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Production: Play Media

The production of animated films requires more labor and has higher costs than live-action films. Each take must be manually rendered by animators, as opposed to live-action where directors can do multiple takes more easily. To ensure efficient use of resources, animated film studios begin with detailed storyboards to make sure all scenes effectively advance the plot before handing it to animators. Maintaining consistency across long films and large production teams is also challenging for animated films, as individual animator styles must be subordinated to the overall style of the film. Visual development teams address this by developing character models and looks to guide animators.

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80 views1 page

Production: Play Media

The production of animated films requires more labor and has higher costs than live-action films. Each take must be manually rendered by animators, as opposed to live-action where directors can do multiple takes more easily. To ensure efficient use of resources, animated film studios begin with detailed storyboards to make sure all scenes effectively advance the plot before handing it to animators. Maintaining consistency across long films and large production teams is also challenging for animated films, as individual animator styles must be subordinated to the overall style of the film. Visual development teams address this by developing character models and looks to guide animators.

Uploaded by

Nadita
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as DOCX, PDF, TXT or read online on Scribd
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Production[edit]

Play media

Joy & Heron – A featured video

The creation of non-trivial animation works (i.e., longer than a few seconds) has developed as a
form of filmmaking, with certain unique aspects.[26] Traits common to both live-action and
animated feature-length films are labor intensity and high production costs.[27]

The most important difference is that once a film is in the production phase, the marginal cost of
one more shot is higher for animated films than live-action films. [28] It is relatively easy for a
director to ask for one more take during principal photography of a live-action film, but every take
on an animated film must be manually rendered by animators (although the task of rendering
slightly different takes has been made less tedious by modern computer animation). [29] It is
pointless for a studio to pay the salaries of dozens of animators to spend weeks creating a
visually dazzling five-minute scene if that scene fails to effectively advance the plot of the film. [30]
Thus, animation studios starting with Disney began the practice in the 1930s of maintaining story
departments where storyboard artists develop every single scene through storyboards, then
handing the film over to the animators only after the production team is satisfied that all the
scenes make sense as a whole. [31] While live-action films are now also storyboarded, they enjoy
more latitude to depart from storyboards (i.e., real-time improvisation). [32]
Another problem unique to animation is the requirement to maintain a film's consistency from
start to finish, even as films have grown longer and teams have grown larger. Animators, like all
artists, necessarily have individual styles, but must subordinate their individuality in a consistent
way to whatever style is employed on a particular film. [33] Since the early 1980s, teams of about
500 to 600 people, of whom 50 to 70 are animators, typically have created feature-length
animated films. It is relatively easy for two or three artists to match their styles; synchronizing
those of dozens of artists is more difficult.[34]
This problem is usually solved by having a separate group of visual development artists develop
an overall look and palette for each film before the animation begins. Character designers on the
visual development team draw model sheets to show how each character should look like with
different facial expressions, posed in different positions, and viewed from different angles. [35][36] On
traditionally animated projects, maquettes were often sculpted to further help the animators see
how characters would look from different angles. [37][35]
Unlike live-action films, animated films were traditionally developed beyond the synopsis stage
through the storyboard format; the storyboard artists would then receive credit for writing the film.
[38]
In the early 1960s, animation studios began hiring professional screenwriters to write
screenplays (while also continuing to use story departments) and screenplays had become
commonplace for animated films by the late 1980s.

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