FL - Explore Animation #7
WEEK 2 - 2D OR CEL ANIMATION
SESSION 1 SUMMARY
Traditional Cel Animation — First on Paper — Key animated frames or key positions in a sequence (called Roughs) — and then sketch the rest (called Inbetweening) — Each drawing then inked onto transparent sheets (or cels) — cels are photographed on top of a painted background
Multi-plane animation - multiple cels are arranged on top of each other for multiple movements
These techniques are still in use; although along with computers for better speed and ease.
IMPORTANT COMBINATION OF THINGS IN A TV SERIES
Format- The format you pick has to be closed enough that you’re seeing something of that show every week. So, it’s the same thing but different. Ex: A procedural like House, or Friends.
Stories- Stories exist within the format
Character - Character exists within the storiesThis is the combination that you have to get right before you begin making a TV series.
This is the combination that you have to get right before you begin making a TV series.
Writing an Animation Script
When you’re writing an animated TV script, you're writing for a design team, you're writing for a storyboard artist, and you're writing for actors so it's a working tool for those three areas. It's a peculiar form of writing and if you want to be an animation writer then the best thing to do is to read a number of animation scripts.
PRODUCTION PROCESS
The production process begins with design.
Once the script is finished, everything is broken down into props, characters, and backgrounds (made by the Design team).
Simultaneously, voices are recorded with actors. If it is too long after matching it with the design work, the script is re-written and re-record and make sure the voice track is just below the length of the show.
The recorded voices and the design work is together called a Design pack.
This is sent to the storyboard artist who listens to the track, reads the script, looks at the design and then storyboards the show.
The storyboard is often thumbnail for input and corrections from the director.
The storyboard is then filmed and turned into an animatic along with the soundtrack.
It is then cut to make its length appropriate for broadcast.
Music is added to it if necessary and then the animatic is sent to Layout.
CEL ANIMATION TECHNIQUES
Straight-ahead animation - frame by frame
Straight ahead animation has a spontaneity and can be more organic, making it useful for animating things like water or fire. The disadvantage is that you can lose size, volume, and proportions with this method.
Key Positions / Pose to Pose animation - roughing and inbetweening
Pose to pose not only allows an animator to plan in a more predictable way but makes it easier for animators to work in a team to speed up production.
A lead animator draws the key positions (usually first and last) before plotting the most extreme poses and other breakdown positions.An assistant then completes the in-between frames.
ANSWERS TO QUESTIONS IN THE COMMENTS SECTION
Is there anything that surprises you about the cel animation process?
In what ways do you think that the production process for an animation show will be similar and in what ways different to a live action fictional TV show?
Source for Quotes and Images: Futurelearn Course Website
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