Use of Animation In : Use of Animation In ADVERTISEMENT Presentation Points : Presentation Points Introduction. What is animation?

History of animation Early ,Traditional and future animation What is advertisement? Use of advertisement. Role of animations in advertisement. Introduction : Introduction The use of animation in advertising is not a new technique, but new technology and marketing trends have affected the way it is used to sell products. In this sense, animation has been regarded for some time as the "retarded brother" of advertising. What is animation? : What is animation? Animation is a graphic representation of drawings to show movement within those drawings. Make objects change over timeaccording to scripted actions It is a medium which helps us to understand things in a different way. : Early animations, which started appearing before 1910, consisted of simple drawings photographed one at a time. Walt Disney took animation to a new level. He was the first animator to add sound to his movie cartoons with the premiere of Steamboat Willie in 1928. In 1937, he produced the first full length animated feature film, Snow White and the Seven Dwarfs. Slide 7: With the introduction of computers, animation took on a whole new meaning. A film like Star Wars by George Lucas would rely heavily on computer animation for many of its special effects. Toy Story, produced by Walt Disney Productions and Pixar Animation Studios, became the first full length feature film animated entirely on computers when it was released in 1995. With the advent of personal computers, it has now become possible for the average person to create animations. Early animations : Early animations In the Beginning... In Early time human studied the dynamic motion of animal this way. Walt Disney early animation : Walt Disney early animation released November 18, 1928 Disney created the first cartoon synchronized with sound entitled 'Steamboat Willie Early animation in real movie : Early animation in real movie Early real animation: creating each frame of a real scene by hand = stop motion animation. Example: King Kong (1933), hybrid of animatronics and stop motion animation. Traditional Animation : Traditional Animation Traditional animation use squash and stretch techniques. These animations can change the object size while it will be hit by something to give the feeling that they some mass. For e.g. see the balls and dog pictures changes its size while an action can be done. : The Future of Animation 3d Animation Toy Story - released November 22, 1995 Toy Story is considered to be a first animated feature ever generated completely on computers. Disney and Pixar partnered up to create this film. What is Advertisement? : What is Advertisement? Anything that calls attention to a product or service Ex: -TV commercial Newspaper/magazine ad Poster Clothing Cigarette lighter, . This can actually lead to an increase in the price elasticity of brands Use of Advertisement : Use of Advertisement Advertising can build the strength of a brand. Advertising exists to help to sell things. It is mainly about brands It is mainly designed to create and strengthen consumer impressions of the brand

Role of animations in advertisement : Role of animations in advertisement Animated things can give a feeling of reality and aliveness. With this can come appeal and desirability Animation will often be able to help in explaining products factually and seriously. There will be thousands more instances where animation can be useful in advertising. No other medium elevates a product's perceived qualities in quite the way animation can. : The effect of commercial animations in advertisements upon the viewing public has been so successful Perhaps no other medium can match 3D animation to show a quick visual summary of even the most complex product idea. when much of the appeal of a product is its appearance, animation adds major value to that. What today's need in communication to get to the point quickly. Animation does exactly that. : Although Animation in advertising is an accepted part of every day life, there is still great debate as to how Animation in advertising works and the role it can and should perform within the marketing communication mix. Animation can give the effect in advertisement so that advertisement should be able to attract more peoples. Combined with slick video editing and photography, animation can be used to enhance the appearance of any product. Summaries Overview : Summaries Overview In this presentation we conclude about the animation. We also discuss about the history of animation(1928 Mickey Mouse Steamboat Willie ) Then, the future animation(3D) We discuss about the advertisement Need of advertisement and, Last we all discuss about the various role of animation in advertisement

One of the most popular forms of animation that we see day in and day out is animation used in advertising.We are constantly exposed to animation and we dont even necessarilyt notice it, but animation plays a key role in advertising. One of the most world famous examples of this is the Geico gecko. This little green creature has made us all laugh or smile at some point. The reason he seems to be more entertaining most of the time compared to his human counterparts in Geico commercials is because of the emotion that the animators are able to portray through body action and facial expressions.

Women contribute the aww factor when it comes to the gecko. They look at him as cute and adorable which he can be a lot of the time, but he can also be a very sarcastic little creature at the same time thereby appealing to the male demographic.

In the above picture we can see a good example of the body language that the animators incorparate into the geckos body motions so that he may get his attitude and opinion across. My second example of animation in advertising is the famous Coca Cola bear.

Yet another world famous advertising symbol the coca cola bear has been around for generations. It is a symbol of coke that old and young can recognize and relate to. The idea of an ice cold Coke is portrayed through this famous polar bear. The above commercial is a more modernized version compared to the ones that used to be plastered all over but it has changed due to the development of computer animation. Advertisers use these bears not only to hope to encourage a sense of nostalgia because of how long they have been around but also to encourage the desire for an ice cold coke so cold that POLAR BEARS think its cold. The above Charmin commercial is my last example of animation in advertising. The Charmin bears have been around for about a decade. These commercials portray a mama bear and baby bear. The mother runs around chasing her baby cub trying to help him go to the bathroom carrying a roll of Charmin. It reminds us all of when we were being potty trained and we ran around while our mothers chased us trying to help us learn to use the restroom. In this we find a way to relate we look at this scenario as cute which is a very clever twist on its practical use because in reality who really wants to talk straight up about toilet paper? So this is yet another clever way of using animation to create something pleasantly informative.

nimation, when used to advertise on television, provides the developers of the ad content as well as the producers of the product or service advertised with a significant amount of flexibility and cost savings. The visual aspects of an animation advertising campaign are under the complete control of animators, eliminating location constraints and the need to re-shoot. The costs of animation advertising are also predetermined, which allows a development team to operate without the possibility of unexpected errors or costs on a film set.

Other People Are Reading 1. Cost Savings

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Live action commercial advertising can create significant costs. Securing locations, renting equipment, paying actors, feeding actors and acquiring insurance can place a heavy expense burden on advertising firms. Animated TV advertising allows for a significant cost reduction because production is simplified. Animators require only their artists and voice artists to produce a professional commercial. You also eliminate the possibility of live action reshoots when you deal with animation, which lowers unexpected costs.

Elimation of Location Limitations

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Animated TV campaigns present the opportunity to set your advertising in any location or universe you see relevant to your advertising goals. Live action commercials and advertising are restricted to budgetary and scheduling conflicts that can limit on the original vision of the piece. Animation, whether traditional or computer-generated, does not compromise the original work while placing complete environmental control with the animator.

Production Time
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TV animation advertising allows for an expedient turnaround from initial creative conception to finished, rendered product. Live action advertising, in contrast, requires the initial production shoot before actual editing can begin. Animation is an immediate editing process, and, with the evolution of animation authoring software, it allows animators to create the "universe" of the advertising spot in an efficient manner.

Marketing With Computer Animation: 7 Reasons Why Your Company Should Use It
by Mike Efford
Computer animation in marketing and advertising is in a class by itself, as a communications medium. While it shares some characteristics of other visual mediums such as video, it has unique attributes that no other marketing medium can equal. Let's take a look at 7 reasons why your company should tap into the capabilities of this dynamic medium: 1. Quick visual summary: Perhaps no other medium can match 3D animation to show a quick visual summary of even the most complex product idea. It's the visual equivalent of a "sound bite". Ideal for packing the most information into the shortest T.V. air time. Infomercials are a perfect example. What about industrial marketing? In boardroom presentations to high - ranking executives 3D animation is scoring major points. "Big - picture" generalists like CEOs often have little patience with a slow build - up of detail and data. They demand of anyone who communicates with them to get to the point quickly. Animation does exactly that. 2. Dynamic, time - based medium: Like video and audio, animation communicates over a time line. It is a dynamic medium that uses motion to tell a story or make an impact in some way. This capacity clearly puts it ahead of print for demonstrating any product or system that either moves or evolves over time. For example, the parts of a complex truck suspension system rotate, shift and bend. Animation reveals these dynamics far better than print, which is static. 3.Easily grab attention: A startling or unusual sequence, a sudden move, the shimmer of computer generated special effects; all of these animation techniques grab attention effectively. And that's the number one prerequisite to communicating with your market. Remember the classic advertising formula? A.I.D.A. Attention, Interest, Desire, Action. 4.Show what cannot be photographed: This is truly where animation shines; there are no limits to what can be shown with computer animation! Hollywood is irrefutable evidence of this. 3D animation can fly through the solid steel of an automobile engine into the cylinders and pistons, do an extreme zoom from outer space down to an atomic nucleus in 3 seconds, anythingif you can imagine it, an animator can create it. (With enough budget, of course). For marketers this means you can demonstrate a product in ways that are way beyond what conventional photography can show. 5. Show what has not been built yet: Related to the above, massive engineering and architectural projects are sold long before construction begins. Computer animation techniques such as ray - tracing and radiosity contribute photographic realism to "walkthrough" animations, so the audience is made to feel like they are looking at a film of the

real thing. And with HD TV technology and huge flat panel displays, 3D animation can make the viewer feel like they are truly inside the space. 6. Position a company as technologically sophisticated: 3D animation can take an ordinary, mundane product and impart an intense "high - tech" look and feel to it. A Gillette razor becomes ultra - sleek like a jet plane in recent ads. Supporting graphic design elements as well as a touch of Hollywood special effects help make this work, but pace of movement, lighting and camera work contribute as well. No other medium elevates a product's perceived qualities in quite the way animation can. 7. Emphasize style and glamour: The cosmetics and auto industries are some of the most experienced practitioners of marketing with computer animation. They use it to create an aura of mystery and excitement (in the case of auto makers) or glamour and chic (cosmetics). In the TV advertising of auto makers, 3D computer models take the place of actual cars much more often than the public knows. Combined with slick video editing and photography, animation can be used to enhance the appearance of any product. And when much of the appeal of a product is its appearance, animation adds major value to the broadcast marketing of the above industries. Those are just a few of the many compelling reasons to use computer animation in your marketing. There's no other medium quite like it!

Advertising is the most fun you can have with your clothes on. Jerry Della Femina
The new-age campaigners

Can a malodorous skunk sell perfume? Surprisingly, it can and with great conviction! The point in case is the adorable animated badger in the Air Wick air freshener commercial that does the unimaginable job so well that it can give any Bollywood celebrity a run for their money. Consequently, the Indian television is witnessing lots of animated characters fast becoming the face of many Indian brands. No wonder, after movies and cartoons, the Indian ad world has set the ball rolling for the animation industry. Comic relief

The unlimited scope of accommodating creative talent and the knack for experimentation in the ad world has created a niche space for animation. That is why we have so many successful animated

icons in the ad world, states Vaibhav Kumaresh, Director, Vaibhav Studios. Look around and one will find a spate of animated mascots such as Louie, the gangsta-styled mosquito, selling its own death knell in the form of Mortein, Pillsburys cherubic doughboy, Bajaj Allianzs informative Super Agent, ICICIs common man Chintamani and the queen of all endorsers the impish Amul girl, whose charisma is still unmatchable and splashed across all forms of media! These new age mascots have a lasting appeal and lend a whole new dimension to the brand, as competently as any celebrity. Supreet Bhamrah, MD, Frameboxx, points at the huge platform that Indian television is offering to the world of animation. The moment you switch on the television set, you automatically tune into the world of graphics, some visible and some behind the scene. Be it the Coca Cola commercial where Amir Khan is transported into the world of video games or the new Idea commercial where Abhishek Bachchan dons the role of a sagacious tree giving gyaan on the ways to fight global warming and deforestation; animation is changing the dynamics of television viewing. He feels that the need of the hour is to bridge the gap between animation institutes and animation studios and bring them closer to the demands of the advertising world. This will provide the necessary link between the three to produce excellent animated content and pool in the much required workforce. Stealing the show

Animation provides an out-of-the-box feel to the brand and helps in fixing it firmly in the imagination of the targeted consumers. Animated characters break the monotony created by the innumerable human faces and their equally high number of associations with a variety of brands. For instance, all shampoo and hair oil ads have some or the other Bollywood actors endorsing the same, which creates a state of confusion in the minds of the audience. On the other hand, animated characters like Clinic Plus girl Chulbuli created by Vaibhav Kumaresh create brand awareness and have a universal appeal to all kinds of viewership. Kumaresh elucidates, If made well, an animated film can make as strong an emotional connect as any other medium. I feel animated characters come out as neutral, unbiased entities. This helps to quite an extent in creating that connect. Our own Simpoo sir, the angry maths teacher on Channel [V] has a huge adult fan following! All this can only be due to an emotional connect with the character. On the lighter side, Bhamrah also feels that animated brand ambassadors do not cost as much as their human counterparts; nor do they become old or throw celebrity tantrums like the real ones! Fun unlimited

The vast domain of Indian advertising is offering a colossal potential for the growth of animation programming. It provides two main areas of work: designing animated characters and adding special effects to advertisements. With special effects and animated humour in commercials, the

audience is automatically glued to watching the same programme instead of flipping channels between breaks, adds Girish Mahajan, Co-founder and Director, Webitude. Animation in advertising can be in the form of 2D, 3D, claymation, flip-page and light animation such as the awe inspiring yet simply executed Eveready Ultima Battery ad with the use of torches, LED lights and digicams! The concept of animation in brand endorsements gives room to creative experimentation and the flexibility to make the character do things that are beyond the reach of humans. That is why even serious businesses such as insurance are focusing on comical mascots such as Chintamani to lend a fresh appeal to the otherwise incomprehensible somber field. In fact ads issued in public interest are communicated via this new medium for a greater appeal. The scope of animation in advertising covers areas such as script writing, character designing, art direction, story boarding, sound designing, technical direction, production management and voicing for animation. These days the media are helping generate awareness and enthusiasm among viewers for more and more animated content in advertising. Recently, Tata DoCoMo unveiled its Create Animation Contest, which invited animation enthusiasts from all over the country to create short animation clips using the brands logo and signature tune. In no time the company received over hundreds of entries and finally two people were adjudged winners and their commercials telecast on every major television channel! With growing demand, the future of animation in the field of advertising is bright. It is fast expanding its scope as animated characters become the new brand icons challenging the supremacy of the Khans and Bachchans!

Animation
From Wikipedia, the free encyclopedia

For other uses, see Animation (disambiguation).

The bouncing ball animation (below) consists of these six frames.

This animation moves at 10 frames per second.

Animation is the rapid display of a sequence of images to create an illusion of movement. The most common method of presenting animation is as a motion picture or video program, although there are other methods. This type of presentation is usually accomplished with a camera and a projector or a computer viewing screen which can rapidly cycle through images in a sequence. Animation can be made with either hand rendered art, computer generated imagery, or three-dimensional objects, e.g. puppets or clay figures, or a combination of techniques. The position of each object in any particular image relates to the position of that object in the previous and following images so that the objects each appear to fluidly move independently of one another. The viewing device displays these images in rapid succession, usually 24, 25, or 30 frames per second.

Contents
[hide]

1 Etymology 2 History 3 Techniques

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3.1 Traditional animation 3.2 Stop motion 3.3 Computer animation

3.3.1 2D animation 3.3.2 3D animation

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3.3.2.1 Terms

3.4 Other animation techniques 3.5 Other techniques and approaches

4 Awards 5 See also 6 References 7 Further reading 8 External links

[edit]Etymology
From Latin animti, "the act of bringing to life"; from anim ("to animate" or "give life to") + -ti ("the act of").

[edit]History
Main article: History of animation

Five images sequence from a vase found in Iran

An Egyptian burial chamber mural, approximately 4000 years old, showing wrestlers in action. Even though this may appear similar to a series of animation drawings, there was no way of viewing the images in motion. It does, however, indicate the artist's intention of depicting motion.

Early examples of attempts to capture the phenomenon of motion drawing can be found in paleolithic cave paintings, where animals are depicted with multiple legs in superimposed positions, clearly attempting to convey the perception of motion. A 5,000 year old earthen bowl found in Iran in Shahr-i Sokhta has five images of a goat painted along the sides. This has been claimed to be an example of early animation. However, since no equipment existed to show the images in motion, such a series of images cannot be called animation in a true sense of the word.[1] A Chinese zoetrope-type device had been invented in 180 AD.[2] The phenakistoscope, praxinoscope, and the common flip book were early popular animation devices invented during the 19th century. These devices produced the appearance of movement from sequential drawings using technological means, but animation did not really develop much further until the advent of cinematography. There is no single person who can be considered the "creator" of film animation, as there were several people working on projects which could be considered animation at about the same time. Georges Mlis was a creator of special-effect films; he was generally one of the first people to use animation with his technique. He discovered a technique by accident which was to stop the camera rolling to change something in the scene, and then continue rolling the film. This idea was later known as stop-motion animation. Mlis discovered this technique accidentally when his camera broke down while shooting a bus driving by. When he had fixed the camera, a hearse happened to be passing by just as Mlis restarted rolling the film, his end result was that he had managed to make a bus transform into a hearse. This was just one of the great contributors to animation in the early years.

The earliest surviving stop-motion advertising film was an English short by Arthur MelbourneCooper called Matches: An Appeal (1899). Developed for the Bryant and May Matchsticks company, it involved stop-motion animation of wired-together matches writing a patriotic call to action on a blackboard. J. Stuart Blackton was possibly the first American film-maker to use the techniques of stop-motion and handdrawn animation. Introduced to film-making by Edison, he pioneered these concepts at the turn of the 20th century, with his first copyrighted work dated 1900. Several of his films, among them The Enchanted Drawing (1900) and Humorous Phases of Funny Faces (1906) were film versions of Blackton's "lightning artist" routine, and utilized modified versions of Mlis' early stop-motion techniques to make a series of blackboard drawings appear to move and reshape themselves. 'Humorous Phases of Funny Faces' is regularly cited as the first true animated film, and Blackton is considered the first true animator.

Fantasmagorie by Emile Cohl, 1908

Another French artist, mile Cohl, began drawing cartoon strips and created a film in 1908 called Fantasmagorie. The film largely consisted of a stick figure moving about and encountering all manner of morphing objects, such as a wine bottle that transforms into a flower. There were also sections of live action where the animators hands would enter the scene. The film was created by drawing each frame on paper and then shooting each frame onto negative film, which gave the picture a blackboard look. This makes Fantasmagoriethe first animated film created using what came to be known as traditional (hand-drawn) animation. The author of the first puppet-animated film (i.e. The Beautiful Lukanida (1912)) was the Russian-born (ethnically Polish) director Wladyslaw Starewicz, known as Ladislas Starevich.[citation needed] Following the successes of Blackton and Cohl, many other artists began experimenting with animation. One such artist was Winsor McCay, a successful newspaper cartoonist, who created detailed animations that required a team of artists and painstaking attention for detail. Each frame was drawn on paper; which invariably

required backgrounds and characters to be redrawn and animated. Among McCay's most noted films are Little Nemo (1911), Gertie the Dinosaur (1914) and The Sinking of the Lusitania (1918). The production of animated short films, typically referred to as "cartoons", became an industry of its own during the 1910s, and cartoon shorts were produced to be shown in movie theaters. The most successful early animation producer was John Randolph Bray, who, along with animator Earl Hurd, patented the cel animation process which dominated the animation industry for the rest of the decade. El Apstol (Spanish: "The Apostle") was a 1917 Argentine animated film utilizing cutout animation, and the world's first animated feature film.[3] Unfortunately, a fire that destroyed producer Frederico Valle's film studio incinerated the only known copy of El Apstol, and it is now considered a lost film. Computer animation has become popular since Toy Story (1995), the first animated film completely made using this technique. In 2008, the animation market was worth US$68.4 billion.[4]

[edit]Techniques [edit]Traditional

animation

Main article: Traditional animation

An example of traditional animation, a horse animated by rotoscoping from Eadweard Muybridge's 19th century photos

Traditional 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 color 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, 2001).

[edit]Stop

motion

A stop-motion animation of a moving coin

Main article: Stop motion 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 Ji Trnka and the TV series Robot Chicken (US, 2005present).

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

Clay animation, or Plasticine animation (often called claymation, which, however, is a trademarked name), 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, 19571967) Morph shorts (UK, 19772000), Wallace and Gromit shorts (UK, as of 1989), Jan vankmajer's Dimensions of Dialogue (Czechoslovakia, 1982), The Trap Door (UK, 1984). Films include Wallace & Gromit: The Curse of the Were-Rabbit, Chicken Runand 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, 19691974); 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 Finnishtelevision 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 liveaction 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.

[edit]Computer

animation

Main article: Computer animation

A 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.

[edit]2D animation
2D animation figures are created and/or edited on the computer using 2D bitmap graphics or created and edited using 2D vector graphics. This includes automated computerized versions of traditional animation techniques such as of, interpolated morphing, onion skinning andinterpolated rotoscoping. 2D animation has many applications, including analog computer animation, Flash animation and PowerPoint animation. Cinemagraphsare still photographs in the form of an animated GIF file of which part is animated.

[edit]3D animation
Main articles: Computer animation and 3D computer graphics 3D animation is digitally modeled and manipulated by an animator. The animator starts by creating an external 3D mesh to manipulate. A mesh is a geometric configuration that gives the visual appearance of form to a 3D object or 3D environment. The mesh may have many vertices which are the geometric points which make up the mesh; it is given an internal digital skeletal structure called an armature that can be used to control the mesh with weights. This process is called rigging and can be programmed with movement with keyframes. Other techniques can be applied, such as mathematical functions (ex. gravity, particle simulations), simulated fur or hair, effects such as fire and water simulations. These techniques fall under the category of 3D dynamics.

[edit]Terms
Cel-shaded animation is used to mimic traditional animation using CG software. Shading looks stark, with less blending colors. Examples include, Skyland (2007, France), Appleseed Ex Machina (2007, Japan), The Legend of Zelda: Wind Waker (2002, Japan)

Machinima Films created by screen capturing in video games and virtual worlds. Motion capture is used when live-action actors wear special suits that allow computers to copy their movements into CG characters. Examples include Polar Express (2004, USA), Beowulf(2007, USA), A Christmas Carol (2009, USA), The Adventures of Tintin (2011, USA)

Photo-realistic animation is used primarily for animation that attempts to resemble real life, using advanced rendering that makes detailed skin, plants, water, fire, clouds, etc. to mimic real life. Examples include Up (2009, USA), Kung-Fu Panda (2008, USA), Ice Age (2002, USA).

2D animation techniques tend to focus on image manipulation while 3D techniques usually build virtual worlds in which characters and objects move and interact. 3D animation can create images that seem real to the viewer.

[edit]Other

animation techniques

Drawn on film animation: a technique where footage is produced by creating the images directly on film stock, for example by Norman McLaren, Len Lye and Stan Brakhage.

Paint-on-glass animation: a technique for making animated films by manipulating slow drying oil paints on sheets of glass, for example by Aleksandr Petrov.

Erasure animation: a technique using tradition 2D medium, photographed over time as the artist manipulates the image. For example, William Kentridge is famous for his charcoal erasure films, and Piotr Dumaa for his auteur technique of animating scratches on plaster.

Pinscreen animation: makes use of a screen filled with movable pins, which can be moved in or out by pressing an object onto the screen. The screen is lit from the side so that the pins cast shadows. The technique has been used to create animated films with a range of textural effects difficult to achieve with traditional cel animation.

Sand animation: sand is moved around on a back- or front-lighted piece of glass to create each frame for an animated film. This creates an interesting effect when animated because of thelight contrast.

Flip book: A flip book (sometimes, especially in British English, called a 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 often illustrated books for children, but may also be geared towards adults and employ a series of photographs rather than drawings. Flip books are not always separate books, but may appear as an added feature in ordinary books or magazines, often in the page corners. Software packages and websites are also available that convert digital video files into custom-made flip books.