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Class XI Animation

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100% found this document useful (1 vote)

210 views126 pages

Class XI Animation

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akarshk742

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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 :...........................................
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..........................................................

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 animator 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.[6] 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)

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

Section 3: Exercise

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-Out and Slow-In, which governs the smoothness of an ani-
mation. More frames means smoother, slower animation, fewer frames will speed up the
animation.

The seventh principle is Arcs, which are used for expressing speed. Thrown objects, limbs,
and even free moving characters follow what is called a “natural arc” for the scene, which
is determined by the staging and perspective of the scene.
The eight principle is the Secondary Action which convey strong emotions.

The ninth principle is Timing or the number of frames in a scene or action. It governs
overall speed of the animation.

The tenth principle is Exaggeration, which is used to make scene interesting in one aspect
of it over another.

The eleventh principle is Solid Drawing that applies to objects drawn in three a three
dimensional space. An animator use solid drawing techniques to give their drawn objects
three dimensional aspects like weight, balance, anatomy, lighting and more.

The twelfth principle is Appeal which is used to make the leading characters in any proj-
ect as appealing as possible to captivate the audience.

In this unit, we will discuss the 12 principles of animation and learn how to apply these
principles to produce a wonderful animation movie.

72
COURSE: MEDIA AND
ENTERTAINMENT

SESSION ONE
PRINCIPLES
OF
ANIMATION -I
SESSION ONE
PRINCIPLES OF
ANIMATION -I

In this session, you will learn about the things moved, and how that movement
four principles of animation i.e. Squash might be used to express character and
and Stretch, Anticipation, Staging and personality.
Straight Ahead and Pose-to-Pose Anima-
tion. 1. Squash and Stretch
2. Anticipation
3. Staging
RELEVANT KNOWLEDGE 4. Straight Ahead and Pose-to-Pose
Basic principles of animation were de-
Squash and Stretch: The most important
veloped by the ‘old men’ of Walt Disney principle is “Squash and Stretch”, the pur-
Studios, during the 1930s and amongst pose of which is to give a sense of weight
them Frank Thomas and Ollie John- and flexibility to drawn objects. It can be
ston, of course they were not old men at applied to simple objects, like a bouncing
the time, but young men who were at the ball, or more complex constructions, like
forefront of exciting discoveries that were the musculature of a human face. For ex-
contributing to the development of a new ample, a figure stretched or squashed to
art form. an exaggerated degree can have a comical
effect. In realistic animation, however, the
The 12 principles of animation are as fol- most important aspect of this principle is
lows: the fact that an object’s volume does not
change when squashed or stretched. If the
1. Squash and Stretch length of a ball is stretched vertically, its
2. Anticipation width needs to contract correspondingly
3. Staging horizontally.
4. Straight Ahead and Pose-to-Pose Ani-
mation Illustration of the “squash and
5. Follow through and Overlapping Ac- stretch”-principle:
tion Example A shows a ball bouncing with a
6. Slow Out and Slow In rigid, non-dynamic movement. In exam-
7. Arcs ple B the ball is “squashed”.
8. Secondary Action
9. Timing
10. Exaggeration
11. Solid Drawing
12. Appeal

These principles came as a result of reflec-

tion about their practice and through Dis- In traditional animation, characters move-
ney’s desire to devise a way of animating ments had a very high degree of exagger-
that seemed more ‘real’ in terms of how ated and non-rigid deformation.

75
NOTE :...........................................
..........................................................
..........................................................

Anticipation what is relevant, and avoiding unneces-

In 2D animation, the anticipation of sary detail. Staging is the presentation of
a movement is just as important as the an idea so that it is completely and unmis-
movement itself. The moment of antici- takably clear.
pation informs the audience that an object
or character is about to take action and Straight Ahead and Pose-to-Pose
directs their attention appropriately. An- Animation.
ticipation is the technique by which the These are two different approaches to the
audience’s eyes are drawn to where action actual drawing process. “Straight ahead
will occur on-screen. Anticipation can action” means drawing out a scene frame
be created by the skillful use of motion by frame from beginning to end, while
curves, expanding or contracting pieces “pose to pose” involves starting with
of animation to create the anticipatory drawing a few key frames, and then fill-
effect. ing in the intervals later.”Straight ahead
action” creates a more fluid, dynamic
Staging illusion of movement, and is better for
Staging refers to the way in which char- producing realistic action sequences. On
acter motion and camera movements are the other hand, it is hard to maintain pro-
set up to convey the mood and intent of a portions, and to create exact, convincing
scene. In 3D animation, staging can be ex- poses along the way. “Pose to pose” works
panded to include more detail, hide points better for dramatic or emotional scenes,
of interest, set up for chain reactions, and where composition and relation to the
so on. Staging is also useful in animistic, surroundings are of greater importance.
which establish a scene’s core movements A combination of the two techniques is
before primary animation gets underway. often used.

Computer animation removes the prob-

lems of proportion related to “straight
ahead action” drawing. However, “pose
to pose” is still used for computer anima-
tion, because of the advantages it brings
in composition. The use of computers fa-
cilitates this method, as computers can fill
in the missing sequences in between poses
Staging is how you go about setting up automatically. It is, however, still import-
your scene, from the placement of the ant to oversee this process and apply the
characters to the background and fore- other principles discussed.
ground elements and how the camera
angle is set up. The purpose of staging Straight ahead action is so called because
is to make the purpose of the animation an animator literally works straight ahead
unmistakably clear to the viewer. The es- from the first drawing in the scene. This
sence of this principle is keeping focus on process usually produces drawings and
76
SESSION ONE
PRINCIPLES OF
ANIMATION -I

action that have a fresh and slightly zany look, because the whole process is kept very
creative. Straight ahead action is used for wild, scrambling actions where spontaneity is

important.
In pose-to-pose animation, the animator plans his action, figuring out just what drawings
will be needed to animate the scene. Pose to- pose is used for animation that requires
good acting, where poses and timing are important.

Exercise
1. Go to http://blog.digitaltutors.com/character-animation-fundametals-squash-stretch/
and watch the videos on squash and stretch and practice the same on the software avail-
able with you or download the software from open source.

2. Search for anticipation, Staging Straight Ahead and Pose-to-Pose on YouTube and
watch the videos and practice on the software available with you or download the soft-
ware from open source.

77
NOTE :...........................................
..........................................................
..........................................................

Assessment
Answer the following questions.
1. Write 12 basic principles of animation.
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________

2. What is the difference between squash and stretch?

3. Explain the term “straight ahead action”.

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. Squash and stretch

2. Straight Ahead and Pose-to-Pose

78
SESSION ONE
PRINCIPLES OF
ANIMATION -I

Part B

Discussed in the class the following:

1. Meaning of the following terms:

(a) Rigidity
(b) Squash
(c) Stretch

2. How to do squash and stretch for stronger gestures?

3. How to perform anticipation for building up an action?

4. How to introduce pose to pose animation

5. How to bridge pose to pose and straight ahead action?

Part C

Performance standards

The performance standards may include, but not limited to:

Performance standards Yes No

Demonstrate the understanding of different character styles and
types
Demonstrate the knowledge of Squash and Stretch
Demonstrate the knowledge of anticipation
Demonstrate the knowledge of staging
Demonstrate the knowledge of Straight ahead and Pose to Pose

79
COURSE: MEDIA AND
ENTERTAINMENT

SESSION TWO
PRINCIPLES
OF
ANIMATION -II
SESSION TWO
PRINCIPLES OF
ANIMATION -II

In this session, you will learn about the animation, and the easiest way to accom-
four principles of animation i.e. Squash plish ease in and ease out is to utilize the
and Stretch, Anticipation, Staging and principle of spacing. As a character stands
Straight Ahead and Pose-to-Pose Anima- up from a sitting position, the spacing will
tion. be closer together at the start, so they ease
into the movement, and as they stand up,
RELEVANT KNOWLEDGE they will ease out of the movement. With-
out this acceleration and deceleration of
actions everything would be very abrupt
Let us now understand the other four
and jerky.
principles of animation.
These are as follows:
Arcs
Most natural action tends to follow an
1. Follow-through and Overlapping
arched trajectory, and animation should
Action
adhere to this principle by following im-
2. Slow Out and Slow In
plied “arcs” for greater realism. This can
3. Arcs apply to a limb moving by rotating a joint,
4. Secondary Action or a thrown object moving along a para-
bolic trajectory. The exception is mechan-
Follow-through and Overlapping ical movement, which typically moves in
Action straight lines.
These are related techniques which help
to render movement more realistically. As an object’s speed or momentum in-
“Follow through” means that separate creases, arcs tend to flatten out in moving
parts of a body will continue moving after ahead and broaden in turns.
the character has stopped. “Overlapping
action” is the tendency for parts of the Secondary Action
body to move at different rates (an arm Secondary action refers to creating actions
will move on different timing of the head that emphasize or support the main action
and so on). A third related technique is of the animation; it can breathe more life
“drag”, where a character starts to move into an animation and create a more con-
and parts of him take a few frames to vincing performance. A character walking
catch up. down the street while whistling could be
an example of secondary action or a per-
Slow Out and Slow In son leaning up against a wall talking to
As any object or person moves or comes some people at school, the main action
to a stop there needs to be a time for accel- is the character leaning against the wall
eration and deceleration. Without, ease in and talking, and then putting in an action
and ease out (or slow in slow out), move- of them crossing their arms would be the
ments become very unnatural and robot- secondary action.
ic. The same must be accomplished in an

81
NOTE :...........................................
..........................................................
..........................................................

Exercise
1. Search for Follow-through and Overlapping Action on YouTube and watch the videos
and practice on the software available with you or download the software from open
source

2. Search for Slow Out and Slow In Action on YouTube and watch the videos and prac-
tice on the software available with you or download the software from open source

3. Search for Arcs on YouTube and watch the videos and practice on the software avail-
able with you or download the software from open source

4. Search for Secondary Action on YouTube and watch the videos and practice on the
software available with you or download the software from open source

Assessment
Answer the following questions
1. What is the difference between follow through and overlapping action?
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________

82
SESSION TWO
PRINCIPLES OF
ANIMATION -II

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. Follow-through and Overlapping Action

2. Slow Out and Slow In
3. Arcs and Secondary Action

Part B

Discussed in the class the following:

1. How to use arcs for correcting a path of action?

2. How to slow in and slow out?
3. How to slow in and slow out for realism?

Part C

Performance standards

The performance standards may include, but not limited to:

Performance standards Yes No
Demonstrate the knowledge of using arcs for correcting a path
of action
Demonstrate the knowledge of slow in and slow out for realism

83
COURSE: MEDIA AND
ENTERTAINMENT

SESSION THREE
PRINCIPLES
OF
ANIMATION -III
SESSION THREE
PRINCIPLES OF
ANIMATION -III

In this session, you will learn about the ating a dramatic pause can make an event
last four principles of animation i.e. Tim- in your animation funnier, more poignant
ing, Exaggeration, Solid Drawing and or more intense.
Appeal.

RELEVANT KNOWLEDGE

The last 4principles of animation are as

follows:
1. Timing
2. Exaggeration
3. Solid Drawing Timing, or the speed of an action, is an
4. Appeal important principle because it gives mean-
ing to movement. The speed of an action
Timing and Spacing defines how well the idea will be read to
Timing refers to the number of drawings the audience.
or frames for a given action, which trans-
lates to the speed of the action on film. Exaggeration
On a purely physical level, correct timing Exaggeration is an effect especially useful
makes objects appear to obey the laws of for animation, as perfect imitation of re-
physics; for instance, an object’s weight ality can look static and dull in cartoons.
determines how it reacts to an impetus, The level of exaggeration depends on
like a push. Timing is critical for estab- whether one seeks realism or a particular
lishing a character’s mood, emotion, and style, like a caricature or the style of an
reaction. Timing is not exactly a rule, but artist. The classical definition of exagger-
it is the most important aspect of anima- ation, employed by Disney, was just pre-
tion and is what sets it apart from other senting it in a wilder more extreme form.
drawn art forms. So much of animation
is about timing. Messages or feelings that It is important to employ a certain level
cannot be portrayed by a still picture can of restraint when using exaggeration; if
be communicated with the addition of a scene contains several elements, there
timing. should be a balance in how those ele-
ments are exaggerated in relation to each
One classic example that you see not only other, to avoid confusing or overawing the
in film but also in real life is the dramatic viewer.
pause. Think of when somebody whispers
a secret to a friend. There􀀀s a moment,
just before they spill the beans, when they
Solid Drawing
Solid drawing is about creating an accu-
hesitate, looking around to make sure no
rate drawing with volume and weight, and
one􀀀s listening. This moment makes the
thinking about balance, and the anatomy
anticipation of the secret greater. Exagger-
in a pose. For example, the character may
85
NOTE :...........................................
..........................................................
..........................................................

have both arms on their hips or both hands in their pockets. This creates a rather boring
and unappealing pose. Making sure you implement the principle of solid drawing into
your posing will ensure you avoid this issue.

Appeal
Appeal corresponds to what would be called charisma in an actor. A character who is
appealing is not necessarily sympathetic – villains or monsters can also be appealing –
the important thing is that the viewer feels the character is real and interesting. There are
several tricks for making a character connect better with the audience

Exercise
1. Search for Timing, Exaggeration, Solid Drawing and Appeal on YouTube and watch
the videos and practice on the software available with you or download the software from
open source

Assessment
Answer the following questions
1. Describe the term staging.
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________

2. Explain the term “straight ahead action” and secondary action.

86
SESSION THREE
PRINCIPLES OF
ANIMATION -III

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. Exaggeration and Appeal

Part B

Discussed in the class the following:

1. How to add energy with exaggeration

2. How to introduce appeal for personality?
3. How to introduce timing and spacing for weight?
4. How to introduce timing and spacing for contract?

Part C

Performance standards

The performance standards may include, but not limited to:

Performance standards Yes No

Demonstrate the knowledge to introduce appeal for personality
Demonstrate the knowledge to introduce timing and spacing for
weight

87
NOTE :...........................................
..........................................................
..........................................................

Glossary
1. Animation -The process of creating a progressively altering image that gives the ap-
pearance of continuous motion.

2. Autodesk Maya – It is commonly shortened to Maya, it is a 3D computer graphics

software that runs on Windows, Mac OS and Linux.

3. 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.

4. Driven keys – Driven Keys are used to drive the attributes of one object to another
object.

5. Expression - A mathematical formula used to define the value of a given attribute of

an object during animation. The use of expressions forms a procedural alternative to
hand, or key frame animation.

6. 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.

7. High Definition(HD) - A general term for a video signal with a significantly higher
resolution than standard definition.

8. Joints - Points of articulation between the bones in a characterrig.

9. Pivot - To cause to rotate, revolve, or turn.

10. 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.

11. 3D -Three-dimensional, Descriptive of a region of space that has width, height and
depth.

88
Suggested Reading
Books

1. Digital Video for Dummies by Martin Doucette

2. The Digital Film making Handbook by Ben Long, Sonja Schenk
3. Digital Non-linear Desktop Editing by Sonja Schenk
4. Cengage Advantage Books: Audio Basics by Stanley Alten
5. PC Audio Editing by Roger Derry
6. Editing with Final Cut Pro 4: An Intermediate Guide to Setup and Editing Workflow
by Charles Roberts
7. The S.M.A.R.T. Guide to Recording Great Audio Tracks in a Small Studio by Bill
Gibson, William A. Gibson
8. Adobe Soundbooth CS3 by Adobe Creative Team
9. Adobe Premiere Pro CS3 Classroom in a Book by Adobe Creative Team
10. AdobePremiereProCS6:The Official Training Workbook from Adobe Systems by
Adobe Creative Team

Websites

1. http://computer.howstuffworks.com/video-editing4.htm
2. http://diyvideoeditor.com/video-editing-basics/
3. http://www.mediacollege.com/video/editing/tutorial/
4. http://www.dpbestflow.org/node/637
5. http://www.larryjordan.biz/adobe-video-editing-workflow/
6. http://manual.audacityteam.org/o/man/tutorial_editing_an_existing_file.html
7. http://www.hongkiat.com/blog/25-free-digital-audio-editors/
8. http://en.wikipedia.org/wiki/Adobe_Soundbooth
9. http://en.wikipedia.org/wiki/Adobe_Premiere_Pro

89
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, Kol-
kata-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, Bho-
pal – 462013
2. Prof. (Dr.) Asfa M Yasin, Head, International Relations Division, 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, Director, Maya Academy of Advance Cinematic (MAAC) Cen-
ter,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.

90
UNIT 3 :
INTRODUCTION
TO 2D
ANIMATION
ACKNOWLEDGEMENTS

Advisory, Editorial & Creative Inputs:

• Smt. Nidhi Chhibber (IAS), Chairperson, Central Board of Secondary
Education, Delhi

Guidance and Support:

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)

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 competency. 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 ses-
sion. 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 ac-
tivities 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 com-
petent 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........................................................................................103

Session 1: Concept Of 2D Animation..................................................104

Session 2: Types Of 2D Animation.......................................................110

Session 3: Basics Process Of 2D Animation..........................................114

Session 4: Flash Animation..................................................................120

Glossary..............................................................................................126

Suggested reading................................................................................127

List of contributors..............................................................................128
INTRODUCTION

Introduction to 2D Animation
What was once done with pencils, cells, and paint by a team of dozens of animators can
now be accomplished by a single person with a powerful enough home computer and the
right software.

The term “computer animation” broadly covers a wide variety of genres and applica-
tions, though the simplest way to break it down is into the categories of 2D and 3D ani-
mation. “2D”, short for “two dimensional”, is sometimes also called “vector animation”,
and is typically done in programs like Macromedia Flash and Macromedia Director.
The most familiar form of 2D animation are traditional cartoons, which are progressing
more and more into the digital realm. You probably see simpler animations every day just
while surfing the web, in the form of advertisements, E-cards, and cartoon shorts. Vector
animation is also useful in designing interactive interfaces for the web.

2D animation creates movement in a two dimensional space. Work in the field of 2D an-
imation requires both creativity and technological skills. It focuses on creating characters,
storyboards and backgrounds in two-dimensional environment. The characters can move
up and down, left and right. They do not appear to move toward or away from the viewer,
as they would do in 3D animation. 2D animation uses bitmap and vector graphics to cre-
ate and edit the animated images and is created using computers and software programs,
such as Adobe Photoshop, Flash, After Effects and Encore. These animations may be
used in advertisements, films, television shows, computer games or websites. To learn 2D
animation, you will have to learn about the various aspects of character design, life draw-
ing techniques, storyboarding, digital video, digital audio, and stop motion animation.

Unlike 3D animation, 2D animation does not employ any fancy digital models, but uses
a more straightforward approach. Massive digital drawing tablets enable animators to
draw their key frames digitally and create the tweens automatically using 2D animation
software. Many modern animation studios (such as Dream Works and Pixar) use 3D an-
imation tools to create the characters and environments for their movies, sculpting them
out of thousands of tiny digital polygons and animating them with computer code like
puppets on strings.

Today, visual development requires much less manual labor, but is no less an important
step in the creation of an animated film. Artists use specialized tools to digitally draw
and refine the characters and scenes, saving hundreds of hours of sketching, inking and
painting. After the designs of each character and scene have been finalized, the produc-
tion process can begin.

103
COURSE: MEDIA AND
ENTERTAINMENT

SESSION ONE
CONCEPT
OF
2D ANIMATION
SESSION ONE
CONCEPT OF
2D ANIMATION

In this session you will learn about the Pre-Production

major forms of animation, production
and post production.

RELEVANT KNOWLEDGE
What is 2D Animation?
The creation of moving pictures in a
two-dimensional environment, such as
through “traditional” cel animation or in
computerized animation software. This is
done by sequencing consecutive images,
Pre-Production
or “frames”, that simulate motion by each
Pre-production involves establishing the
image showing the next in a gradual pro-
plot of the completed animation. Because
gression of steps. The eye can be “fooled”
each shot in animation is so labour-inten-
into perceiving motion when these con-
sive, that it is necessary to get shots right
secutive images are shown at a rate of 24
during the pre-production. Re-animating
frames per second or faster.
a shot is very expensive, especially com-
pared to live-action filming, therefore, al-
2D animation figures are created and/or
most care needs to be taken while taking
edited on the computer using 2D bitmap
shots.
graphics or created and edited using 2D
vector graphics. This includes automated
Most animations are storyboarded, in
computerized versions of traditional ani-
which the main action in each scene is
mation techniques such as of interpolated
drawn in a comic book-like form. Story-
morphing, onion skinning and interpolat-
boards are usually pasted on large foam-
ed rotoscoping.
core or poster board sheets, which can be
quickly read through by the staff. During
2D animation has many applications,
pre-production, the staff reviews the sto-
including analog computer animation,
ryboard for consistency, and parts of
Flash animation and Power Point ani-
the storyboard may be redrawn multiple
mation. The overall process of creating a
times.
2D animation is divided into three parts:
pre-production, production, and post-pro-
duction.

• Pre-Production
• Production
• Post-Production

Production
105
NOTE :...........................................
..........................................................
..........................................................

An Inked Drawing This is the point at which computers often

Each shot in a 2D animation involves step in. Some company-shand-ink-each
multiple single drawings of characters drawing,writing over the cleaned pencil
(although some computer programs, such lines with a pen. Others--especially stu-
as ‘Anime Studio’, can create characters dios whose artists can draw very clean
much like puppets, which can be posed pencil lines--will scan the pencils directly
at different key frames, and the comput- into the computer, then ink the drawing
er moves the character between those digitally.
key frames). To demonstrate the concept,
think of a still camera that can take many The drawing is now considered a “cel.”
photographs in rapid succession. Imagine Before computers, the drawing would
aiming that camera at a person and tak- now be photocopied onto a sheet of clear
ing many quick photographs as the person celluoid or acetate, then hand-painted.
walks towards you. This created a “cel,” which was placed on
top of a background painting and filmed
Each photograph corresponds to an indi- with the click of a film camera. Cels are
vidual drawing in an animation. still highly prized by collectors, though
few true cels remain. Many of those on
A shot may contain only one drawing the market are reproductions.
(especially in “limited animation” forms
like anime), but usually contain about ten Today, the digital cels are coloured on a
to twenty drawings. These drawings are computer. Meanwhile, a background is
divided into “keys” and “in betweens.” drawn (on the computer, or hand-drawn
Keys are important drawings that con- and scanned). The background is import-
vey the extremes of the character’s move- ed into an animation program, and each
ment--the first drawing is almost always a cel is layered onto the background in suc-
key--while in-betweens (or “tweens”) are cession. This is then saved on the comput-
the remaining, less important drawings in er as a single video file.
the shot.

Typically, each drawing begins with a

sketch, in pencil, of the character’s pose.

A Colored Tween
A Colored Key Cel
106
SESSION ONE
CONCEPT OF
2D ANIMATION

In practice, the keys are usually drawn by a top animator, and these are then scanned and
assembled into a “rough cut” of the shot while the keys are given to a junior animator,
who will draw the tweens. The film can then be assembled during production, and junior
animators can be directed in small adjustments to improve the flow of each shot and
scene.

Post-Production
Even after all the tweens have been colored and added to the animation, the film is far
from complete. There’s still music and sound effects to be added, as well as visual effects.
The animation also may need to be edited in the more traditional film sense; shots cut
slightly short or held longer, even scenes cut entirely.

Exercise
1. Watch some 2D animated clips to understand about 2D animation.

Assessment
Answer the following questions
1. What is 2Dcel?
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________

2. What are the hardware requirements for 2Danimation?

____________________________________________________________
____________________________________________________________
____________________________________________________________
107
NOTE :...........................................
..........................................................
..........................................................

3. Which type of animation uses still frames with a graphic that slightly changes position?
____________________________________________________________
____________________________________________________________
____________________________________________________________
____________________________________________________________
____________________________________________________________
____________________________________________________________

4. Which animation techniques uses a seamless transition to change one image into an-
other?
____________________________________________________________
____________________________________________________________
____________________________________________________________

Checklist for Assessment Activity

Use the following checklist to see if you have met all the require-
ments for assessment activity.
Part A

Differentiate between the following:

1. 2D animation and 3Danimation

2. Object oriented animation and frame by frame animation

Part B

Discussed in the class the following:

1. What are different types of 2Danimation?

2. Basics of 2D animation
3. What is object oriented animation?
4. What is frame by frame animation?
5. What is another name for vector animation?

108
SESSION ONE
CONCEPT OF
2D ANIMATION

Part C

Performance standards

The performance standards may include, but not limited to:

Performance standards Yes No
Demonstrate the knowledge of general features of 2D animation
Identify at least 4 features of 2D animation
Name at least 2 software used for 2D animation

109
COURSE: MEDIA AND
ENTERTAINMENT

SESSION TWO
TYPES
OF
2D ANIMATION
SESSION TWO
TYPES OF
2D ANIMATION

In this session you will gain knowledge on which the object is redrawn in each con-
how animation is created on a computer secutive cel to depict motion. Cel comes
using bitmap images. from the word celluloid (a transparent
sheet material) which was first used to
draw the images and place them on a sta-
RELEVANT KNOWLEDGE tionary background.

2D animation is created on a computer

using bitmap images, or it can be created Digital Animation – It is a paperless
and edited using 2D vector graphics. 2D version of traditional animation, where
animation can be used for many different drawings are drawn straight out the com-
puter.
things, like video games, advertisements
or creating an animated film.
Path Animation - Path Based animation
is the simplest form of animation and the
easiest to learn. It moves an object along
a predetermined path on the screen. The
path could be a straight line or it could
include any number of curves. Often the
object does not change, although it might
be resized or reshaped.

Stop Motion Animation - although this

can be classified also as 3D animation,
Stop Motion Animation can work with
2d objects, such as illustration and photos.

Sand Animation - sand is moved around

Cel Animation - (traditional animation) on a back- or front lighted piece of glass
is based on a series of frames or cels in to create each frame for an animated film.
This creates an interesting effect when an-
imated because of the light contrast.

Cut-out Animation, is made by cut pieces

of paper card fabric etc. They are placed
under glass and then a frame is taken and
cut out is moved slightly and again a new
frame is taken.

Rotoscoping is made by tracing over live

video to create realistic movement. Each
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NOTE :...........................................
..........................................................
..........................................................

frame is traced over individually then the Flip Book

reel footage is removed leaving you with
just the traced drawing.

Cinema graphs
Cinemagraphsare still photographs in the
form of animated GIF where the anima-
tor chooses the part where to animate.

Flip Book
A Flip Book or Flick Book is a book with
a series of pictures that vary gradually
from one page to the next, so that when
the pages are turned rapidly, the pictures
appear to animate by simulating motion
or some other change. Flip books are of-
ten illustrated books for children, but may
also be geared towards adults and employ
a series of photographs rather than draw-
ings.

Flip books are essentially a primitive form

of animation. Like motion pictures, they
rely on persistence of vision to create the
illusion that continuous motion is being
seen rather than a series of discontinuous
images being exchanged in succession.
Rather than “reading” left to right, a view-
er simply stares at the same location of
the pictures in the flip book as the pages
turn. The book must also be flipped with
enough speed for the illusion to work, so
the standard way to “read” a flip book is
to hold the book with one hand and flip
through its pages with the thumb of the
other hand.
112
SESSION TWO
TYPES OF
2D ANIMATION

Exercise
1. Make a chart containing various 2D animation processes, with some examples
2. Make drawings of characters with background

Assessment
Answer the following question
1. What is cell 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. Stop motion animation and cut-out animation

Part B
Discussed in the class the following:
1. What is cell animation?

Part C
Performance standards
The performance standards may include, but not limited to:
Performance standards Yes No
Demonstrate an understanding of cell animation
Demonstrate the knowledge of cut out animation
Make drawings of character and background

113
COURSE: MEDIA AND
ENTERTAINMENT

SESSION THREE
BASICS PROCESS
OF
2D ANIMATION
SESSION THREE
BASICS PROCESS
OF 2D ANIMATION

In this session you will learn about the ba- known as in-betweens/In betweening) are
sic principles of animation. either hand-drawn or using computer soft-
ware to interpolate them.
RELEVANT KNOWLEDGE

The difference between 2D and 3D ani-

mation is the appearance of depth. 2D
animation is a flat animation and all the
actions happen in the x-y axes. 3D ani-
mation includes an extra dimension and
that is the z axis. 2D animation uses on-
ion tool kits while 3D animation requires
digital modeling.
Besides the apparent move of the legs,
Walk Cycle 2D many more details are necessary for a con-
In animation, a walk cycle is a series vincing walk cycle, like animation timing,
of frames or illustrations drawn in se- movement of the arms, head and torsion
quence that loop to create an animation of the whole body.
of a walking character. The walk cycle is
looped over and over, thus having to avoid There exist many techniques to create
animating each step again. walk cycles. Traditionally walk-cycles are
hand drawn but over time with the intro-
Creating a Walk Cycle duction of new technologies for new me-
Walk cycles can be broken up into 4 key diums, walk cycles can be made in pixel
frames, namely Forward Contact Point, art, 2D computer graphics, 3D computer
Passing Pose1, Back Contact Point and graphics, stop motion method,cut-out an-
Passing Pose 2. Frames that are drawn imation or using techniques like rotoscop-
between these key poses (traditionally ing.

Software for 2D Animation

The Pencil software is a studio applica-
tion designed to resemble the traditional
flipbook style animation. It is simple to
115
NOTE :...........................................
..........................................................
..........................................................

uses as its user interface offers only the

tools a beginning animator needs to start
creating basic animations on their own.

Adobe Flash is the most widely used soft-

ware for animations and motion graphics
on the web.

Synfigis a free, open source program for

2D animators that offers a powerful suite
of tools that can be used to make any-
thing from quick motion graphics to cine-
ma quality animation.

Toon Boom Studio is an all in one anima-

tion application for beginners that is actu-
ally designed to teach you the fundamen-
tals of 2D animation as you work.

Creatoon is a free and powerful piece of

animation software

Animate encourages artists to draw in an

environment that feels natural with most
digital drawing tablets, and simulates an
entire animation studio within a small,
easy to use application. This animation
suite provides advanced features like in-
teractive camera tools that drastically cut
down on the time and effort needed to
achieve that perfect studio quality aesthet-
ic.

116
SESSION THREE
BASICS PROCESS
OF 2D ANIMATION

Exercise
1. Draw the poses of a walk cycle, as shown in the figure below.

1. Create contact position

2. Create down position
3. Create passing position
4. Create up position
5. Refine up and down weight
6. Refine the side to side weight
7. Refine chest movement
8. Add-drag
9. Fix any knee popping
10. Flap the feet
11. Polish the walk

117
NOTE :...........................................
..........................................................
..........................................................

Assessment
Answer the following questions
1. What is the difference between 2D and 3DAnimation?
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________

2. List the 12 “basic principles of 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. Adobe flash and Toon Boom

Part B

Discussed in the class the following:

1. What is the difference between 2D and 3Danimation?
2. Describe 4 key frame names for creating a walk cycle.
3. Give two example of industry oriented software that can be used to create 2D digital
animated sequences.
118
SESSION THREE
BASICS PROCESS
OF 2D ANIMATION

Part C

Performance standards

The performance standards may include, but not limited to:

Performance standards Yes No

Demonstrate the knowledge of poses of a walk cycle
Identify the software used for 2D animation

119
COURSE: MEDIA AND
ENTERTAINMENT

SESSION FOUR
FLASH
ANIMATION
SESSION FOUR
FLASH
ANIMATION

In this session you will learn about the

flash animation technique.

RELEVANT KNOWLEDGE

Cut out animation is considered the old-

est animation technique around – proba-
bly the first in animation history.

The arrival of the computer took cut-outs

to a whole new level of madness and cre-
ativity. Computer cut-outs have the im-
mense advantage of being able to go back Flash today is used for everything be-
and forth on the timeline and work with tween banner web animations to full fea-
key frames, in the “pose to pose” method. ture films shown in the cinema.

A Flash Animation or Flash Cartoon is an

animated film which is created by Adobe
Flash or similar animation software and
often distributed in the .swf file format.
The term Flash animation not only refers
to the file format but to a certain kind of
movement and visual style.

Flash is able to integrate bitmaps and

other raster-based art, as well as video,
though most Flash films are created us-
ing only vector-based drawings which
often result in a somewhat clean graph-
ic appearance. Some hallmarks of poorly
Cut out animation got a whole new life produced Flash animation are jerky nat-
when Flash showed up. This software, ural movements (seen in walk-cycles and
mainly a web authoring tool, made cut gestures), auto-tweened character move-
out animation so easy to make that EV- ments, lip-sync without interpolation,
ERYONE became an animator. For one and abrupt changes from front to profile
dangerous moment it looked like some- view.
one has found the legendary “Make Ani-
mation”button. Flash animations are typically distributed
by way of the World Wide Web, in which
case they are often referred to as Internet
121
NOTE :...........................................
..........................................................
..........................................................

cartoons, online cartoons, and webtoons. Motion Tweening

Web Flash animations may be interactive A motion tween animates symbols mov-
and are often created in a series. A Flash ing in space; when you create a motion
animation is distinguished from a Web tween, then you can click on any frame
comic, which is a comic strip distributed in the tween, move the symbol on that
via the Web, rather than an animated car- frame, and a motion path animating the
toon. frames between that frame and the next
key frame. Any frame where you’ve man-
When building animations in Flash you ually moved the tweened symbol becomes
have two directions you can go: create a key frame.
each individual frame (frame-by-frame)
or ask Flash for help (tweening). You Motions tweening requires that the same
can also have an animation that has both base graphic (bitmap or vector) be used at
frame by frame and tweening. both ends of the tween. Because the same
base graphic is used at both ends of the
tween, we convert that graphic into a sym-
“Tween” is actually short for “in-be-
bol. Symbol use decreases file size, allows
tween”, and refers to auto rendering of
for much faster editing and is a prerequi-
graphics, by Flash, of the frames between
site for Motion Tweens.
two author defined key frames.

Flash’s has three forms of tweening - mo-

tion (new), Classic (used to be called Mo-
tion) and Shape. For all types of tween-
ing, you ask Flash to help you with the
frames in between.

Classic Tweening
A classic tween works the way old motion
tweens used to, in versions CS3 and ear-
lier. In this kind of motion tween, you’d
have to manually create all your key
frames and connect all of them with mo-
tion tweens that followed point A to point
122
SESSION FOUR
FLASH
ANIMATION

B. So basically, a shape tween is a transformation tween, while a motion tween/classic

tween affects position and rotation.

Shape Tweening
Shape tweens, on the other hand, perform distortions on non symbol shapes/vector
graphics. If you create one shape on one key frame and another shape on another key
frame, you can connect those two shapes with a shape tween. The tween will perform
whatever calculations and morphs needed to transform the first shape into the second.

Exercise
1. Draw and shape tween
2. Draw symbols
3. Draw motion tween
4. Drag and drop-game

Assessment
Answer the following questions
1. What is limited animation or cutout animation?
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________

2. Describe flash animation

123
NOTE :...........................................
..........................................................
..........................................................

__________________________________________________________________________

3. What is the difference between .jpg, .gif, .png, .swf and animated .gif files?
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________

4. What is the meaning of tween?

5. What are the three forms of tweening?

6. What is motion tweening?

7. What is shape tweening?

8. How to change colour and size?

Checklist for Assessment Activity

Use the following checklist to see if you have met all the requirements
for assessment activity.

Part A

Differentiate between the following:

1. Limited animation or cutout animation

2. .fla and .swf file
3. Bitmap graphics and vector graphics

Part B

Discussed in the class the following:

1. What are the advantage and limitations of flash animation?

2. What is a .fla file?
3. What is a .swffile?
4. What is bitmap graphics?
5. What is vector graphics?
6. How to use flash drawing tools?

Part C

Performance standard

The performance Standard may include, but not limited to:

Performance standards Yes No

Demonstrate the knowledge of flash animation
Demonstrate the knowledge of shape tweening, motion tweening
and classic tweening
Demonstrate the knowledge of .jpg, .gif, .png, .swf and animated
.gif files

125
NOTE :............................
......................................
......................................

Glossary
1. Animation -The process of creating a progressively altering image that gives the ap-
pearance of continuous motion.

2. Autodesk Maya – It is commonly shortened to Maya, it is 3D computer graphics soft-

ware that runs on Windows, Mac OS and Linux.

3. 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.

4. Driven keys – Driven Keys are used to drive the attributes of one object to another
object.

5. Expression - A mathematical formula used to define the value of a given attribute of

an object during animation. The use of expressions forms a procedural alternative to
hand, or key frame,animation.

6. 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.

7. High Definition (HD) - A general term for a video signal with a significantly higher
resolution than standard definition.

8. Joints - Points of articulation between the bones in a characterrig.

9. Pivot - To cause to rotate, revolve, or turn.

11. 3D -Three-dimensional, Descriptive of a region of space that has width, height and
depth.

126
Suggested Reading
Books

1. Character Animation: 2D Skills for Better 3D by Steve Roberts

2. Character Animation Fundamentals: Developing Skills for 2D and 3D Character
by Steve Roberts
3. Producing Independent 2D Character Animation: Making & Selling A Short Film
by Mark A. Simon
4. Creating 2D Animation with the Adobe Creative Suite by DebraKeller
5. The animator’s guide to 2d computer animation by HedleyGriffin
6. All About Techniques in Drawing for Animation Production(All About Technique
Series)by Sergi Camara
7. Cinematography: Theory and Practice: Image Making for Cinematographers and Di-
rectors,by Blain Brown
8. Painting With Light, by John Alton
9. Cinematography by Peter Ettedgui
10. Digital Cinematography by Paul Wheeler
11. First Steps Drawing in Pen & Ink by Claudia Nice
12. Pen and Ink Drawing by Frank Hoar
13. Ink drawing techniques by Henry Clarence Pitz
14. Cel Aesthetics: A Method for the Analysis of Animated Cartoons by Jef frey Neal
Lunsford.
15. Cel Animation: Small Production Unit Concept by John Roger Bolton
16. Digital Character Animation by George Maestri
17. Basics Animation 02: Digital Animation by Andrew Chong, And rew Mc Namara
18. Animation from Pencils to Pixels: Classical Techniques for the Digital Animator by
Tony White
19. Secrets of Digital Animation by Steven Withrow
20. The Art of Stop-Motion Animation by Priebe
21. Stop Motion: Passion, Process and Performance by Barry Purves
22. Basics Animation 04: Stop-motion by Barry Purves
23. Stop Motion: Craft Skills for Model Animation by Susannah Shaw
24. The Animation Book: A Complete Guide to Animated Film making--from Flip-books
to Sound Cartoons to 3-D Animation by Kit Lay bourne
25. Cutout Animation by Frederic P. Miller, Agnes F. Vandome, Mc Brewster John
26. Rotoscoping by BenjaminBratt
27. Foundation Flash Cartoon Animation by Barry Kelly
28. Macromedia Flash Animation and Cartooning: A Creative Guide by IbisFernandez
Websites
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NOTE :...........................................
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1. http://www.digitaltutors.com/subject/2d-animation-tutorials
2. http://webneel.com/2d-animation-best
3.http://www.lynda.com/Flash-Professional-tutorials/2D-Animation-Princples/
158769-2.html
4. http://en.wikipedia.org/wiki/Traditional_animation
5. http://animate-it.com/get-animating/how-to-create-a-hand-drawn-animated-movie/
6. http://en.wikipedia.org/wiki/Cinemagraph
7. http://www.tripwiremagazine.com/2011/07/cinema graphs.html
8. http://giphy.com/search/cinemagraph

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 Roy choudhury, BJ 10, Sector 2, Near Tank No 7, Salt Lake City,
Kolkata-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,
Kolkata-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 Division, PSSCIVE, NCERT,
Shyamla Hills, Bhopal – 462013
3. Dr. Asmita Khajanchee, Associate Professor,Dept. of Electronic Media, National In
stitute of Technical Teachers’ Training & Research, Shamla Hills, Bhopal - 462 002(M.P.)
4. Shri Akhilesh Rajput, Director, Maya Academy of Advance Cinematic (MAAC)
Center,Bhopal

128
SESSION SIX
PRE-PRODUCTION
AND STORYBOARDING

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, West Bengal

129
NOTES

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