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COMPUTER ANIMATION

TABLE OF CONTENTS
Introduction Example Explanation Techniques Of Animation Types Of Stop Motion Morphing Modern Morphing Techniques Tweening Applications Challenges

INTRODUCTION
Computer Animation (CGI animation) is the art of creating moving images with the use of computers.It is a subfield of computer graphics and animation.Increasingly it is created by means of 3D computer graphics.When it is using in films instead of computers it is called CGI means ComputerGenerated Imagery or Computer-Generated imaging For 3D animations, objects (models) are built on the computer monitor (modeled) and 3D figures are rigged with a virtual skeleton. For 2D figure animations, separate objects (illustrations) and separate transparent layers are used, with or without a virtual skeleton. Then the limbs, eyes, mouth, clothes, etc. of the figure are moved by the animator on key frames. The differences in appearance between key frames are automatically calculated by the computer in a process known as tweening or morphing. Finally, the animation is rendered.

EXAMPLE
The screen is blanked to a background color, such as black. Then a goat is drawn on the right of the screen. Next the screen is blanked, but the goat is re-drawn or duplicated slightly to the left of its original position. This process is repeated, each time moving the goat a bit to the left. If this process is repeated fast enough the goat will appear to move smoothly to the left. This basic procedure is used for all moving pictures in films and television. The moving goat is an example of shifting the location of an object. More complex transformations of object properties such as size, shape, lighting effects often require calculations and computer rendering instead of simple redrawing or duplication.

EXPLANATION
To trick the eye and brain into thinking they are seeing a smoothly moving object, the pictures should be drawn at around 12 frames per second (frame/s) or faster (a frame is one complete image).With rates above 70 frames/s no improvement in realism or smoothness is perceivable due to the way the eye and brain process images. At rates below 12 frame/s most people can detect jerkiness associated with the drawing of new images which detracts from the illusion of realistic movement. Conventional hand-drawn cartoon animation often uses 15 frames/s in order to save on the number of drawings needed, but this is usually accepted because of the stylized nature of cartoons. Because it produces more realistic imagery computer animation demands higher frame rates to reinforce this realism. The reason no jerkiness is seen at higher speeds is due to persistence of vision. From moment to moment, the eye and brain working together actually store whatever one looks at for a fraction of a second, and automatically "smooth out" minor jumps. Movie film seen in theaters in the United States runs at 24 frames per second, which is sufficient to create this illusion of continuous movement.

ONE MORE EXAMPLE

In this example of bouncing ball we have 6 frames with different positions of ball. When All these frames are combined with a fast speed then the ball appears bouncing. The ball is not actually bouncing but when all these 6 frames are combined at a high speed then it looks bouncing.

TECHNIQUES OF ANIMATION TRADITIONAL ANIMATION

Traditional animation (cel animation or hand-drawn animation) was the process used for most animated films of the 20th century. The individual frames of a traditionally animated film are photographs of drawings, which are first drawn on paper. To create the illusion of movement, each drawing differs slightly from the one before it. The animators' drawings are traced or photocopied onto transparent acetate sheets called cels, which are filled in with paints in assigned colors or tones on the side opposite the line drawings. The completed character cels are photographed one-by-one onto motion picture film against a painted background by a rostrum camera.

FULL AND LIMITED ANIMATION

FULL ANIMATION
It refers to the process of producing high-quality traditionally animated films, which regularly use detailed drawings and plausible movement. Fully animated films can be done in a variety of styles, from more realistically animated works such as those produced by the Walt Disney studio (Beauty and the Beast, Aladdin, Lion King) to the more "cartoony" styles of those produced by theWarner Bros. animation studio (Iron Giant, Quest for Camelot, Cats Don't Dance).

LIMITED ANIMATION
It uses less detailed and more stylized drawings. It is a process of making animated cartoons that does not redraw entire frames but variably reuses common parts between frames.This is cost effective.This depends upon animators' skill in emulating change without additional drawings; improper use of limited animation can be easily recognized as unnatural. Film is projected at 24 frames per second. For normal speed, most animation is done "on twos," meaning 12 drawings per second. Faster movements may demand animation "on ones," while characters that do not move may be done with a single drawing (a "hold") for a certain amount of time. Limited animation mainly reduces the number of inbetweens

ROTOSCOPING
It is a technique where animators trace live-action movement,frame by frame,for use in animated films. The source film can be directly copied from actors' outlines into animated drawings. Originally, recorded live-action film images were projected onto a frosted glass panel and re-drawn by an animator. This projection equipment is called a rotoscope, although this device has been replaced by computers in recent years. In the visual effects industry, the term rotoscoping refers to the technique of manually creating a matte for an element on a liveaction plate so it may be composited over another background.

LIVE ANIMATION
A live animated film is a motion picture that features a combination of real actors or elements: liveaction and animated element s, typically interacting. It is a technique, when combining hand-drawn characters into live action shots. One of the earlier uses of it was Koko the Clown when Koko was drawn over live action footage.

STOP MOTION
Stop motion (also known as stop action or frame-byframe) is an animation technique to make a physically manipulated object appear to move on its own. The object is moved in small increments between individually photographed frames, creating the illusion of movement when the series of frames is played as a continuous sequence. Clay figures are often used in stop motion for their ease of repositioning. Motion animation using clay is called clay animation or clay - mation. There are many different types of stopmotion animation, usually named after the type of media used to create the animation. Computer software is widely available to create this type of animation.

TYPES OF STOP MOTION PUPPETRY ANIMATION

It involves stop-motion puppet figures interacting with each other in contrast to the real-world. The puppets have an armature in them to keep them still,steady as well as constraining them to move at particular joints.Puppetry is a form of theatre or performance which involves the manipulation of puppets. Puppetry takes many forms but they all share the process of animating inanimate performing objects. Most puppetry involves storytelling. The impact depends on the process of transformation of puppets,having much in common with magic and with play. Thus puppetry can create complex and magical theatre with relatively small resources. Storytelling is the conveying of events in words, images and sounds often

CLAY ANIMATION

All traditional animation is produced in a similar fashion,whether done through cel or stop motion. Each frame is recorded on film or digital media and then played back in rapid succession. When played back at a frame rate greater than 1012 frames per second, a fairly convincing illusion of continuous motion is achieved. the techniques involved in creating CGI are generally removed from a frame-by-frame process. Plasticine animation often abbreviated as claymation, uses figures made of clay or a similar malleable material to create stop-motion animation. The figures may have an armature or wire frame inside of them that can be manipulated in order to pose the figures.

CUTOUT AND SILHOUETTE ANIMATION

CUTOUT ANIMATION :
Cutout animation is a technique for producing animations using flat characters, props and backgrounds cut from materials such as paper, card, stiff fabric or even photographs. The world's earliest known animated feature films were cutout animations. Today, cutoutstyle animation is frequently produced using computers, with scanned images or vector graphics taking the place of physically cut material.

SILHOUETTE ANIMATION :
Silhouette animation is animation in which the characters are only visible as black silhouettes. This is usually accomplished by backlighting articulated card board cut-outs, though other methods exist. It is partially inspired by, but for a number of reasons technically distinct from, shadow play.

MODEL ANIMATION AND GO MOTION

MODEL ANIMATION:
Model animation is a form of stop motion animation designed to merge with live action footage to create the illusion of a real-world fantasy sequence. Intercutting, matte effects, and split screens are often employed to blend stopmotion characters or objects with live actors and settings.

GO MOTION:
Go motion is a variant of model animation which uses various techniques to create motion blur between frames of film, which is not present in traditional stopmotion. The technique was invented by Industrial Light & Magic and Phil Tippett to create special effects scenes for the film The Empire Strikes Back.

OBJECT AND GRAPHIC ANIMATION

OBJECT ANIMATION:
This is a form of stop motion animation that involves the animated movements of any nondrawn objects such as toys, blocks, dolls, etc. which are not fully malleable, like clay or wax, and not designed to look like a recognizable human or animal character. It is different from model animation and puppet animation, as these two use recognizable characters as their subjects, rather than just objects like static toy soldiers, or construction toys such as Tinker Toys. Object animation is often combined with other forms of animation, usually for a more realistic effect A toy car can be animated, but is more often animated with a character easily seen driving the car.

GRAPHIC ANIMATION:
It is a variation of stop motion consisting of the animation of photographs and other non-drawn flat visual graphic material, such as newspaper and magazine clippings. In its simpliest form, Graphic "animation" can take the form of the animation camera merely panning up and down and/or across individual photographs, one at a time without changing the photographs from frame to frame , as on Ken Burns various historical documentary films for PBS. But once the photos (or "graphics") are also moved from frame to frame, more exciting montages of movement can be produced, such as on Los Angeles animator Mike Jittlov's 1977 short film, Animato, also seen his feature film

PIXILATION
Pixilation (from pixilated) is a stop motion technique where live actors are used as a frame-by-frame subject in an animated film, by repeatedly posing while one or more frame is taken and changing pose slightly before the next frame or frames. The actor becomes a kind of living stop motion puppet. This technique is often used as a way to blend live actors with animated ones in a film, such as inThe Secret Adventures of Tom Thumb by the Bolex Brothers, which used the technique to compelling and eerie effect. The term is widely credited to Grant Munro. He made an experimental film named "Pixillation", available in his DVD collection "Cut Up - The Films Of Grant Munro".

MORPHING
Morphing is a special effect in motion pictures and animations that changes (or morphs) one image into another through a seamless transition. Most often it is used to depict one person turning into another through technological means or as part of a fantasy or surreal sequence. Traditionally this would be achieved through cross-fading techniques on film. Since the early 1990s, this has been replaced by computer software to create more realistic transitions.

MODERN MORPHING TECHNIQUES

In the early 1990s computer techniques producing more convincing results began to be widely used. These involved distorting one image at the same time that it faded into another through marking corresponding points and vectors on "before" and "after" images used in the morph. For example, one would morph one face into another by marking key points on the first face, such as the contour of the nose or location of an eye, and mark where these same points existed on the second face. The computer would then distort the first face to have the shape of the second face at the same time that it faded the two faces. Later, more sophisticated cross-fading techniques were employed that vignetted different parts of one image to the other gradually instead of transitioning the entire image at once. In a strict sense, this had little to do with modern-day computer generated morphing effects, since it was merely a dissolve using fully analog equipment. In film editing a dissolve is a gradual transition from one image to another. this effect is created by controlled double exposure from frame to frame; transitioning from the end of one clip to the beginning of another. In video editing or live video production, the same effect is created by interpolating voltages of the video signal. In non-linear video editing a dissolve is done in software, by interpolating gradually between the RGB values of each pixel of the image.

TWEENING

EXPLANATION
Inbetweening or tweening is the process of generating intermediate frames between two images giving appearance that the first image evolves smoothly into the second image. These are the drawings between the key frames which help to create the illusion of motion and is a key process in all types of animation. Animating in a digital context, with Adobe Flash, the shortened term tweening is commonly used. Sophisticated animation software enables one to identify specific objects in an image and define how they should move and change during the tweening process. In the context of Adobe Flash, inbetweening using automatic interpolation is called tweening, and the resulting sequence of frames is called a tween. Ease-in" and "ease-out" typically refer to a mechanism for defining the physics of the transition between two animation states i.e., the linearity of a tween. Traditional inbetweening involves the use of light tables to draw a set of pencil-on-paper pictures. In traditional hand-drawn animation, the senior or key artist would draw the keyframes which define the movement, then, after testing and approval of the rough animation, would hand over the scene to his or her assistant. The assistant does the clean-up and the necessary inbetweens, then handing down the scene to his assistant, the inbetweener who does the rest.

APPLICATIONS
Animation is used in 3-d animated films. It is used in high quality cartoons liked by all group of people Puppet Motion is totally based on the concept of animation In the disney movies all characters and work done in this is animated.

CHALLENGES
There are some challenges in case of animation and these are :One open challenge is a photorealistic animation of humans. Currently most movies show animal characters (A Bug's Life, Finding Nemo, Ratatouille), fantasy characters (Monsters Inc., Shrek,Monsters vs. Aliens), anthropomorphic machines (Cars, WALL-E) or cartoon-like humans (The Incredibles,Up). However, due to the enormous complexity of the human body, human motion, and human biomechanics, realistic simulation of humans remains largely an open problem. Another problem is the distasteful psychological response to viewing nearly perfect animation of humans, known as "the uncanny valley." It is one of the "holy grails" of computer animation.

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