Tag Archive: 3D animation


 12 Principles of Animation

 

Applied to 3D Animation

In the early 1930s, Walt Disney and company sat down to codify the hand-drawn animation process that had been informally evolving at Walt Disney studios. What emerged became known as the “12 Principles of Animation,” and set the standard for hand-drawn animation.

At Saturday morning’s “The 12 Principles of Animation applied to 3D Animation,” Isaac Kerlow, Director of Digital Production at the Walt Disney Company, argued that the principles need to be adapted for the modern day. Using visual examples from well-known animated films, Kerlow reinterpreted the twelve principles as they would apply to 3D animation, and added a few new ones of his own.

The purpose of adapting the principles, Kerlow said, is to guide the development of 3D animation, a relatively new art form. Computer animation is very complex, and a well-understood framework can help artists and producers weave together the many separate aspects of character and scene creation, into an animated tapestry that will truly captivate an audience.

For each of the following twelve principles, Kerlow defined the intention of the principle, presented a visual example to back it up, and suggested a modern equivalent that would apply to character artists working in 3D.

 

1. Squash and Stretch

 

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 Original idea: In traditional animation, characters movements (particularly facial movements) had a very high degree of exaggerated, non-rigid deformation. (Imagine any Disney character whose face contorts wildly during a sneeze or a scream.)

Modern equivalent: The principle still holds in the 3D era, especially for cartoon-like animations. (Anime tends toward exaggerated subtlety.) Squashing and stretching happen within animation packages, using dynamics weighting or unusual IK systems.

 

 2. Anticipation

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Original idea: Anticipation is the technique by which the audience’s eyes are drawn to where action will occur on-screen (e.g. a cartoon that begins making running motions before actually going anywhere). Anticipation announces the coming surprise and is a very useful technique for guiding expectation. (Again, Disney animation tends toward heavy anticipation, whereas in anime we see very little — given anime a more etheric, fantastic feel.)

Modern equivalent: Anticipation can be created by the skillful use of motion curves, expanding or contracting pieces of animation to create the anticipatory effect.

 

 

 

3. Staging

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Original idea: Staging refers to the way in which character motion and camera movements are set up to convey the mood and intent of a scene. (Example: in Toy Story, Buzz Light year’s arrival in the bedroom is shown with a close-up that begins at his feet and pans dramatically upward to his helmet.)

Modern equivalent: In 3D, staging can be expanded to include more detail, hide points of interest, set up for chain reactions, and so on. Staging is also useful in animistic, which establish a scene’s core movements before primary animation gets underway. Contemporary moving image techniques, such as 3-axis camera moves, slow motion, “bullet time,” and so on, also add to 3D staging abilities.

 

4. Straight Ahead  or Pose-to-Pose

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Original idea: In traditional animation, character actions were either drawn from beginning to end, creating an unpredictable look and feel, or they were broken down into a more predictable set of key poses.

Modern equivalent: In 3D animation, straight ahead animation corresponds to procedural animation techniques (e.g. motion capture and 3D rotoscoping); pose-to-pose would correspond to key frame animation. Modern artists can take advantage of layers or channels to intelligently mix both types of motion, or use non-linear motion curve editing to edit different aspects of a single character’s motion.

 

5. Follow-Through and Overlapping

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 Original idea: Follow-through refers to the reactive animation that occurs after an action is completed, telling the audience how the character feels about that action. (Think of Donald Duck throwing a football, watching it for a moment, and then lowering his arm in disappointment.) Overlapping refers to the additional motions that overlap the main motion of a given character.

Modern equivalent: Follow-through can be done with dynamic simulation and scripts – especially for cloth and hair. Overlapping is achieved by using layers and channels to blend different types of motion into a sequence.

 

6. Slow-in and Slow-out

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 Original idea: If you look closely at movies animated in the Disney style, you’ll see that characters’ motions tend to be quicker in the middle of an action than at the beginning and end. This slowing of the intro and extra sections of a movement creates a “snappy” effect.

Modern equivalent: Fine-tuning animations using time-editing tools, such as dope sheets, curves, and timelines. Motion capture performers can also be directed to do slow-ins and slow-outs.

 

7. Arcs

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Original idea: Organic characters almost always move in motion arcs, as opposed to straight lines. Straight line motions make a character look sinister, robotic, or restricted in some way. (In The Iron Giant, the giant begins the movie with linear movements, and adopts arc-based motion as he becomes “more human” later on.)

Modern equivalent: In 3D packages, motion can easily be constrained to arcs. Motion capture performances can also be fine-tuned using arc editors.

 

8. Secondary Action

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 Original idea: These are small complementary motions that occur in a scene.

Modern equivalent: Using layers and channels to build up different aspects of secondary motion. Collision detection is another useful tool for generating secondary actions.

 

 

 

9. Timing

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Original idea: Timing refers to the precise moment at which a given character motion occurs, and how long it continues for. (Humor is often created through the use of clever timing juxtapositions.)

Modern equivalent: In 3D animation, timing can be refined using the time-editing tools, and frames can be easily added or removed to make the timing work. Using different animation tracks for different character (and sub-tracks for parts of characters) also helps create precise timing.

 

10. Exaggeration

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Original idea: The essence of an action is often enhanced by the exaggeration of a given motion – especially for cartoon-style animation. (Eyes bugging out, jaws dropping, etc.)Modern equivalent: In 3D, this can be done at the performance level, using procedural techniques, and can also be worked into cinematography and editing.

 

11. Solid Drawing

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 Original idea: Originally, this principle referred to using appropriate weight, depth and balance to give drawings the desired look.

Modern equivalent: Kerlow suggested renaming this principle “Solid Modeling and Rigging,” since the same principles now apply to the optimization of models and IK skeletons to create specific “animation personalities” for different characters.

 

 

 

 

12. Characters’ Appeal

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 Original idea: The last of the twelve principles suggests that characters be well-developed, with interesting and distinct personalities.

Modern equivalent: In 3D animation, character complexity and consistency can be dramatically increased – and built in to a character’s design – so that appeal is not being recreated from scratch with every set of drawings. Kerlow pointed out that in gaming, walk and run cycles are especially important aspects of a character’s appeal. He showed a clip from Kingdom Hearts in which Sora, Donald, and Goofy are walking side by side, each with their own distinct style.

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Computer Animation

Computer Animation

The most obvious difference between the two genres of animation is of course the three dimensional characteristics or the appearance of depth. While 2D animation is a flat animation and all the actions happen in the x-y axes, 3D animation includes an extra dimension and that is the z axis.

 

The working method for creating 2d cartoon characters and 3d animated figures are entirely different. While in 2D animation the process of cartoon character creating involves sketching the character from different sides with the help of onion skin tools. Creating a 3d model requires digital modeling and is more similar to sculpting a character than drawing one. An animator working in 3d dimensional environment constantly has to be aware of how his/her changes to the model side view affect the front view or any other view for that matter. Creating a perfect looking model is a difficult task since all the different views have to be taken into the consideration. Creating a 3d model is often based on a pre-made two dimensional sketches of the character from different views. After the model is created a material has to be assigned to it and the model has to be textured properly.

 

Although the process of character creating for 3D animation is usually taking more time than 2D character creation, the process of creating the animation itself can be considered easier by many animators. In 2d animation the animation is created by drawing almost every frame of the animated movie. In 3D , the animation is created by changing the poses and the placement of already created 3d models. The created scene can be viewed from different angles and by that it is easier and faster to create an illusion of change in the environment.

 

2D Animation

 

In case of 2D animation, pictures are created and/or edited on the paper or computer screen in a two-dimensional environment such as cel animation or in computerized animation software.2d The two dimensional (2D) animation software gives movement and action to static images. These figures are created and edited using 2D bitmap graphics or by using 2D vector graphics including automated computerized versions of conventional animation techniques like tweening, morphing, onion skinning, blurring, cell animation, path animation and interpolated rotoscoping. Three dimensional representations of geometric data is stored in the computer to enable calculations and deliver 2D images.

2D animations such as Analog Computer Animation, Macromedia Flash, and PowerPoint etc. can be produced using software tools. To give an element of motion to the object, a digital framework process called rigging is applied. The process of 2D Animation involves complete story boarding including each shot of the animation, background design, character design, cell animation, perfect voice synching and flow of the animation including the background music. Every shot in a 2D animation involves multiple single drawings of
characters.
3D animations
For 3D animations,objects (models) are built on the computer monitor (modeled) and 3D figures are rigged with a virtual skeleton.3d
For 2D figure animations, separate objects (illustrations) and separate transparent layers are used, with or without a virtual skeleton. Then the limbs, eyes, mouth, clothes, etc. of the figure are moved by the animator on key frames. The differences in appearance between key frames are automatically calculated by the computer in a process known as tweening or morphing. Finally, the animation is rendered.
For 3D animations, all frames must be rendered 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 rendered 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 animations transmitted via the internet (e.g. 2D Flash, X3D) often use software on the end-users computer to render in real time as an alternative to streaming or pre-loaded high bandwidth animations.

Techniques

Traditional animation

1Traditional animation (also called cel animation or hand-drawn animation) was the process used for most animated films of the 20th century. The individual frames of a traditionally animated film are photographs of drawings, which are first drawn on paper. To create the illusion of movement, each drawing differs slightly from the one before it. The animators’ drawings are traced or photocopied onto transparent acetate sheets called cels, which are filled in with paints in assigned colors or tones on the side opposite the line drawings. The completed character cels are photographed one-by-one onto motion picture film against a painted background by a rostrum camera.

The traditional cel animation process became 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 colour the drawings and simulate camera movement and effects. The final animated piece is output to one of several delivery media, including traditional 35 mm film and newer media such as digital video. The “look” of traditional cel animation is still preserved, and the character animators’ work has remained essentially the same over the past 70 years. Some animation producers have used the term “tradigital” to describe cel animation which makes extensive use of computer technology.

Examples of traditionally animated feature films include  Pinocchio  (United States, 1940),  Animal Farm  (United Kingdom, 1954), and Akira (Japan, 1988). Traditional animated films which were produced with the aid of computer technology include The Lion King (US, 1994) Sen to Chihiro no Kamikakushi (Spirited Away) (Japan, 2001), and Les Triplettes de Belleville (France, 2003).

Full animation refers to the process of producing high-quality traditionally animated films, which regularly use detailed drawings and plausible movement. Fully animated films can be done in a variety of styles, from more realistically animated works such as those produced by the Walt Disney studio (Beauty and the Beast, Aladdin, Lion King) to the more ‘cartoony’ styles of those produced by the Warner Bros. animation studio. Many of the Disney animated features are examples of full animation, as are non-Disney works such as The Secret of NIMH (US, 1982), The Iron Giant (US, 1999), and Nocturna (Spain, 2007).

• Limited animation involves the use of less detailed and/or more stylized drawings and methods of movement. Pioneered by the artists at the American studio United Productions of America, limited animation can be used as a method of stylized artistic expression, as in Gerald McBoing Boing (US, 1951), Yellow Submarine (UK, 1968), and much of the anime produced in Japan. Its primary use, however, has been in producing cost-effective animated content for media such as television (the work of Hanna-Barbera, Filmation, and other TV animation studios) and later the Internet (web cartoons).

Rotoscoping is a technique, patented by Max Fleischer in 1917, where animators trace live-action movement, frame by frame. The source film can be directly copied from actors’ outlines into animated drawings, as in The Lord of the Rings (US, 1978), or used in a stylized and expressive manner, as in Waking Life (US, 2001) and A Scanner Darkly (US, 2006). Some other examples are: Fire and Ice (USA, 1983) and Heavy Metal (1981).

Live-action/animation is a technique, when combining hand-drawn characters into live action shots. One of the earlier uses of it was Koko the Clown when Koko was drawn over live action footage. Other examples would include Who Framed Roger Rabbit (USA, 1988), Space Jam (USA, 1996) and Osmosis Jones (USA, 2002).

 

Stop motion

imagesA stop-motion animation of a moving coin Stop-motion animation is used to describe animation created by physically manipulating real-world objects and photographing them one frame of film at a time to create the illusion of movement. There are many different types of stop-motion animation, usually named after the medium used to create the animation. Computer software is widely available to create this type of animation.

Puppet animation typically involves stop-motion puppet figures interacting with each other in a constructed environment, in contrast to the real-world interaction in model animation. The puppets generally have an armature inside of them to keep them still and steady as well as constraining them to move at particular joints. Examples include The Tale of the Fox (France, 1937), The Nightmare before Christmas (US, 1993), Corpse Bride (US, 2005), Coraline (US, 2009), the films of Jiří Trnka and the TV series Robot Chicken (US, 2005–present).

Puppetoon, created using techniques developed by George Pal, are puppet-animated films which typically use a different version of a puppet for different frames, rather than simply manipulating one existing puppet.

Clay animation, or Plasticine animation often abbreviated as claymation, uses figures made of clay or a similar malleable material to create stop-motion animation. The figures may have an armature or wire frame inside of them, similar to the related puppet animation (below), that can be manipulated to pose the figures. Alternatively, the figures may be made entirely of clay, such as in the films of Bruce Bickford, where clay creatures morph into a variety of different shapes. Examples of clay-animated works include The Gumby Show (US, 1957–1967) Morph shorts (UK, 1977–2000), Wallace and Gromit shorts (UK, as of 1989), Jan Švankmajer’s Dimensions of Dialogue (Czechoslovakia, 1982), The Trap Door (UK, 1984). Films include Wallace & Gromit: The Curse of the Were-Rabbit, Chicken Run and The Adventures of Mark Twain.

• Cutout animation is a type of stop-motion animation produced by moving 2-dimensional pieces of material such as paper or cloth. Examples include Terry Gilliam’s animated sequences from Monty Python’s Flying Circus (UK, 1969–1974); Fantastic Planet (France/Czechoslovakia, 1973) ; Tale of Tales (Russia, 1979), The pilot episode of the TV series (and sometimes in episodes) of South Park (US, 1997). A clay animation scene from a Finnish television commercial

Silhouette animation is a variant of cutout animation in which the characters are backlit and only visible as silhouettes. Examples include The Adventures of Prince Achmed (Weimar Republic, 1926) and Princes et princesses (France, 2000).

Model animation refers to stop-motion animation created to interact with and exist as a part of a live-action world. Intercutting, matte effects, and split screens are often employed to blend stop-motion characters or objects with live actors and settings. Examples include the work of Ray Harryhausen, as seen in films such Jason and the Argonauts (1963), and the work of Willis O’Brien on films such as King Kong (1933 film).

Go motion is a variant of model animation which uses various techniques to create motion blur between frames of film, which is not present in traditional stop-motion. The technique was invented by Industrial Light & Magic and Phil Tippett to create special effects scenes for the film The Empire Strikes Back (1980). Another example is the dragon named Vermithrax from Dragonslayer (1981 film).

Object animation refers to the use of regular inanimate objects in stop-motion animation, as opposed to specially created items.

Graphic animation uses non-drawn flat visual graphic material (photographs, newspaper clippings, magazines, etc.) which are sometimes manipulated frame-by-frame to create movement. At other times, the graphics remain stationary, while the stop-motion camera is moved to create on-screen action.

• Brickfilm A sub genre of object animation 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 YouTube, and the availability of cheap cameras, and animation software.

Pixilation involves the use of live humans as stop motion characters. This allows for a number of surreal effects, including disappearances and reappearances, allowing people to appear to slide across the ground, and other such effects. Examples of pixilation include The Secret Adventures of Tom Thumb and Angry Kid shorts.

 

Computer animation

2A short gif animation of Earth Computer animation encompasses a variety of techniques, the unifying factor being that the animation is created digitally on a computer. This animation takes less time than previous traditional animation.

2D animation

2D animation figures are created and/or edited on the computer using 2D bitmap graphics or created and edited using 2Dvector graphics. This includes automated computerized versions of traditional animation techniques such as of, interpolated morphing, onion skinning and interpolated rotoscoping.

2D animation has many applications, including analog computer animation; Flash animation and PowerPoint animation.Cinemagraphs are still photographs in the form of an animated GIF file of which part is animated.

 

3D animation

3D animation is digitally modeled and manipulated by an animator. To manipulate a mesh, it is given a digital skeletal structure that can be used to control the mesh. This process is called rigging. Various other techniques can be applied, such as mathematical functions (ex. gravity, particle simulations), simulated fur or hair, effects such as fire and water and the use of motion capture to name but a few, these techniques fall under the category of 3D dynamics. Well-made 3D animations can be difficult to distinguish from live action and are commonly used as visual effects for recent movies. Toy Story (1995, USA) is the first feature-length film to be created and rendered entirely using 3D graphics.