 6. http://www.animateclay.com/ 7. http://www.stopmotionanimation.com/ 8. http://www.stopmotionworks.com/ 57 NOTE :............................................................................................................................................................... List of Contributors Subject Experts 1. Mr. Suman Mondal, BJ 10, Sector 2, Near Tank No 7, Salt Lake City, Kolkata-700091 2. Mr. Atanu Moitra, BJ 10, Sector 2, Near Tank No 7, Salt Lake City, Kolkata -700091 3. Dr. Sreeparna Roychoudhury, BJ 10, Sector 2, Near Tank No 7, Salt Lake City, Kolk- ata-700091 4. Ms. Shampa Chatterjee, BJ 10, Sector 2, Near Tank No 7, Salt Lake City, Kolkata -700091 5. Ms. Paramita Pal, 4/1, Bibeknagar, Garfa, Jadavpur,Kolkata-700075 6. Ms. Sukanya Mitra, C/O Padma Saha, 2/59 Azadgarh,Kolkata-700040 7. Ms. Nisha Nair, 105/B, Ground Floor, Kankulia Road, Golpark, Gariahat,Kolk- ata-700029 8. Ms Soumya Chakroborty, 126 B, Diamond Harbour Road,Kolkata-700060 Reviewers 1. Prof. (Dr.) Vinay Swarup Mehrotra, Head, Curriculum Development and Evaluation Centre and National Skills Qualifications Framework Cell, PSSCIVE, NCERT, Shyamla Hills, Bhopal – 462013 2. Prof. (Dr.) Asfa M Yasin, Head, International Relations Di- vision, PSSCIVE, NCERT, Shyamla Hills, Bhopal – 462013 3. Dr. Asmita Khajanchee, Associate Professor,Dept. of Electronic Media, National Institute of Technical Teachers’ Training & Research, Shamla Hills, Bhopal - 462 002(M.P.) 4. Shri Akhilesh Rajput, Di- rector, Maya Academy of Advance Cinematic (MAAC) Center,Bhopal Resource Persons 1. Mr. Santanu Bhattacharjee, Director, M/s Technable Solutions Pvt. Ltd.,Kolkata 2. Ms. Juthika Sarkar, 108, PurbaSinthee Bye Lane, Natun Bazar, Maidanpally, Dum Dum, Kolkata- 700030, WestBengal 58 UNIT 2 : PRINCIPLES OF ANIMATION 62 ACKNOWLEDGEMENTS Advisory, Editorial & Creative Inputs: Smt. Nidhi Chhibber (IAS), Chairperson, Central Board of Secondary Education, Delhi Guidance and Support: Dr. Biswajit Saha, Director (Skill Education), Central Board of Secondar Education, Delhi Dr. Joseph Emmanuel, Director (Academics), Central Board of Secondary Education, Delhi Shri. R. P. Singh, Joint Secretary (Skill Education), Central Board of Secondary Education, Delhi Coordinator: Smt. Niti Shanker Sharma, Deputy Secretary (Skill Education), Central Board of Secondary Education, Delhi Book Redesign Team: Mr. Gaurav Birla, Head - Standards & QA, Media & Entertainment Skills Council, (MESC) Delhi. Mr. Ritik Kumar, Chief Designer, Ridosk Studios, India Original Content Source: The PSS Central Institute of Vocational Education (PSSCIVE) PSSCIVE Acknowledgement: Special thanks to the Ministry of Human Resource Development (MHRD), Government of India for funding the project on the development of curricula and courseware for Classes 9 to 12 (NSQF Levels 1-4). National Skill Development Corporation (NSDC) and Media and Entertainment Skills Council (MESC) for making available the Qualification Packs (QP) and National Occupational Standards (NOS), which were utilized for developing the course content. PSSCIVE thankfully acknowledges the valuable suggestions of the members of the Standing Committee of the project and the guidance provided by Prof. R.B. Shivagunde, Joint Director, PSSCIVE in the execution of the project. Special thanks are due to Prof. (Dr.) Vinay Swarup Mehrotra, Project Coordinator and Head, Curriculum Development and Evaluation Centre (CDEC) and National Skills Qualifications Framework Cell (NSQFC), PSSCIVE for guidance and review of the course material. The contributions of Shri Sourabh Kulparia and Shri Meet Vishwakarma in type setting and composing the material in its present form are thankfully acknowledged and appreciated. ABOUT YOUR WORKBOOK This workbook is to assist you with completing the Unit of Competency Introduction to Computers and Internet Navigation. You should work through the workbook in the classroom, at the workplace or in your own time under the guidance and supervision of your teacher or trainer. This workbook contains sessions which will help you to acquire relevant knowledge and skills (soft and hard) on various aspects of the unit of competen- cy. Each session is small enough to be easily tackled and digested by you before you move on to the next session. Animated pictures and photographs have been included to bring about visual appeal and to make the text lively and interactive for you. You can also try to create your own illustrations using your imagination or taking the help of your teacher. Let us now see what the sections in the sessions have for you. Section 1: Introduction This section introduces you to the topic of the Unit. It also tells you what you will learn through the various sessions covered in the Unit. Section 2: Relevant Knowledge This section provides you with the relevant information on the topic(s) covered in the session. The knowledge developed through this section will enable you to perform certain activities. You should read through the information to develop an understanding on the various aspects of the topic before you complete the exercise(s). Section 3: Exercise Each session has exercises, which you should complete on time. You will perform the activities in the classroom, at home or at the workplace. The activities included in this section will help you to develop necessary knowledge, skills, and attitude that you need for becoming competent in performing the tasks at workplace. The activities should be done under the supervision of your teacher or trainer who will guide you in completing the tasks and also provide feedback to you for improving your performance. To achieve this, prepare a timetable in consultation with your teacher or trainer and strictly adhere to the stipulated norms or standards. Do not hesitate to ask your teacher or trainer to explain anything that you do not understand. Section 4: Assessment The review questions included in this section will help you to check your progress. You must be able to answer all the questions before you proceed to the next session. TABLE OF CONTENTS CONTENT PAGE NO. Acknowledgement Preface About your work book Introduction........................................................................................71 Session 1: Principles Of Animation-I....................................................74 Session 2: Principles Of Animation-II..................................................80 Session 3: Principles Of Animation-III................................................84 Glossary..............................................................................................88 Suggested reading................................................................................89 List of contributors..............................................................................90 INTRODUCTION Animation is the process of creating a continuous motion and shape change illusion by means of the rapid display of a sequence of static images that minimally differ from each other. There are certain guidelines or principles to be followed for developing animation. It is generally said that there are 12 basic principles of animation, though there could be more. Though the 12 basic principles were originally intended for the hand-drawn anima- tion style of the time, they still apply to the computer animation standards of today and are important for any animator to learn. It is important that you should attain mastery over the 12 principles of animation, before you actually start making an animation movie. The first and most important of the 12 principles is Squash and Stretch which is used to give drawn objects a feeling of flexibility and weight. Squash and Stretch are often ma- nipulated to create a comedic effect but are utilized in all types of animation. The second principle is Anticipation of a movement, which is just as important as the movement itself. The moment of anticipation informs the audience that an object or character is about to take action. The third is the Staging, which is the layout of objects and characters in a scene that draw the audiences attention to the subject of the scene. Wide, medium and close up shots, camera angles, colors, and the amount of movement should all be taken into consider- ation when developing the staging of a scene. The fourth is the Straight Ahead and Pose-to-Pose in which the animator draws each scene a single frame at a time. In this case, the animation is moving straight ahead from the first drawing in the scene. In Pose to pose animation, the animator plans out the key poses in the scene and then with the help of an assistant or animation software, fills in the frames between each key frame. 71 NOTE :............................................................................................................................................................... The fifth principle is the Follow Through and Overlapping Action which pertains to drawn objects that are in motion. The sixth principle is Slow-O

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