1. ANIMATION

2. Introduction to Animation
To animate can be thought of as, “to bring to life”
Animation = An illusion of movement created by sequentially playing still image frames with different movements at the general rate of fps (frames per second)
Animation = rapid display of a sequence of images of 2-D or 3-D artwork or model positions in order to create an illusion of movement.

3. How Animation Works
Animation is achieved by adding motion to still image/object.
May also be defined as the creation of moving pictures one frame at a time.
Few types of animation
Layout transition
Process/ information transition
Object movement
This animation moves at 10 frames per second.
This animation moves at 2 frames per second. At this rate, the individual frames should be discernible

4. Introduction to Animation
Animation is possible because of
a biological phenomenon known as persistence of vision
An object seen by human eye remains chemically mapped on the eye’s retina for a brief time after viewing
a psychological phenomenon called phi
Human’s mind need to conceptually complete the perceived action i.e. translating the action

5. How Animation Works
Combination of these two (persistence of vision + phi) make it possible for a series of images that are changed very slightly and very rapidly, one after another, to seemingly blend together into a visual illusion of movement.
E.g. a few cells or frames of rotating logo, when continuously and rapidly changed, the arrow of the compass is perceived to be spinning.
Still images are flashed in sequence to provide the illusion of animation

6. How Animation Works
Still images are flashed in sequence to provide the illusion of animation

7. How Animation Works
The speed of the image changes is called the frame rate.
Film is typically delivered at 24 frames per second (fps)
In reality, the projector light flashes twice per frame, thus increasing the flicker rate to 48 times per second to remove any flicker effect.
The more interruptions per second, the more continuous the beam of light appears, the smoother the animation.

8. Types of animation
• Hand-drawn
• Stop motion
• Animatronics
• Performance animation (mocap)
• Virtual models
• Effects

9. Traditional Animation Types and Techniques
Cel animation - The animation artist draws or paints on sheets of celluloid film. The cels are layered over the background, then photographed frame by frame.
Stop-motion animation. Stop-motion animation is a film technique that involves shooting one frame of film at a time. A stationary camera is pointed at the object or scene. Each frame of motion picture film is exposed individually. Between exposures, the object or scene is manipulated or changed.
Rotoscoping - is the technique of re- drawing live-action images on paper in order to capture natural motion in one's illustrations.
"The Lost World", 1925, animation by Willis O'Brien, one of the early masters of stop-motion.

10. Animation Technique: Cel Animation
Made famous by Disney
A series of progressively different graphics are used for each frame of film
Elements in a scene that might move, for example Kluang man, are drawn on sheets of transparent material called ‘cel’, and laid over a background which is drawn separately (kampung scenery for example)
In producing a sequence, only the moving elements on the cel need to be redrawn for each frame, the fixed part of the scene need only be made once.

11. Animation Technique: Cel Animation
Animation is drawn between keyframes.
Key frames identify the start and end of some action
The process of filling in the action is called tweening.
Tweening is a process which requires calculating the number of frames between keyframes and the path the action takes, and then actually sketching on to a cel the series of progressively different outlines.

12. Animation Techniques - Cel Animation
This image shows how two transparent cells, each with a different character drawn on them, and an opaque background are photographed together to form the composite image.

13. Animation Technique: Stop Motion
Miniatures three-dimensional sets are used (stage, objects)
Objects are moved carefully between shots.
Objects may include articulate figures, whose limbs can be repositioned, or solid figures whose parts are replaced, or substitute between shots, to produce an effect of gesture, walking, and so on.
Plasticine may be used for objects, to be manipulated between shots to produce both natural movement, and otherwise impossible changes and transformations.

14. Stop-motion animation

15. Computer Animation – Digital cel & sprite animation
Employ the same logic and procedural concept of cel animation.
Objects are drawn using 3D modeling software
Objects and background are drawn on different layers, which can be put on top of one another.
Layers allow you to create separate parts of a still image, for example, a person and the background of a scene they are walking through – so that each can be altered or moved independently.

16. Computer Animation – Digital cel & sprite animation
Sprite animation – animation on moving object (sprite).
A set of images, called faces is associated with each sprite.
Example, a walking man, can be created by advancing the position of the sprite (the man) and cycling through the faces (walking motion), the man can be made to walk.

17. Computer Animation – Key Frame Animation
Keyframes :
Are drawn to provide the pose a detailed characteristic of characters at important points in the animation.
Example, specify the start and end of a walk, the top and bottom of the fall.
3D modeling and animation software will do the tweening process
It fill in the gaps between the keyframes and create a smooth animation.
You just set the value of frames per second (fps) for your animation.

18. Animation Techniques – Claymation And Computer Animation
Example of a claymation
Example of a computer animation

19. Basic Concepts of Tweening

20. Computer Animation – Hybrid Animation
Mixing cel and 3D computer animation.
May as well include life footage.

21. Animation Techniques - Kinematics
The study of motion of jointed structure (such as people)
Realistic animation of such movement can be complex.
Latest technology use motion capture for complex movement animation.
Inverse kinematics is the process of linking objects, and defining their relationship and limits.

22. Animation Techniques - Morphing
The process of transitioning from one image to another
When morphing, few key elements (such as a nose from both images) are set to share the same location (one the final image).

23. Animation File Formats
Windows Media files : .avi, .asf or .wmv
Apple QuickTime files: .qt or .mov
Motion video files : .mpeg or .mpg
Flash files : .swf
Shockwaves files : .dcr
Animated GIF : .gif

24. Creating Animation Use digital camera to capture each drawn frame.
Scan the drawn image/frame.
Video camera (connected through video capture card) is connected directly to computer to capture each frame of animation on disk – let it be on paper, cel, constructed on 3D set or by any other techniques discussed.
Software tool can help create object

25. The 11 Principles Developed at Disney over the 1920s and 1930s
Described by John Lasseter (Pixar) 1987
Squash-and-Stretch, Timing, Anticipation, Follow Through and Overlapping Action, Straight Ahead Action and Pose-to-Pose Action, Slow In and Out, Arcs, Exaggeration, Secondary Action, Appeal
Basically, principles are driven by:
Perceptual factors, such as directing the viewer’s attention and smoothing the motion for easier perception
Conveying emotion through motion

26. Traditional animation
Fundamental principles of traditional animation (Disney):
1. Squash and stretch
2. Timing
3. Anticipation
4. Staging
5. Follow through and overlapping action
6. Straight ahead action and pose-to-pose action
7. Slow in and out
8. Arcs
9. Exaggeration
10. Secondary action
11. Appeal

28. Squash and stretch
• Movement shows rigidity of an object – soft objects deform more
• Squashing and stretching emphasize natural movement, object rigidity and movement speed
• Squash and stretch should preserve volume
• Laws of physics may be broken (e.g. stretch before impact)
• Squash and stretch need not deform the object

30. Timing
• Timing is the speed of an action
• Timing helps define an action (see example previous slide)
• Proper timing is critical to make the audience understand an action: time the phases (anticipation/action/reaction) so that the action is understood (not too short!) without losing
attention (not too long!)
• Timing defines weight of objects (including characters)

31. Anticipation
• Anticipation is the preparation for an action

32. Anticipation
• Often anatomical necessity; no anticipation gives an unnatural movement
• Prepares audience for an action - you know hat is going to happen
• Draws the attention – action is not missed and can be faster

33. Staging
• Staging is presenting an idea so that it is unmistakably clear
– Actions are staged so that they are understood
– A personality is staged so that they are recognizable
– An expression so that it’s visible
– A mood so that it affects the audience
• For good staging the audience’s attention must be where it needs to be. Staging,
anticipation and timing are crucial to leading the eye
• Stage only one idea at a time (or it might be ‘upstaged’)
• Contrast the object of interest with the rest of the scene

34. Staging
• Staging is much clearer when done entirely in good silhouette

35. Follow through and overlapping action
• Follow through is the proper termination of actions
• Actions rarely end suddenly
• Most movements in an action are not simultaneous; there is a ‘lead’ and there are movements that follow (or drag) behind.
These movements may overlap in time

36. Straight ahead and pose-to-pose action
• The two approaches to animation:
– Straight ahead: draw all the scenes in sequence from first to last
• Spontaneous, creative
– Pose-to-pose: draw the main poses and fill in the inbetweens later
• Focus on acting, timing

37. Slow in and out
• A movement between two extremes is usually presented best when the movement is slowest at the extremes
• May not be physically correct
• Allows the viewer a little more time at the (interesting) extreme poses
• Implemented by non-linear timing of the inbetweens

38. Arcs
• Movement of (parts of) objects is generally more interesting when the movement traces an arc (splines!) instead of a straight line

39. Exaggeration
• Exaggeration of the motions that identify an emotional state makes this state easier to see
• Do not arbitrarily distort object or actions, amplify only that which enhances the underlying reason for a motion

40. Secondary action
• Actions have consequences.
These should be part of the animation to enhance a realistic complexity
• Should in general be kept subordinate to the main action, to avoid detracting attention.

41. Computer role in animation
• Computer animation can assist the traditional animation process on many levels, e.g. by
– Generating inbetweens
– Automating cel layering
– Generating images from models
• Computer enables many new applications:
– animations in video games or other interactive media (i.e. without fully prescripted animation),
– merging of film and animated models,
– etc.

42. Computer animation techniques
• 2D
– Sprite animation
– Morphing
– Graphic embedding
• 3D, virtual world
– Object model
• Articulated model
• Particle system
• Deformable object
• Hybrid
– Rendering
• Motion blur
– Motion models
• Keyframing
• Kinematics
• Procedural
• Motion capture