Techniques in cartoon filming

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Techniques in cartoon filming

Posted On : Dec-12-2011 | seen (212) times | Article Word Count : 633 |

The traditional workflow of large studios will start with a script and the design of the characters involved. The screenplay is based on the storyboard , which is available for each setting at least one drawing from the camera angle, movement of the characters and kind of the background are visible.

After the storyboard to layout drawing, in the size, in both the animators to work as background artists. For each figure, there is a model sheet that represents the binding template for all signatories.

Typically, if the script is completely absorbed the dialogues of the characters. A track reader (now often a software) transfers them sound by sound in the X-Sheets (" exposure sheets , and dope sheet "). The X-Sheet is a single frame-accurate script for each setting (which is called in the animation sector "scene"), which is binding for the animator and the cameraman. Per frame, it contains a line that is entered into, which is currently hearing a sound and drawings which are to be placed under the camera. In addition, all camera movements are recorded.

Drawing board to draft cartoons
The animator gets the storyboard, the necessary model sheets, layouts, and a copy of the X-Sheet. He began to design with some sketchy drawings of the skeleton animation, the keyframes (English keyframes ) or major phases. These are the drawings that define the movement. To check his work, he takes it with the line tester on, a software that plays recorded by video camera drawings on a computer. He can move each drawing as long in time, to fit the timing. Are the animator and the director happy with the scene, is the " rough animation "to Assistant Animator. Draws the " cleanups "that is the key artwork images, true to the specifications of the model sheets, and possibly adds" breakdowns "to. The drawings are among the key frames that define the movement in more detail. The growing pile of paper now passes to Inbetweener or intermediate phase signatories, which inserts the drawings still missing between the already existing ones.
Sufficient for normal movement 12 drawings per second of film. For extremely fast movements, or movements transversely across the screen, sometimes it takes a 24 drawings, so that the distances between the positions are not so great, and the illusion of movement is not destroyed. At studios such as Disney, the average is about 18 drawings per second. TV series come from places with six drawings per second. Especially anime studios over the years have developed numerous techniques to save drawings, and instead of using costly to draw like skillful image sections of exercise, clever cuts, or just still pictures in combination with camera movements.

Furthermore, it is customary to divide the drawings into different levels: in dialogue scenes, for example, only the mouth movement is animated, the body of little help. Also are frequently used drawings. In such a dialogue scene, for example, the body is animated in a loop to simulate a natural movement. This separation into layers is usually performed by the Keyanimator. Therefore, the X-Sheet While exposure per line, but multiple columns for different levels.

All drawings are available, the scene is repeatedly tested and approved, they can be colored. Previously all the drawings were transferred to film or copied and then painted them by hand on the back. Today, the coloring is more and more in a computer. The colorist works on display at the scanned drawings. Animation software can automate a lot, hand-colored, for example, only the first image of a scene, then colored the computer all the other phases, and finally only possible errors are corrected by hand.
In the meantime, the backgrounds are painted. Previously, the backgrounds met with the painted slides under the camera again, today they are also scanned, or even painted on the computer. Putting together ( compositing ) of the different parts of the animation provides background about the opportunity to add more special effects. All parts are inserted, the scene is rendered and stored either digitally or exposed on film.

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<h1>Techniques in cartoon filming</h1> Author: <a href='http://www.articleseen.com/profile_heena11.aspx'>heena11</a> After the storyboard to layout drawing, in the size, in both the animators to work as background artists. For each figure, there is a model sheet that represents the binding template for all signatories.

Typically, if the script is completely absorbed the dialogues of the characters. A track reader (now often a software) transfers them sound by sound in the X-Sheets (" exposure sheets , and dope sheet "). The X-Sheet is a single frame-accurate script for each setting (which is called in the animation sector "scene"), which is binding for the animator and the cameraman. Per frame, it contains a line that is entered into, which is currently hearing a sound and drawings which are to be placed under the camera. In addition, all camera movements are recorded.

Drawing board to draft cartoons
The animator gets the storyboard, the necessary model sheets, layouts, and a copy of the X-Sheet. He began to design with some sketchy drawings of the skeleton animation, the keyframes (English keyframes ) or major phases. These are the drawings that define the movement. To check his work, he takes it with the line tester on, a software that plays recorded by video camera drawings on a computer. He can move each drawing as long in time, to fit the timing. Are the animator and the director happy with the scene, is the " rough animation "to Assistant Animator. Draws the " cleanups "that is the key artwork images, true to the specifications of the model sheets, and possibly adds" breakdowns "to. The drawings are among the key frames that define the movement in more detail. The growing pile of paper now passes to Inbetweener or intermediate phase signatories, which inserts the drawings still missing between the already existing ones.
Sufficient for normal movement 12 drawings per second of film. For extremely fast movements, or movements transversely across the screen, sometimes it takes a 24 drawings, so that the distances between the positions are not so great, and the illusion of movement is not destroyed. At studios such as Disney, the average is about 18 drawings per second. TV series come from places with six drawings per second. Especially anime studios over the years have developed numerous techniques to save drawings, and instead of using costly to draw like skillful image sections of exercise, clever cuts, or just still pictures in combination with camera movements.

Furthermore, it is customary to divide the drawings into different levels: in dialogue scenes, for example, only the mouth movement is animated, the body of little help. Also are frequently used drawings. In such a dialogue scene, for example, the body is animated in a loop to simulate a natural movement. This separation into layers is usually performed by the Keyanimator. Therefore, the X-Sheet While exposure per line, but multiple columns for different levels.

All drawings are available, the scene is repeatedly tested and approved, they can be colored. Previously all the drawings were transferred to film or copied and then painted them by hand on the back. Today, the coloring is more and more in a computer. The colorist works on display at the scanned drawings. Animation software can automate a lot, hand-colored, for example, only the first image of a scene, then colored the computer all the other phases, and finally only possible errors are corrected by hand.
In the meantime, the backgrounds are painted. Previously, the backgrounds met with the painted slides under the camera again, today they are also scanned, or even painted on the computer. Putting together ( compositing ) of the different parts of the animation provides background about the opportunity to add more special effects. All parts are inserted, the scene is rendered and stored either digitally or exposed on film.
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