An­i­ma­tionA 101

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An­i­ma­tion is pro­duced by cre­at­ing a se­quence of images (called frames) show­ing in­cre­men­tal mo­tion and then play­ing back those images at a cer­tain speed to give the illusion of move­ment.

Tra­di­tion­ally, an­i­ma­tion was cat­e­go­rized into char­ac­ter an­i­ma­tion and ef­fects an­i­ma­tion – to­day the same are pop­u­larly known as an­i­ma­tion and vis­ual ef­fects, re­spec­tively. The types of an­i­ma­tion are also de­fined, based on the kind of tech­niques em­ployed. Some of th­ese in­clude: Clas­si­cal/tra­di­tional an­i­ma­tion: This was used be­fore the ad­vent of com­put­ers and refers to hand-drawing each frame on pa­per. Cut-out an­i­ma­tion: the use of flat charac- ters and en­vi­ron­ments cut out from card­board or pa­per. Stop-mo­tion an­i­ma­tion: The in­cre­men­tal pho­tograph­ing of minia­ture mod­els of char­ac­ters and en­vi­ron­ments in mo­tion and then play­ing them back at the re­quired frame rate. 2D dig­i­tal an­i­ma­tion: the use of dig­i­tal tools to cre­ate the equiv­a­lent of hand-drawn or cut-out an­i­ma­tion. 3D an­i­ma­tion: This is a high qual­ity dig­i­tal coun­ter­part of stop-mo­tion. Since its in­cep­tion in the 80s and 90s, it has be­come the most popular tech­nique of an­i­ma­tion given the added ca­pa­bil­i­ties that it of­fers via pre­ci­sion soft­ware. As a re­sult, an­i­ma­tors can now cre­ate sub­tle lev­els of act­ing in char­ac­ters and pho­to­re­al­is­tic ren­der­ing – some­thing that was just not pos­si­ble with tra­di­tional meth­ods be­fore.

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