Creative Animation
Creative animation is the vehicle which requires a whole list of tools like drawing, timing phrasing, action, acting pantomime, staging, imagination, observation, interpretation, logic, caricature, clarity, empathy and so on.
This is the kind of skill or art of making an inanimate images are objects come in to sight on the move. Creative animation is the artistic drive that stands and antedates the movies.
Animation is a making of in sequences images, when, which displayed, carry a feeling of motion. Animated videos are nearly magical in there perform to forceful holding our imagination. By saying a concuss story, amaze with distinguished effects, or captivate with theoretical motion, this can be infuse an order of insert images with the false appearance of life and motion. Creating this false appearance, either by assistance of computer software or with hand is not simple one. Each separate frame, or image, in the animated order must composite line which two images are connected with the other images to form sequence motion and smooth that shows through time.
Ordinarily, creative animation was developed by drawing pictures or images of the incivility for each and every casing in the animation. At the beginning of the result (production), the animator is provided storyboards, this is of drawings describes continues of bigger activity and demonstrating the verbalization of the individuality. The artist also works from a furnished audio track, which decides the timing of the each and every piece. In sequence animations, the circumstances was often remains the same and the characters were drawn or painted on cells, multi pieces of clear cinematography that could be pile up on top of the surroundings . Most of hand created animation is developed with key framing in which a lead artist creates the key, or the most valuable frames, and a second artist develops the in between frames. Behind hand of the medium, the main thing for the artist or animator is to create pictures or images that make known eloquence and life to the individuality.
Creative animation is not just a series of drawings strung together in movement. At its most creative, it is a truly beautiful art from. Yet the traditional of drawn animation is a relatively short one compared with other visual arts. It has only been in this century that the technology to produce any film- let alone an animated film- has been available. Animated film making. In its widest expression, is not, however, traditionally an art form of individual genius. A large team of dedicate, talented, and co-operative artists is required to complete a high quality animation film. Successful animation depends a collective creative approach, with in which each individual, no matter how talented, must harmonize and communicate with others for them to give a fullest expression on the screen
The process of animation:
This is involved in the procedure how the animated film should be made. This at best it is an costly produce, in both time and money, and anything that eases its birth process should not be ignored. The animation should follow the certain type of structured process.
Script
The first stage of any creative animation production depends up on the script. Scripting is very important in any type of animation films. The performance is paramount and the visual action in plot.
Storyboard
The storyboard is an illustrated view, like a comic book. Just as building plans direct construction crews to build a house the way an architect designed it, storyboards direct films and TV crews to produce a project the way they designed it. Each drawing instantly relates all of the most important information about each shot and defines a singular look for the entire crew to achieve. In animation the storyboard help the animators retain proper continuity. They tell animators working on different scenes what leg the character should be running. Continuity mistakes take the viewer out of the story and the magic of the moment will be lost. From the script, the storyboard is produced. This consists of a series of drawn images that graphically portray the action described in the script. This makes the viewers to see and appreciate the content or the message given by the animation film is appreciated.
Soundtrack
After the scripting and storyboard are completed, the soundtrack also plays an wide range in animation. This makes the viewers to stand on to the animation.
Track breakdown
When the soundtrack is been made it should be edited as of that coincide with the video. Basically this is a simple process of analysing the sound track as fit to the videos. This is the documentation of the precise position of each sound in relation to the film frames.
Design
Art is really having its chances. The urge to draw seems to have taken hold of many more thousands today than ever before. While the sound track is being broken down, then the visual interpretations of all the characters featured in film. When these interpretations are drawn then the characters are drawn in multitude of angles and placed on a single sheet of paper called a model sheet, and also the background also drawn sequentially.
Leica reel
In animation films a lecial reel plays an main role role as storyboarding device which is used in production. Using the storyboard and bar sheets the leica reel of the film is produced. This is in essence a filmed storyboard, which can be projected in synchronization with the final soundtrack. After the completion of all the scenes of every character the relevant timings has been obtained.
Line test
After the completion of leica reel the line test s done with the use of animation drawings and the bar sheet. Sometimes it is necessary to alter the animation. After the line test the whole film becomes available for viewing. Line test are the animated drawings produced in pencil on paper filmed to the process timings of the scene as indicated on the bar sheet. Sometimes it is necessary to alter the particular scene. Usually the line test works the first time and the scene can be cut in to the lecica reel by the editor, thus replacing the drawings originally produced. Generally an pencil animated scene is being added a line test is the whole film becomes available for viewing and for fine adjustment. Any major changes from this stage onward may prove extremely damaging overall film.
Clean up
Then the animation drawings are been clean up, to give a consistent visual style. This is an important one because when working in the same character there wills inevitable variation in the look of the character. After the whole clean-up is completed it is better to have a line test the drawings again, just to check that no additional mistakes have slipped in.
Trace and paint
When the cleaned up line test is finally approved, each drawings is transferred to a thin sheet of cello liod or acetate a cel and painted in the colours of original design. But nowadays a photo editor software is being used for colouring the pencil animated drawings.
Backgrounds
While the painting is completed the then the background is being painted everything behind or in front some times.
Checking
As the finished animation cels and backgrounds are completed scene by scene, the animation drawings are checked for get an effective result.
Final shoot
When all the artwork is right then this will passed through and will be captured as an images. Then the images are being processed to fit the high resolution.
Editing
Finally the movie is being edited and added with the audio track. And if needed some changes would be done in audio track and images. The time interval between each frame would be not more than 5 sec. This gives as the appropriate animation.
Lead of the emotion:
A well-constructed drawing should have all the parts and they should be put together beautifully, but that is not what you should see when you look at the drawing.
Tools
Animation is an exciting art, so it is important to have the appropriate tools for its creation. In addition to the obvious pencils and erasers there is a whole range of items that ideally the need of access to when working on a film. The following list has been compiled with a larger production in mind and may seem prohibitively expensive to most students and amateur film makers. It must therefore be stressed that animation can be produced with a minimum of equipment and facilities.
Paper and cel
There is no specific paper on which animation should be drawn although the paper must be substantial enough to flip (that is for you to hold a whole series of sheet of animation drawings together in one hand and flip them with the other hand to stimulate the moving action and check it for obvious flaw). At the same time paper must be translucent enough for you to see the essential of the next drawing through the top sheet. Whatever paper is used it must first be punched for registration pegs and almost always cut to the standards. Animation supply companies provide ready punched and ready cut paper and cel on request. Acetate or cel for animation can be bought in various degrees of thickness. If ti is too thick however it will allow sufficient light through for you tosee any artwork placed below it when several levels are shot to gather.
Paper an cel punch
All animation is registered by placing each punched sheet of paper or cel consecutively on standardized registration pegs, so it does not move in relation to the other sheets. If you do not use ready punched animation paper and cel then you will need a peg whole punch for registration. For the professional two regular systems are available each basically contains of one round hole in the centre of animation paper or cel, with a long hole to either side of it to avoid any pivoting of the paper. For the beginner and armature filmmaker however it is possible to construct a system using an ordinary office hole punch available.
Peg bar
Obviously if the animation paper or cel is punched for registration it must be suitable for the fenestration system used. This registration system involves placing the paper on a peg bar, which can be purchased from any animation supplier or good art store before you buy the peg bar however make sure that its peg system is compatible with the peg system of your punch or the ready punched paper and cel available to you.
The non-professional can easily construct a peg ber by inserting two thin wooden dowels in the work surface and making sure they are positioned in perfect alignment with the punches holes produced by the office hole punch.
The peg bar can be positioned at the top of the animation paper or at the bottom. There is on one correct position and all animators have their own preference. In my opinion however it is usually better to use top pegs because bottom pegs tend to get in the way of the animators hand while drawing. The only time I would use bottom pegs is when the animation is near the top of the screen, so top pegs would tend to be handicap while drawing.
Light box
Most animation work is concerned with slight changes of movement from drawings in relation to each other at the same time. Because this is best achieved by illuminating the surface beneath the paper it is recommended that the animator use a light box. A simple light box has an adjustable frame which supports an ampl work surface and can be angled for drawing comfort set in to the frame is a sheet of white translucent plastic. Beneath the plastic (and far enough away to avoid the plastic being melted), there is a fluorescent tube, which when switched on allows light to shine through the white plastic a peg bar is then taped on the top of the plastic in a suitable position and paper or cel can be placed on the top.
A more sophisticated arrangements involves a circular sheet of white plastic set in to a case mete circular frame with round fingers holes cut into a case metal, circular frame, with round finger holes cut into the top and bottom for easy turning. The moveable disc can be used to turn the drawing for easier execution of the drawing line. Some professional light boxes also have movable top and bottom peg bars with fine increment markings for calculating artwork that is to be panned.
Additional refinements to the light box might include a raised strip of wood along the bottom of the frame for holding pencils and a dimmer switch (instead of on and off switch) so that the intensity of light coming through can be varied. If you are constructing your own light box it is advantageous to leave sufficient space to the right of the disk (if you are right handed) or to the left.
The process of my animation
The main purpose of my animation is to make the people aware of spreading AIDS (HIV). And make humans to live long and healthily.
Script
The scripting in voles the total screen play how does the total animation is to be done. My animation scripting is that a bee lay on the flower then the flower burns up these shows the awareness of aids.
Storyboard
The storyboard for the animation is created with the sequences on a paper. Just the flower is being drawn. The outline is first drawn then the other past is being drawn as shown in the below figure
Track Breakdown
The consititve track is being selected to fit to the animated graphics.
Design
The design is being created for about of 162 frames for each and every level of the film to make it perfect.
Turns
The turning of each and every movement of the bee is being drawn to acquire the exact movement of the bee like shown in the below image. The blurred wing technique is obviously ideas for the fast wing movements of all insects. For eg birds. However a different technique is used. Basically the bird's wings movement can be achieved by two drawings. One with the wings up and the other with the wing's down. This can of course varied the amount of up and down from drawings. Indeed a bird's action is distinguished by its erratic flight path. Bird's appear to flit and dance all over the place, although they usually seem to be heated in one general direction. The golden rule when animating butterflies is that because of the extreme lightness of their bodies. Whenever the wings flap down the body moves up. And whenever the wing's moves up the body moves down.
The degree of up and down of the body is decided by the individual animator although it should be as irregular as possible and not at all repetitive. Indeed the best way to animate bird's is to sketch out a general path of action then draw in straight ahead each consecutive drawing judging the movement intuitively. In other words you do not use keys and in betweens but animate drawing directly after another.
Timing
When animating bird's flight timing is essential for interpreting the size personality and nature of the bird, the dignity of an eagle in flight for example would be totally destroyed by the fast and jerky moments of the sparrow in flight. And the slow powerful beats of the eagle's wings would be equally in appropriate for sparrow. As a general rule the larger bird the slower the action and the smaller bird the faster the action. Also the larger, the wing's the more evident the up and down movement of the body will be. The smaller the wings the less impact they will have on the body's movements.
It can be seen may bridge's photographs that the average pigeon flap is about six positions, (shot on ones), but this must be varied according to the requirement of the scene. For a tiny bird, like a sparrow a four frame action might be.
The one exception to all of this is the humming bird whose wings move so fast that they cannot be captured by even one frame of the film. In this case the only way that the wings effect can be simulated is by using blurs, instead of defining any wing shapes a blurred shape which suggests the wing movement
Fire
Fire is the most effective if a backlight camera effect is attempted. Fire is luminous and needs the added bite of the glow that backlighting produces rather than the dead look of the painted frames.
The simplest fire effect is that of a candle flame. A candle flame moves very little unless it is fanned by a draft from an open door or window so it can be quickly produced. Basically there need be only three key positions of the flame each moving only a little from the others.
There can then be several in betweens to produce a slow almost imperceptible movement. When completed these drawings should be traced in negative on acetate, so they are clear against a black surround.
The cameraman can then shine a strong diffused light from behind through the clear part of the cel and produced a wedge test the light's intensity. Having chosen a satisfactory expose from the wedge test then the shooting is taken place using cameras the finished scene first filming everything in the scene except the candle flame and then running the film back in the camera and shooting the flame animation effect at the desired expose. For added filter over the editing sequence for added effectiveness the camera will be focus out of focused with the fog and softness. A sight yellow filter can be added to the backlighting to kill the harsh whiteness, which might be overpowering.
A range fire requires the same camera technique but of course the animation must be more dynamic. A fire flickers erratically and the animation should reflect this.
To achieve the most starting effects, it is best to animate a fire on several cel levels, with each level with each level having slightly different colour intensity. The build-up and overlay of these levels will give the fire life and depth.
A common fault in fire animation is that no allowance is made for the effect of the fire on the rest of the scene. If you observe a real fire you will see that firelight flickers over the objects in the scene and that shadows are cast by all the solid objects. To achieve the flicker of firelight it is necessary to produce a number of varying airs brushed cels, which slightly heighten the surfaces on the background of the scene. When these are doped at random throughout the scene they create a flickers effect throughout.
Shadows are a little more complicated to create. If a character stands in the sun a shadow will be cast along the ground as well as along the side of the character farthest away from the sun.
When animating shadows therefore it is first necessary to work out the direction of the light source. Then drawing by drawing you must meticulously indicate those parts of the character creates on the ground.
Line view
Finally the line view is made and then the unwanted drawings are being deleted.
Photo Shoot & Editing
Then the animated drawings are being brought in to a fragmentation on lining up the sequences by putting the page marks. Then captured as an image in a digital camera. Then the images are being downloaded to the computer. Open the Adobe premiers click the open files and import files to the premiers and then the photos are placed in to the tracks continuously without any leaving space then play with the default timing intervals. If this ok then then place the same time intervals. Then place the timing intervals to shoot the perfection for viewing the videos. Then the sound track is imported and places the sound track as suitable for the audio track and also for video. Just have an view of it. If editing is needed then edit otherwise export the file. The exporting the file contains various type of video formats listed below.
ï‚· Adobe Flash (.swf)
ï‚· AVI Movie (.avi)
ï‚· AVCHD (.m2ts, .mts, .m2t)
ï‚· DV Stream (.dv)
ï‚· Filmstrip (.flm)
ï‚· MPEG Movie (.)
ï‚· QuickTime Movie (.mov, .3gp, .3g2, .mp4, .m4a, .m4v)
ï‚· TOD (.tod)
ï‚· Windows Media (.wmv, .asf)
Adobe Flash (swf):
Adobe flash (swf ) file format is known as shockwave flash this is an multimedia file format, Action scripting in flash and vector images etc
AVI:
This is otherwise known as audio video interleave this an type of multimedia file format introduced and owned by Microsoft.
AVCHD:
Advanced Video Coding High Definition (AVCHD) this is an type of multimedia format for recording and playback the content. This is developed by the combination of Sony and Panasonic.
DV :
This is the file format used in camcorders for recording and playing back the files. This is otherwise known as digital video.
Filmstrip:
This is an old technology of multimedia format which uses still images. This has been overcome by video cassettes.
MPEG Movie:
This is otherwise known as moving pictures expert group. This is an standards for video and audio compression. This consists of more formats in it such as .mpeg, .vob, .mod, .ac3, .mpe, .mpg, .mpd, .m2v, .mpa, .mp2, .m2a, .mpv, .m2p, .m2t, .m1v, .mp4, .m4v, .m4a, .aac, 3gp, .avc, .264
Quick time movie:
This type of file format is mostly used in portable devices like mobile phones, iPod etc.
