THE E VO LUTION OF

A N I M AT I O N A N D
VISUAL EFFECTS: A
JOURNEY THROUGH
HISTORY
INTRODUCTION
Animation is the process of
creating the illusion of
motion by assembling a
sequence of still images.
These sequences are
slightly different from
each other so that when
played in rapid succession
they create motion based
on the principle of
persistence of vision.
 PERSISTENCE OF
VISION
It is the core principle
behind animation.
The persistence of vision is the
phenomena of human eye to keep
an impression of an object for
1/ 16th of
a second even after it is removed.
If we see another object before this
time the impression of the two
merge to give us a sense of
continuity.
It was discovered by Peter
Mark Roget in the 1800s.
 PHI
PH E N O M E N O N
The term phi phenomenon
is used in a narrow sense
for an apparent motion
that is observed if two
nearby optical stimuli are
presented in alternation
with a relatively high
frequency.
 C A M E R A OBSCURA
(1604)
The camera obscura, Latin for “dark chamber,” is an
early optical device that dates back to ancient
times. It is essentially a dark room or box with a
small hole on one side.
Light entering through the small hole projects an
inverted image of the external scene onto the
opposite wall or surface inside the dark chamber. This
occurs due to the basic principles of optics.
The camera obscura was used by artists to trace and
study scenes, aiding in realistic representation. It
also
played a role in scientific observations, contributing to
the understanding of light and optics.
The camera obscura is considered a precursor to
the invention of photography. The concept of
capturing
an image through a small aperture laid the
foundation for the development of photographic
 MAGIC LANTERN
The magic lantern is an early optical device
used for projecting images, dating back to the
17th century.
It typically consists of a light source, a lens
system, and slides with hand-painted or
photographic
images. The light passes through the slide,
projecting the image onto a screen or wall.
The magic lantern was widely used for both
educational and entertainment purposes. It
became a popular tool for lectures,
storytelling,
and visual presentations before the invention of
cinema.
The magic lantern is considered a precursor to
modern cinematic projection technology. Its use in
public entertainment venues laid the groundwork
for the later development of motion pictures.
 THAU M ATRO PE
(1825)
The thaumatrope, a simple optical toy, was
invented in 1825 by John Ayrton Paris.
It consists of a small disc or card with
d i f f erent images on each side and strings
attached to its edges. When spun quickly,
the images blend, creating the illusion of a
single image.
The thaumatrope relies on the concept of
persistence of vision, where our eyes retain
an image for a brief moment after it
disappears. This phenomenon allows the
separate images on the thaumatrope to
merge.
 PHENAKISTOSCOPE
(1832)
The phenakistoscope was invented in 1832 by
Joseph Plateau and Simon Stampfer independently.
It consists of a rotating disc with evenly spaced slots
around the edge. Sequence images are placed on
one side of the disc, and a series of mirrors or
stationary slits allow the viewer to observe a rapid
succession of images when the disc spins.
Similar to the thaumatrope, the
phenakistoscope relies on persistence of vision.
As the viewer looks through the slots while the
disc spins, the brain blends the images, creating
the illusion of motion.
 ZOETROPE
(1834)
The zoetrope was invented in 1834 by
William George Horner.
Unlike its predecessors, the zoetrope uses a
cylindrical drum with vertical slits evenly
spaced around its circumference. Illustrated
images are placed inside the drum.
When the drum spins and the viewer peers
through the slits, the sequence of images
appears to come to life due to the persistence
of vision.
The speed of rotation determines the
smoothness of the animation.
It became a popular entertainment device in
the 19th century.
 PRAX IN O S C O PE
(1877)
The praxinoscope was invented in 1877 by
Charles- Émile Reynaud, a French inventor.
The praxinoscope used a series of mirrors arranged
in a circle inside a drum, allowing for a more
refined and brighter animation.
Unlike the zoetrope, the praxinoscope had multiple
mirrors placed in the center of the drum, reflecting a
clearer and brighter image. This design
improvement enhanced the visual quality of the
animated sequences.
Reynaud extended the praxinoscope concept to
create the Théâtre Optique, a device capable of
projecting colorful animated scenes. This marked a
significant step toward the development of early
motion pictures.
 KIN EO G RAPH
(1868)
• The kineograph, also known as the flip book, was first
conceptualized by John Barnes Linnett in 1868.

• The kineograph consists of a series of images printed or drawn

on individual pages, bound together to form a booklet. Each
page displays a slightly different image, creating the illusion of
motion when the pages are flipped rapidly.

• One of the key features of the kineograph is its portability.

These flip books were small and lightweight, making them
easy to carry and share as entertainment or educational tools.

• Kineographs featured various themes, including comedic

sketches, scenes from nature, and simple animations. They
were commonly used for amusement and early animation
experimentation before the advent of motion pictures.
 KIN ETO GRAPH
(1891)
The Kinetograph, a motion picture camera, was
also invented by Thomas Edison and William
Kennedy Laurie Dickson in 1891.
The Kinetograph featured a hand-cranked
mechanism, allowing for the recording of short
motion picture sequences on a strip of flexible film.
The Kinetograph was used to capture short films,
known as “kinetoscopes,” which were exhibited in
peep show machines. These early films often
depicted everyday scenes, performances, or simple
narratives. The Kinetograph played a pivotal role in
the history of filmmaking, marking a shift from
animation devices to the creation of true moving
pictures. It contributed to the foundation of the
cinematic industry.
 DAGUERRE O TYPE
(1839)
The daguerreotype was invented by Louis
Daguerre in 1839. It marked one of the earliest and
most popular photographic processes in the 19th
century. The process involved exposing a silver-
plated copper sheet to light, creating a direct
positive image. The image appeared on a reflective
surface, giving it a unique and almost mirror-like
quality.
Daguerreotypes gained widespread popularity due
to their sharpness and clarity. However, the process
was time-consuming and required careful handling,
making it more suitable for portraits and still life
rather than action or motion.
Its legacy can be seen in the evolution of
photographic techniques and processes over the
years.
C H R ON OP H OTOG R A P H Y
(1872)
Chronophotography was developed by French
scientist and inventor Étienne-Jules Marey in
1872.
Marey’s chronophotographic technique involved
capturing multiple images of a moving subject
on a single photographic plate. This allowed for
the analysis of motion over time.
Initially designed for scientific purposes,
chronophotography was used to study and
analyze various forms of movement, including
human and animal locomotion, flight of birds,
and other dynamic processes.
Marey’s experiments with capturing motion laid
the groundwork for motion picture technology
and the study of kinetics.
 Z O O PRAXISC O PE
(1879)
The zoopraxiscope was invented by Eadweard
Muybridge in 1879.
It used a series of still photographs on glass discs.
These images, when projected in rapid
succession, created the illusion of motion.
Muybridge’s primary use of the zoopraxiscope
was to
illustrate motion through sequences of images. His
famous studies included capturing the movement of
animals and humans, providing valuable insights into
locomotion.
The zoopraxiscope is considered a crucial link
between
still photography and the development of cinema, as it
demonstrated the potential for using sequential
 ZOOGUN
(1882)
Eadweard Muybridge developed the photographic gun,
also known as the Zoogun, in 1882. It was a device
with multiple cameras arranged to capture a
sequence of images in rapid succession.
Muybridge used the photographic gun to conduct motion
studies, particularly focusing on capturing the
movement of animals and humans. His experiments
aimed to settle a bet about whether all four hooves of a
horse leave the ground simultaneously during a gallop.
The Zoogun featured a series of cameras triggered by
tripwires, capturing a sequence of images in a fraction of
a second. This high-speed photography allowed
Muybridge to break down complex movements into
individual frames.
His experiments, including the famous horse gallop
series, contributed to the early evolution of
cinema.
 KIN ETO SC O PE
(1891)
The Kinetoscope was invented by Thomas Edison and his
assistant, William Kennedy Laurie Dickson, in 1891.
The Kinetoscope was a peep-show device designed for
individual viewing. It featured a series of short films on a
continuous loop, allowing viewers to watch moving images
by looking through a peephole.
The Kinetoscope marked the commercialization of moving
pictures, providing audiences with an early cinematic
experience. It played a crucial role in the transition from
simple motion picture devices to the establishment of the
film industry.
Edison’s Kinetoscope parlors became popular attractions,
showcasing short films that captured scenes of everyday life,
performances, and narratives. It contributed to the cultural
shift towards visual entertainment.
 MUTOSCOPE
(1895)
The Mutoscope was invented by W.K.L. Dickson, one
of Thomas Edison’s associates, in 1895.
Unlike the Kinetoscope, the Mutoscope used a flip card
mechanism. It featured a series of still images printed
on
cards attached to a rotating drum. When the
viewer turned the crank, it created the illusion of
continuous
motion.
The Mutoscope was often placed in public spaces, such
as amusement parks and arcades, o ering a form of
entertainment to the general public. It became a
popular attraction during the late 19th and early 20th
centuries.
Mutoscope films covered a wide range of subjects,
including comedy sketches, dance routines, and
 KINORA
(1895)
The Kinora was invented by George Washington
Wilson and Alfred Wrench in 1895.
The Kinora was a hand-cranked viewer featuring a
reel of stereoscopic (3D) images. When the
viewer turned the crank, the images appeared to
move, creating a short animation-like sequence.
The Kinora utilized the stereoscopic e ect by
presenting slightly di erent images to each eye.
This created a three-dimensional illusion, enhancing
the viewing experience.
Unlike earlier motion picture devices, the Kinora
was
designed for home entertainment. It became a
popular choice for families to enjoy short animated
sequences in the comfort of their homes.
 CIN E M ATO G RAPHE
(1895)
The Cinématographe was invented by Auguste and
Louis Lumière in 1895.
The Cinématographe was a groundbreaking invention
as it combined the functions of a camera, a film
developer, and a projector in a single device. This
allowed for both the recording and exhibition of motion
pictures.
The Lumière brothers held the first public screening of
films using the Cinématographe on December 28, 1895,
in Paris. This event is often considered the birth of
cinema.
The Cinématographe facilitated the creation of short
films, capturing scenes of everyday life, documentary
subjects, and early narratives. It played a pivotal role
in the rapid growth of the film industry.
 JAMES STUART
BLACKTON
James Stuart Blackton was an British-American
film producer and director born on January 5, 1875,
and passed away on August 13, 1941.
Blackton, along with Albert E. Smith, co-founded the
Vitagraph Company of America in 1897. Vitagraph
became one of the leading film studios of its
time. Blackton is credited with creating one of
the first animated films titled “The Enchanted
Drawing” in 1900. He used stop-motion
techniques to bring drawings to life on a
chalkboard.
Blackton’s innovative work laid the foundation for
animation as a storytelling medium. His
contributions to the early development of
animation set the stage for the evolution of the
animated film industry.
 EMILE COHL
Émile Cohl was a French artist and animator, born
on January 4, 1857, and passed away on
January 20, 1938.
Cohl is recognized for pioneering animation
techniques and creating some of the earliest
animated films. His groundbreaking work includes
“Fantasmagorie” (1908), considered one of the
first animated cartoons.
Cohl’s animation style was characterized by
surreal and experimental elements. He often used
hand-drawn animation to create whimsical and
imaginative narratives, setting the stage for
future animators.
 W I N S O R MCCAY
Winsor McCay was an American cartoonist,
animator, and comics artist, born on September 26,
1867, and passed away on J uly 26, 1934.
McCay gained fame as a highly influential
cartoonist, creating popular comic strips like “Little
Nemo in Slumberland” and “Dream of the Rarebit
Fiend” in the early 20th century.
McCay is celebrated for creating one of the earliest
animated characters, Gertie the Dinosaur, in 1914.
The
film showcased his mastery of animation and
storytelling techniques. McCay performed live acts
with Gertie, interacting with the animated dinosaur
on
stage. These performances were groundbreaking
and showcased the potential for animation in
entertainment.
 CEL ANIMATION
(EARLY 1900s)
Cel animation, short for celluloid animation, was introduced
in the early 20th century. The process gained prominence
in the animation industry during the 1910s and 1920s.
Cel animation involves creating individual transparent
celluloid sheets (cels) for each frame of animation. Artists
paint or draw characters and objects on these cels,
allowing for layering and movement.
Cel animation brought e c i e n c y to the animation
production process. It allowed animators to reuse
background elements across frames while animating
specific characters or objects, leading to smoother
and more cost-e ective production.
Cel animation played a crucial role in the Golden Age
of
Animation during the mid-20th century, contributing to the
creation of classic animated films by studios like Disney,
 KEYFRAME

A N I M ATION
Keyframe animation is a technique where animators create
keyframes representing critical moments in the animation.
These keyframes serve as the foundation for defining the
motion and appearance of objects or characters.
In keyframe animation, artists create significant frames,
known as keyframes, and software generates in-between
frames to smoothly transition between them. This method
helps streamline the animation process.
Keyframe animation provides animators with precise control
over the movement, timing, and positioning of elements in a
scene. By strategically placing keyframes, animators can
achieve realistic and expressive motion.
Keyframe animation became particularly influential with the
rise of digital animation tools. Software like Adobe After
E ects, Autodesk Maya, and others allow animators to
e ciently work with keyframes, revolutionizing the animation
industry.
 JOHN R A N D O L P H
BRAY
J ohn Randolph Bray was an American animator and
producer, born on August 25, 1879, and passed away
on October 10, 1978.
Bray was the founder of Bray Studios, one of the
earliest animation studios in the United States. The
studio played a significant role in the development of
the animation industry.
Bray is known for producing the “Colonel Heeza Liar”
series, featuring a comical character known for his
tall tales. This series was among the first recurring
characters in animation.
Bray is often credited with introducing innovative
production techniques, including the use of assembly-line
methods for animation. This approach helped increase
e ciency in the animation production process.
 THE POWER OF IMAGINATION
In conclusion, the journey of animation and visual effects reflects
the enduring power of imagination to transport audiences to
new worlds, evoke emotions, and inspire creativity across
generations.
TH A N KS
!