Www.evergreen.edu/electronicmedia/docs/FCP_Editing_Basics.pdf. They sure don’t make them like they used to, for. Aspect ratio (image) The aspect ratio of an image describes the proportional relationship between its width and its height. It is commonly expressed as two numbers separated by a colon, as in 16:9. For an x:y aspect ratio, no matter how big or small the image is, if the width is divided into x units of equal length and the height is measured using this same length unit, the height will be measured to be y units.
For example, consider a group of images, all with an aspect ratio of 16:9. One image is 16 inches wide and 9 inches high. The most common aspect ratios used today in the presentation of films in movie theaters are 1.85:1 and 2.39:1.[1] Two common videographic aspect ratios are 4:3 (1.33:1),[a] the universal video format of the 20th century, and 16:9 (1.77:1), universal for high-definition television and European digital television. In motion picture formats, the physical size of the film area between the sprocket perforations determines the image's size. Rearranging (solving for PAR) yields: 4:3 Aspect Ratio Calculator for content area width.
Walk Cycle. Foundation Flash Cartoon Animation: Barry Kelly, Tim Jones, David Wolfe, Allan Rosson: Amazon.com. Cartooning: The Head & Figure - Jack Hamm - Google 图书. Rotoscoping - Explanation of Animation Techniques. Simple animation used on TV is usually a combination of cutout and collage techniques. Cutout animation uses, literally, models or puppets that have been cut from drawing paper or craft paper, possibly drawn or painted on.
The pieces are then arranged loosely, or connected by fasteners and then arranged. Each pose or move is captured, then the model repositioned, and shot again. Collage animation uses basically the same process, except the pieces that are animated are cut from photos, magazines, books or clipart. South Park is perhaps the most well-known animated TV show that uses cutout and collage animation. Key frame. Traditional animation[edit] In the workflow of traditional hand-drawn animation, the senior or key artist would draw the keyframes, then, after testing and approval of the rough animation, give the scene to their assistant. The assistant does the clean-up and the necessary 'inbetweens', or, in really big studios, only some breakdown which define the movement in more detail, then give the scene to their assistant, the 'inbetweener' who does the remainder.
Animation by means of computer graphics[edit] Use of key frames[edit] A very simple animation created by keyframing. The animation lacks smoothness because each frame is completely independent of any other frame. Keyframing[edit] There is also an animation technique known as keyframing. Consider the following examples, created using animated GIFs, wherein a key frame defines the starting and ending points of any smooth transition: As applied to motion[edit] An object will move from the top left corner of the frame to the bottom right corner. Animation Introduction. Animation precedes the invention of photography and the cine camera by several decades. It is an art form in which a world of dynamic image and sound may be synthesised completely out of nothing but a thought (see Peter Greenaway quote, right).
Animation is 100% artifice, and as such, the synthesis of movement through the sequential use of small fragments of time, which gives rise to this wondrous illusion, is open to manipulation in extraordinary ways. Animation is the most nimble of mediums. Animation is an art form which can come from anywhere and which can go to anywhere - from a large production team working in a highly specialised studio or a lone individual working out of a bedroom, to an Imax Cinema screen several metres wide or a mobile phone screen a few centimetres across. Almost anything can be brought to life and be imbued with personality, twigs, clay, drawings, objects, computer meshes, and, of course, anything becomes possible in the world of animation. Read on.... Animation History Part I. The word 'animation' is derived from anima, the Latin word for soul or spirit. The verb 'to animate' literally means 'to give life to'.
From his earliest artworks, hunting scenes sketched in ochre on a cave wall, to highly refined Greek sculptures, mankind has always attempted to imbue his art with expressions of life by depicting his subjects as if caught in a frozen moment in time suggestive of broader preceding and following actions. Egotistical man placed himself at the centre of the universe. He has always believed in the possibility of creating life - of playing god. Man has used his technology as an agent to help realise this desire in order to become ruler of all nature.
History is rich with descriptions of attempts to imitate life by mechanical means in the form of hydraulic, pneumatic, or clockwork operated biological automata. These early automata were mechanical devices that seemed to demonstrate lifelike behaviour. Animators are also engaged in this same elusive quest. Animation History Part II. Animation - as we might understand it as a technical process of synthesising motion from a series of static images - precedes the invention of the cinematograph by several decades. It has its roots in the numerous parlour-game toys popular in the early 1800s which experimented with persistence of vision effect known as the Phi phenomenon. One device of the times which demonstrated this effect was the Thaumatrope accredited to three different people, Dr Fitton of London, Peter Roget and/or London physicist John Ayrton Paris. However it is known that Paris used his device to show the Phi phenomenon to the Royal College of Physicians in 1824.
Its consisted of a disc with an image painted on each side. When the disc was spun by pulling on a twisted pair of strings, the images seemed to be combined - a bird on one side of the disc would appear in the empty cage on the other side. 'Trope' comes from the Greek word for 'things that turn'. Versions of history often tend to be Western centric. Principles of Animation. The following 12 basic principles of animation were developed by the 'old men' of Walt Disney Studios, amongst them Frank Thomas and Ollie Johnston, during the 1930s. Of course they weren't old men at the time, but young men who were at the forefront of exciting discoveries that were contributing to the development of a new art form. These principles came as a result of reflection about their practice and through Disney's desire to devise a way of animating that seemed more 'real' in terms of how things moved, and how that movement might be used to express character and personality.
It needs to be said that many brilliant moments of animation have been created without reference to, or knowledge of, these principles. The following has been paraphrased from the "Illusion Of Life" by Frank Thomas & Ollie Johnston (pp.47-69). For a more extensive explanation of these principles, refer to this seminal text.
This action gives the illusion of weight and volume to a character as it moves. Pose to Pose Animation. Animation techniques such as cut-outs, clay, paint-on-glass, charcoal on paper etc, make use of a method loosely described as ‘straight-ahead animation' in which the animator starts at the beginning of a sequence and works through to the end. This method is often dictated by the medium which animator is using to create images - the paint or sand, or objects being manipulated. It is a technique which can produce great moments of inspired spontaneity. Ideas come as one plays around with the medium and these can be easily incorporated into the sequence mid-stream without the audience being any the wiser.
The animated films of William Kentridge who draws with charcoal on larges sheets of paper are examples of this method. Drawing straight in to Flash with a graphics tablet using the 'light box' or 'onion skin' tool can also employ a ‘straight-ahead' animation method. But what happens if our cut-outs or clay character misses its cue? Cycle Animation. Human beings find aural and visual rhythms immensely satisfying. In fact we are pattern seekers and take great pleasure in notions of 'return' and the familiar. Animators have taken advantage of this human disposition. There are lots of tricks that animators constantly use to cut down the amount of work to be done. Cycles of repeating action are just one of these ways - and whenever animators find an opportunity to include a cycle in a sequence, you can bet they will seize upon it.
Some of the very early cartoons were almost entirely based on cyclic actions, especially when it was discovered that animation could echo the rhythmic patterns found in music. Walt Disney’s 1928 ‘Steamboat Willie’ was the first sound cartoon to amaze audiences of the day with its close synchronism between image and sound. Cycles can be cyclic in nature, that is, the artwork is used in order 1,2,3,4 followed by exact repeats of that order again 1,2,3,4 etc. Lip Sync Animation. Although much in animation can be communicated entirely via action - such as the pantomime-based performances of Charlie Chaplin's tramp character of silent picture fame, and Mr Bean, for example - there are times when dialogue is the most efficient means of expressing the desires, needs and thoughts of a character in order to progress the storyline.
Dialogue can be as profound as a speech that changes the lives of other characters in the plot, or as mundane as a character muttering to itself in a manner that fleshes out its personality making it more believable to the audience. Choosing the right voice is vital. Much of a character and its personality traits can be quickly established by the performance of the actor behind the drawings thereby taking a huge load off the animator. Just as the designs for any ensemble of animated characters should look distinctive, so should their voices. Dialogue is charted up in the sound column of the dope sheet. Well blow me down and shut my mouth! Project #1 Cutout Animation. Cut-out animation, of course, does have limitations. Because the cut-outs are flat, they must work across or up and down the screen in a flat plane. You simply cannot walk a cut-out puppet towards camera in relation to a fixed back ground or make it turn in three dimensions. However it is always possible to design an inventive solution for each and every storytelling scenario.
For example, a character can be made to walk over a hill to disappear behind it, then reappear as a smaller cutout figure ascending a more distant hill. By necessity, the type of animation method you will be using for this project is known as 'straight-ahead animation' which requires an intuitive approach to the choreography of the events. Later in the semester, you will be able to contrast this approach with forthcoming exercises using the 'pose-to-pose animation' technique. 'The Host Monogoma' by Tim Uebergang, AIM graduate (2000) The strange mating rituals on strange worlds of even stranger creatures. Lip Sync Mouth Animation: Learn how to create and animate the right mouths for great looking dialogue animation.
Have you ever wondered how exactly to animate to dialogue? Making a cartoon character speak can seem like a daunting task. Learning which mouth shapes and mouth positions is crucial to create convincing lip sync animation. The good news is that others have already done the work of figuring out which facial expressions and mouth drawings work best. It can be very easy to do once you have the right information. Mouth Positions Although there are so many different mouth movements and shapes that are possible, they can be simplified into a few specific mouth shapes that work remarkably well!
For cartoon characters, the following 7 mouth shapes produce great results for lip sync animation: M,B and P (Closed mouth)AH (Open mouth)EEE, or EHCONSONANTS (example: R, D, N, S etc)OH, WTH, LF, V Characters Packs are available for the following programs: For More Information For more information in regard to character packs, please feel free to contact Cartoon Solutions. How to Create Phonemes (Lip-Synching) Animations Video. Animating speech can be tough, so get some handy tips on creating lip-sync animations with phonemes in this how-to video from About.com.See Transcript Hi, I'm Mark Zamora, animation expert, here for About.com.
In this screencast, I'll show you how to create lip-sync animations. Animate a Mouth Talking Using "Phonemes" Animating speech can be tough, because you have to match the mouth movement of your animation to the audio track. If you're looking for realistic mouth-movements, it's best to look at how the mouth changes with each sound. What do "Phonemes" Look Like in Animation? Starting off with vowels like A and I, the lips are pulled wide, the mouth and teeth are closed a bit, and the corners of the mouth are up a little. Animating the U is completely different since the lips are pursed together, almost like a kissing motion. Animating the L is about the same, except that the tongue presses against the teeth as well. For more on animation, be sure to visit compute.about.com. Animation tutorial - dialog / dialogue. ART159_tut_flash.
Advanced Animation 3106. Project #3, The Talking Head. In this project you will draw a character's face and have it recite a Haiku. You may write your own Haiku or use one that is copyright free (samples here and here). If you don't want to do a Haiku, you may tell a joke or a story, but you MUST have a minimum of 20 syllables in your speech AND it must be a complete thought with a beginning, middle and end. The character does not have to be human, but it must have a visible, humanoid mouth. The name of the project is talk. Phrasing... don't try to eeee-nun-ceee-ate and change the mouth for every letter in every word, think of words a groups of sounds. No---> (memory)...don't do mem-oh-rhee Yes--> do mem-ree Change the mouth shape at the first letter or sound of the word/phrase and only change again when a sound is important or "pops".
Animation. The bouncing ball animation (below) consists of these six frames. This animation moves at 10 frames per second. Animations can be recorded on either analogue media, such as a flip book, motion picture film, video tape, or on digital media, including formats such as animated GIF, Flash animation or digital video. To display it, a digital camera, computer, or projector are used. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, such as paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, or 30 frames per second. Etymology[edit] From Latin animātiō, "the act of bringing to life"; from animō ("to animate" or "give life to") and -ātiō ("the act of").
History[edit] A Chinese zoetrope-type device had been invented in 180 AD.[1] Praxinoscope, The first projection (1877) In 2008, the animation market was worth US$68.4 billion.[5] Techniques[edit] 12 basic principles of animation. What is vector graphics? - Definition from WhatIs.com.