Can we expect to see more 2D features and traditional animation?
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In 1995, that was unheard of; traditional animation was still dominant.
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Simply put, it gives the filmmakers unbelievable flexibility compared to traditional animation.
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The studio no longer functions as a traditional animation company that produces most work in-house.
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After pondering doing a more traditional animation, he realised it would work better as an interactive film.
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Urahara seems to be a serenade to experimental forms of Japanese art, melding street fashion with traditional animation.
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Mostly, it becomes a reminder that there are things traditional animation can get away with that photorealistic animation cannot.
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It's sort of a similar phenomena in animation because there are so few films today made in traditional animation.
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Traditional animation still almost never adopts this kind of approach, which means that works like this remain distinctive today.
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It offers visitors a wide range of artist galleries to view, divided into categories such as traditional, animation, and illustrations.
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The genius behind Roger Rabbit and The Thief and the Cobbler brought an unprecedented three-dimensional feeling to traditional animation.
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If you're a big fan of traditional animation, you may find yourself marveling over the look of the film from the start.
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In traditional animation, much of the movement is done "on two's": A new drawing is made or the image shifted every second frame.
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It might've helped a little that, like traditional animation, puppets are easy to dub into other languages—30 of them, in 190 countries.
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"Same Face Syndrome" is most noticeable in Disney's current era of CGI animation, but it goes back to the traditional animation of the Disney Renaissance.
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Epic has never expressly told the public how it creates its dances — some may be made using traditional animation techniques or professional dancers recreating the moves.
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A flashback to Tuca's childhood is recreated in heartfelt stop-motion and scenes involving Claymation and puppetry throw all rules of traditional animation out the window.
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"[Rotoscoping] makes reality both strangely familiar and oddly different," Pallotta said, noting that the technique captures spontaneity and involuntary micro-expressions in a way that traditional animation can't.
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Today, though, the streaming company announced a four-year plan for upcoming animated series, which brings it more in line with traditional animation studios like Disney, Pixar, and DreamWorks.
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Toonstar lets you bring cartoon characters to life thanks to facial recognition Since that launch, the company has refined its business model to become more of a traditional animation studio.
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Representing a wide swath of countries and media (from traditional animation to stop-motion to cutout animation), these shorts spotlight some of the most vibrant independent animators currently at work.
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And while I can understand the shift to traditional animation for the presumably much lower-budget Unikitty show, I can't help but wish for the digitally re-created bricks of the films.
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She knew how to do all of this stuff that I didn't know how to do and was very good at figuring out how to do traditional animation compiled in After Effects.
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In the negative column, the characters lose some of the expressiveness associated with traditional animation and its anthropomorphized designs, more of an issue in the early going than as momentum builds toward the climax.
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Ori and the Blind Forest is one of the best Xbox One games ever made, with polished, Metroidvania-style gameplay, a haunting soundtrack, and gorgeous, painted art that brings to mind the best of traditional animation.
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"Golem," a visually dazzling, mind-pinching production from the British company 1927, slyly poses these questions, through a fable that feels both contemporary and ageless, combining live performance and music with sophisticated stop-motion and traditional animation.
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The film's animators relied on a computer to handle something computers are very good at — creating an overwhelming sense of hundreds upon hundreds of creatures rushing at the screen — while using traditional animation to shepherd the scene's emotional core.
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Games like Towerfall or even Sonic Championship show that smart use of tried-and-true methods like the principles of traditional animation go a long way in selling characters and momentum, and wouldn't even work as effectively in other styles.
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It's supposed to draw elements from both traditional animation and video games, put them in VR, and end up with something unprecedented: a piece of storytelling that, as Asteroids director (and Madagascar co-director) Eric Darnell describes it, lets us connect to fictional characters the way we would real human beings.
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For a great recent example, check out this clip from 803's Song of the Sea — the movie was created in a computer, but animators "drew" the characters and backgrounds, so it has the feel of traditional animation (though it is necessarily more minimalist than traditional hand-drawn animation would be).
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Their in-house style of fighting game is extremely flashy and extremely fast with high speed aerial movement and dramatic attack sequences intended to evoke the over-the-top drama and action of anime, and they have also been extremely successful and making their games look like anime, with a combination of traditional animation techniques and use of Unreal Engine 3D models to create an artistic style that is almost indistinguishable from living animation.
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Traditional animation employs the use of hand drawn frames that are. Traditional animation studios have seen a decline in recent years due to the increased use of computers and some companies, such as Walt Disney Animation Studios, have transitioned away from traditional animation to computer-generated imagery. Nonetheless, traditional animation still is used extensively in the world of cartoons and anime. Notable studios that specialize in this style include Studio Ghibli and Cartoon Network Studios.
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Digital ink and paint processes gradually made these traditional animation techniques and equipment obsolete.
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Some of the advantages are the possibility and potential of controlling the size of the drawings while working on them, drawing directly on a multiplane background and eliminating the need for photographing line tests and scanning. Though traditional animation is now commonly done with computers, it is important to differentiate computer-assisted traditional animation from 3D computer animation, such as Toy Story and Ice Age. However, often traditional animation and 3D computer animation will be used together, as in Don Bluth's Titan A.E. and Disney's Tarzan and Treasure Planet. Most anime and many western animated series still use traditional animation today.
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Live-action animated film blends various traditional animation or computer animation in live action films.
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Many of Kravitz's students have gone on to successful careers in traditional animation, computer animation, and interactive art.
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This Italian musical adventure fantasy animated film was produced by Lanterna Magica in Turin, Italy. It uses both traditional animation (2D animation) and computer animation (3D animation) with Adobe After Effects (compositing and visual effects), Adobe Photoshop (background art), Autodesk Maya (compositing, computer animation and modeling), Autodesk Softimage (computer animation and sculpting), Avid Media Composer (video editing), oil-paint and paper (background art and oil-painting animation), Pegs (compositing, digital ink and paint and traditional animation), pencil and paper (hand-drawn animation and storyboards), Softimage 3D (computer animation and sculpting) and Toonz Premium (compositing, digital ink and paint and traditional animation).
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Its software division was best known for developing USAnimation, a high-end software package designed to facilitate the traditional animation process using digital technologies.
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It was first teased on Twitter. In Spanish. Date published: 12 November 2018. 10:36am. It will utilize traditional animation previously implemented in Nahuala and Chupacabras.
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Limited animation is a process in the overall technique of traditional animation of creating animated cartoons that does not redraw entire frames but variably reuses common parts between frames.
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The game makes use of early CGI to provide limited 3D backgrounds. The character sprites are super deformed. More typical anime style pictures are used during conversations. Cutscenes are done in traditional animation.
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The software was developed to allow the user to create animation using techniques reminiscent of hand-drawn animation, yet preserving nuanced expressions and gestures that would not generally appear using traditional animation methods.
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An example of traditional animation: a horse animated by rotoscoping from Eadweard Muybridge's 19th-century photos Due to the wide range of animation techniques and styles, many animation studios typically specialize in certain types.
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DigiCel FlipBook is 2D animation software that runs on Microsoft Windows or Mac OS X. It is intended to closely replicate the traditional animation process, very similar to the likes of TVPaint and Toon Boom Harmony.
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The Mexican animation industry is a part of Mexico's domestic film industry. It utilizes primarily the flash, CG, and traditional animation formats, typically produced on a small budget. It began in the 1960s and continues decades later.
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An example of traditional animation, a horse animated by rotoscoping from Eadweard Muybridge's 19th-century photos Traditional animation (also called 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, 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.
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The film is both an homage to, and a self-parody of, Disney's animated features, making numerous references to Disney's past works through the combination of live-action filmmaking, traditional animation, and computer-generated imagery. It marks the return of traditional animation to a Disney feature film after the company's decision to move entirely to computer animation in 2004. Composer Alan Menken and lyricist Stephen Schwartz, who had written songs for previous Disney films, wrote and produced the songs of Enchanted, with Menken also composing its score. The animated sequences were produced at James Baxter Animation in Pasadena.
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Nickelodeon announced this season on August 18, 2015. A total of 20 episodes were ordered after the initial order of seven. It was originally 13. Starting with "Space Ca-Dad", the show's animation made a transition from traditional animation to Adobe Flash animation.
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They worked in two teams, each comprising a director and three board artists. The animation is made by Studio Mir in South Korea using traditional animation methods. About sixty people worked on the series at DreamWorks, and about fifty-five at Studio Mir.
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He is the son of director, animator and voice actor Bud Luckey (1934–2018) and a maternal cousin, twice removed, of Animator Earl Hurd (1880–1940) who co-created (with J.R. Bray) and patented the process for Cel Animation—a key component of traditional animation.
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This Mexican animated horror comedy film was produced by Animex Producciones in Puebla, Mexico. It uses a hybrid of 2D and 3D with Adobe After Effects (visual effects and compositing), Adobe Photoshop (background art), Autodesk Maya (computer animation) and Toon Boom Harmony (traditional animation).
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Tales of the Wizard of Oz is a 1961 animated television series produced by Crawley Films for Videocraft (later known as Rankin/Bass Productions). This is the second animated series produced by the studio, and the first by Rankin/Bass to feature traditional animation.
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The film Titanic used computer effects in nearly every scene of its three-hour running time; one of the film's 11 Oscars was for special effects. While Disney had made the film Tron—which extensively mixed live-action, traditional animation, and CGI—in 1982, and introduced the CAPS system to enhance traditional animation in 1990's The Rescuers Down Under, a completely computer-animated feature film had yet to be made. In 1995, Disney partnered with Pixar to produce Toy Story, the first feature film made entirely using CGI. The film's success was so great that other studios looked into producing their own CGI films.
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The film received mixed reviews and was not successful at the box office. After the failure of the film, Disney officially abandoned traditional animation altogether and moved on to work on computer-animated films starting with Chicken Little in 2005. In 2003, DreamWorks Animation also stopped working on traditionally animated features after the domestic failure of Sinbad: Legend of the Seven Seas, and the studio moved on to only work on CGI features since then. However, the release of The Princess and the Frog and The Secret of Kells in 2009, both nominated for an Academy Award, marked a renewed interest in traditional animation.
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The majority of the animation industry was (and still is) located in Los Angeles while Pixar is located north in the San Francisco Bay Area. Also, traditional hand-drawn animation was still the dominant medium for feature animated films. With the scarcity of Los Angeles- based animators willing to move their families so far north to give up traditional animation and try computer animation, Pixar's new hires at this time either came directly from college or had worked outside feature animation. For those who had traditional animation skills, the Pixar animation software Marionette was designed so that traditional animators would require a minimum amount of training before becoming productive.
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"It was clear that a traditional animation technique was perfectly suited to Marjane's and Vincent's idea of the film". Choosing black and white as the film's dominant colors was an intentional choice by Satrapi, along with the director and animation team, to continue on the path of traditional animation techniques. Despite its simplicity, members of the animation team such as Jousset discussed how black and white makes imperfections more obvious: "Using only black and white in an animation movie requires a great deal of discipline. From a technical point of view, you can't make any mistakes...it shows up straight away on the large screen".
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Despite his early success, Trnka did not feel comfortable with traditional animation, which in his opinion required too many intermediaries that prevented him from freely expressing his creativity. In the fall of 1946 he first considered puppet animation films, and began to experiment with the help of Břetislav Pojar.
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John Hubley (May 21, 1914 – February 21, 1977) was an American animation director, art director, producer and writer of traditional animation films known for both his formal experimentation and for his emotional realism which stemmed from his tendency to cast his own children as voice actors in his films.
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In July 2008, Warner Bros. announced its intention to bring the Elfquest saga to the big screen, with Rawson Marshall Thurber serving as writer and director. The format (live action, CGI, or traditional animation) is yet unknown. However, it was confirmed on Elfquests official Facebook page that Warner Bros.
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The song's music video, directed by Storm Thorgerson, was released in 1987 and featured stop-motion animation, with shifting backgrounds and some scenes with more traditional animation. These scenes follow the context of the song's lyrics. The video received some MTV airplay, including "Weird Al" Yankovic's AL-TV special.
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Other live-action shots were superimposed as a means of adding a certain degree of realism and to keep production costs down. For example, footage of real smoke was used for explosions. Traditional animation was also employed in the series on occasion. The musical soundtrack to Clutch Cargo was also limited.
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The modern, more personal element to the contemporary part of the story is narrated using the rough, energetic Squigglevision technique of traditional animation. It conveys the kind of restlessness inherent in the story and achieves a more light- hearted, universal tone with its simple, highly stylized renderings of character and environments.
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Compared with traditional animation, Squigglevision is relatively fast and easy to produce. The non-stop motion of the "squiggling" outlines reduces the need for more complex animations in order to make a scene feel dynamic. Tom Snyder describes the result as "economy of motion". "There are almost no disadvantages," Snyder asserted.
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Bird Karma is a 2018 American animated short film written and directed by William Salazar and produced by DreamWorks Animation. It was the first short to come from DreamWorks' newly-created shorts program, and the studio's first film to utilize only traditional animation since Sinbad: Legend of the Seven Seas in 2003.
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Filipino Animator Fights for History, Dispute Over The First -Ever Full-Length Filipino Animated Feature Film Rouses NJ–based Pinoy Animation Pioneer , Filipinoexpress.com Garcia’s creation was later followed by the second Filipino full-length animated feature film, Urduja (2008), a Philippine animation product using a mixture of digital and traditional animation techniques.
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In Tangled, Glen and his team hoped to bring the unique style and warmth of traditional animation to computer animation. In October 2008, due to some "non-life threatening health issues", Keane stepped back as director of Tangled, but remained the film's executive producer and an animating director.Glen Keane leaving Disney's RAPUNZEL.
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Lucky and Zorba (; literally "The Little Seagull and The Cat") is a 1998 Italian traditional animation film directed by Enzo D'Alò, based on The Story of A Seagull and The Cat Who Taught Her To Fly by Luis Sepúlveda. The movie was dubbed in English and aired on Toon Disney during the early 2000s.
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Toon City Animation began as a traditional animation studio that rendered services for Walt Disney Television Animation. It has since grown into becoming the preferred subcontracting animation facility in Asia. The studio is the animation production house for major clients such as Walt Disney Television Animation, Universal Animation Studios, Warner Bros. Animation, and MoonScoop Productions.
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DHX Media Toronto was founded in 1997 and originally known as Decode Entertainment, Inc. by Steven DeNure, Neil Court, and John Delmage. The company produced numerous television shows and was an international supplier of television and interactive programming for children and youth. Decode Entertainment focused on traditional animation, computer-generated animation, and live-action shows.
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The team built a dolphin puppet named Bubbles, voiced by Matt Berry, for The SpongeBob Movie: Sponge Out of Water. Sequences involving Bubbles included a blend of stop motion and traditional animation. A second special animated in stop motion, themed around Halloween and using the same Rankin/Bass-inspired character models, was produced for season 11.
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Walt Disney Animation Studios has produced animated features in a series of animation techniques, including traditional animation, computer animation, combination of both and animation combined with live-action scenes. The studio's first film, Snow White and the Seven Dwarfs, was released on December 21, 1937, and their most recent film, Frozen II, was released on November 22, 2019.
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The Legend of Mor'du is a 2012 Pixar short attached to the Blu-ray and DVD release of Brave. It gives in-depth background about the film's villain, an evil, greedy prince as told by the eccentric witch who transformed him into the monstrous bear he is in the film. The film combines traditional animation and computer animation.
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Painting with acrylic paint on the reverse side of an already inked cel. Traditional animation (or classical animation, cel animation, hand-drawn animation, 2D animation or just 2D) is an animation technique in which each frame is drawn by hand. The technique was the dominant form of animation in cinema until the advent of computer animation.
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Kirikou and the Sorceress () is a 1998 traditional animation feature film written and directed by Michel Ocelot. Drawn from elements of West African folk tales, it depicts how a newborn boy, Kirikou, saves his village from the evil witch Karaba. The film was originally released on 9 December 1998."Kirikou Et La Sorciere (Kirikou And The Sorceress)". www.bcdb.
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The secondary challenge was how to affordably animate on cable TV at the time. Snyder (a boyhood friend of Braine's) had Squigglevision, an inexpensive means of getting animation on cable, which could not afford traditional animation processes. A partnership between Popular Arts, Tom Snyder Productions and Jonathan Katz was formed, and thus, Dr. Katz, Professional Therapist was born.
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Kyle Herranen (born July 5, 1977) is a Canadian visual artist. He studied Traditional Animation at Sheridan College in Oakville, Ontario (1997) before earning a Bachelor of Fine Arts at York University in Toronto (2004) and receiving his Master of Fine Arts from the University of Regina in Regina, Saskatchewan (2008). Herranen lives and works in Regina, Saskatchewan, Canada.
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In addition of the film being animated in traditional animation, the film also featured 3D Cel-Shaded backgrounds and animation, similar to what was shown in Go! Princess PreCure the Movie: Splendid! Triple Feature! The 3D scenes in the film were modeled closely to Japanese shrines and locations to give a more distinct feel than the previous films.
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David Stainton is an American film and television executive. He was the president of Walt Disney Feature Animation from 2003 to 2006, a period during which the studio converted from a traditional animation studio to a computer animation production company. The films Chicken Little (2005) and Meet the Robinsons (2007) were produced during Stainton's tenure at the studio.
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City Hunters is an animated TV series developed in Argentina that premiered throughout Latin America on October 2006 on the Fox network. The series, which blends traditional animation techniques with the latest generation of CGI, consists of nine 11-minute episodes. City Hunters is a form of branded entertainment. It was co-produced by Unilever for the AXE brand.
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"Brick Like Me" is the twentieth episode of the 25th season of the American animated sitcom The Simpsons, and the 550th episode of the series. It first aired on the Fox network in the United States on May 4, 2014. It was written by Brian Kelley and directed by Matthew Nastuk. The episode features a mix of traditional animation and computer animation.
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On September 26, 2017, Pearl Studio hired Audrey Wells to write the script Over the Moon, a retelling of the classic Chinese myth. On February 6, 2018, Netflix acquired distribution rights to the film and Glen Keane was set to direct. However, during this, Audrey Wells died in 2018. Animation was provided by Sony Pictures Imageworks while traditional animation is being handled.
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The Fearless Four (German: Die furchtlosen Vier) is a 1997 German animated film about four funny animals that all have one thing in common: they want to sing, but can't for various reasons. It combined traditional animation with computer animation. The film was produced by Munich Animation and released by the German unit of Warner Bros. under the Warner Bros.
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Each film in the Jimmy Timmy Power Hour series combines the 2D hand-drawn traditional animation of the Fairly OddParents and the 3D computer-generated imagery animation of The Adventures of Jimmy Neutron: Boy Genius. This blending of animation techniques was a technical challenge for the studios responsible for both series, according to Keith Alcorn, co-founder of series producer DNA Productions.
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Chartrand utilizes a traditional animation technique known as paint-on-glass animation. It is considered one of the most demanding animation techniques. Chartrand familiarized herself with this technique when directing MacPherson and since mastered. The process involves manipulating wet media on a glass sheet/sheets, that's often placed on a projector for lighting purposes, all under the lens of a camera recording.
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A camera used for shooting traditional animation. See also Aerial image. As the scenes come out of final photography, they are spliced into the Leica reel, taking the place of the pencil animation. Once every sequence in the production has been photographed, the final film is sent for development and processing, while the final music and sound effects are added to the soundtrack.
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The Last Halloween is a Primetime Emmy Award-winning live action-animated Halloween television special produced by Hanna-Barbera. It premiered and first aired on CBS on October 28, 1991. The visual effects and animation were provided by Industrial Light & Magic and Pacific Data Images. It was the only time Hanna-Barbera would use CGI animation instead of traditional animation.
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146—152 She studied music since childhood and dreamed of directing musical films. Her diploma short Automaton (1965) featured stop motion animation, but she switched to traditional animation which allowed for more diversity when choosing music genres. She regularly teamed with the composer Gennady Gladkov, songwriter Yuri Entin and actor/singer Oleg Anofriyev who performed multiple parts using different voices.
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None of these went so far as to have individual titles mapped out. In 2003, Warner Bros. Animation had plans to resume making Looney Tunes shorts, but after the box office failure of Looney Tunes Back in Action, Warner Bros. cancelled several short projects while still in development, as executives thought that interest in slapstick humor and traditional animation was vanishing.
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VirtualMagic Animation, Inc. (previously known as USAnimation, Inc.) was an American traditional animation studio and software development company based out of Los Angeles, California. The studio produced animation for television series and commercials, and provided ink and paint services to animated TV series such as The Ren and Stimpy Show and The Simpsons and films such as We're Back! A Dinosaur's Story.
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Retrieved on September 26, 2008. When asked about Burton's involvement, Selick claimed, "I don't want to take away from Tim, but he was not in San Francisco when we made it. He came up five times over two years, and spent no more than eight or ten days in total." Walt Disney Feature Animation contributed with some second- layering traditional animation.
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The film is set in 17 different locations, with a total of 25 scenes. With just 10 months to create the entire film, the filmmakers could not use stop-motion or any of their traditional animation techniques. They decided instead to primarily make use of puppetry, combined with some stop- motion. Meryl Streep, who voiced Jennie, was not yet cast when shooting had begun.
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An animated film adaptation by Nelvana, Pippi Longstocking, was released in 1997 and was further adapted into an animated television series, Pippi Longstocking also by Nelvana, which aired for one season (1997) on Canada's Teletoon channel and later (1998) on HBO in the United States. Reruns are shown on the Qubo digital subchannel. While the movie used digital inking, the series used the traditional animation process.
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In a year, Ivanov started working as an animator at the State Film Technicum. Together with his fellow students he created some of the first Soviet animated films using home-made tools. Their works were distinguished by cutout animation and unique art style influenced by constructivism. In 1927, Ivanov turned to traditional animation with one of the boldest experiments The Skating Rink directed by Yuri Zhelyabuzhsky.
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It was initially inspired by "The Little Mermaid" by Hans Christian Andersen, though began to take its own form as production continued. Miyazaki aimed for the film to celebrate the innocence and cheerfulness of a child's universe. He intended for it to only use traditional animation, and was intimately involved with the artwork. He preferred to draw the sea and waves himself, as he enjoyed experimenting.
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The show was originally part of the Cartoon Network Shorts Program in 2015, before being greenlit for a series in 2018. Rough Draft Studios handles most of the animation for the series, which is done through traditional animation techniques at the studio in Seoul, South KoreaDynamic Duo Myke Chilian Talks Tig N Seek Debuting on HBO Max July 23. The series premiered on July 23, 2020.
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For Disneyland's 50 Magical Years film featuring Live action Steve Martin interacting with Donald Duck, the hand drawn animation of Donald Duck was cleaned up and colored in Flash. The Drawn Together Movie: The Movie!, a straight-to-DVD feature of the animated series Drawn Together, produced by Comedy Central and released in April 2010, discarded the series' traditional animation and used Flash animation instead.
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Like other traditional animation, Poon's stop-motion animations are very labor- intensive; five seconds of animation require about a day of work. Poon's works draws on the playful happiness of childhood daydreams. Inspired by games she played with her sister in the bath as a child, Poon created her short "Runaway Bathtub." It is in the permanent collection of the New York Museum of Modern Art.
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Brasil: the Dog Adventure (Brasil Animado) is a 2011 Brazilian animated comedy film directed by Mariana Caltabiano. The film is based on As Aventuras de Gui & Estopa, an animated cartoon created by Caltabiano. The movie combines the use of live action and traditional animation, a technique used in films like Who Framed Roger Rabbit and Space Jam. This is the first Brazilian movie completely produced with 3D technology.
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The clips feature a mix of animation media which vary from traditional animation to 3D rendering to cel-shaded animation. The target is to show the Gundams and other mobile suits in high-quality CGI. A total of 15 shorts were released and later compiled in three separate volumes, namely Gundam Evolve ../+ ("Plus"), Gundam Evolve ../Ω ("Omega") and Gundam Evolve ../Α ("Alpha"). Each volume consists of 5 episodes.
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Development and production of the series began concurrently in April 2016. Showrunner Noelle Stevenson initially pitched it to Netflix on the assumption of creating only one season, but in November 2018, she explained that "we now have four arcs of 13 episodes done". She-Ra is created using traditional animation, with the exception of some computer animation for "complicated machinery". The animation is provided by South Korean studio NE4U.
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Le Building uses a combination of 2D and 3D animation. Ramonède colored most of the film's traditional animation and also handled most of its compositing. Le Building screened at numerous international film festivals and won several awards, including Best Undergraduate Animation at the Ottawa International Animation Festival. Ramonède has named Bruce Timm, Jamie Hewlett, Milt Kahl, James Baxter, Robert McGinnis, Mary Blair, and Miroslav Šašek as being among his artistic influences.
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Wizart’s main objective is to develop, produce, and distribute high-quality adventure fantasy comedy family film animated media that combine innovative technologies such as stereoscopy and CGI animation with traditional animation. The stories they main audience is the children and even adults with a family-friendly content. The stories narrate positive themes like believing in miracles and family importance. The company's portfolio contains animation projects at various stages of production.
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While others are private and their animation and VFX are used for educational purposes and produce feature films, their animation is done in flash animation like Jozi Zoo, its production was done by using powerpoint and flash, its technique is poor and lacking any improvement, the reason behind is that South Africa's animation studios don't have the funding for traditional animation, their market was too small to make it viable.
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Animation is a method in which figures are manipulated to appear as moving images. In traditional animation, images are drawn or painted by hand on transparent celluloid sheets to be photographed and exhibited on film. Today, most animations are made with computer-generated imagery (CGI). Computer animation can be very detailed 3D animation, while 2D computer animation can be used for stylistic reasons, low bandwidth or faster real-time renderings.
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Anatoly Petrov showed extreme realism (close to photorealism) without rotoscopy, photography or any "cheating". His style was known as "photographics", or "graphical painting"; for many years he developed the so-called effect of moving glaze in a 3D environment using traditional animation materials. The final result was close to advanced CGI long before it was invented. Among his best works was Polygon (1977) and several films based on Greek mythology.
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Sullivan said that the creation of the short had originated from her enjoyment of viewing cat videos, and Hendrickson stated that the traditional animation had proved to be challenging in the beginning. Critical reception of the short has been generally positive, with critics praising its story, emotional tone, themes, characterization, and animation. The short was nominated for the Academy Award for Best Animated Short Film at the 92nd Academy Awards.
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In practice, computer animation with a relatively two-dimensional appearance, stark outlines and less shading, will generally be considered "traditional animation". For instance, the first feature movie made on computers, without a camera, is The Rescuers Down Under (1990), but its style can hardly be distinguished from cel animation. This article details the history of animation which looks like drawn or painted animation, regardless of the underlying technique.
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The original concept of Disney's Villains' Revenge is credited to Roger Holzberg. It was part a trend of making Disney's pre-1970s animated films relevant since the successful launch of Walt Disney Classics, especially through Disney Villains. The game incorporates full motion video via the DreamFactory engine licensed from Bill Appleton. Traditional animation was outsourced to Karen Johnson Productions, and ink and paint was conducted by Virtual Magic.
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Noggin's logo spots used a wide range of styles, including live-action, stop motion, puppetry, and traditional animation. Until 2019, Noggin's brand was defined by its versatile character logo: the bottom half of a smiling face. The upper half of the logo featured various icons that represented a certain topic or idea that the head was "thinking of" (e.g. a beaker to reflect science, flowers to reflect springtime).
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Hiroyuki Aoyama served as an animation director, while action animation direction was handled by Tatsuzo Nishida. During production, Sadamoto based Wabisuke's design on those of actor Yūsaku Matsuda. Aoyama was responsible for supervising the animation of the real world scenes, while Nishida supervised the animation for the digital world, using both traditional animation and computer animation techniques. Digital animation studio Digital Frontier was responsible for creating the visuals of OZ and its avatars.
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Despite the 1959 layoffs and competition for Walt Disney's attention from the company's grown live-action film, TV, and theme park departments, production continued on feature animation productions at a reduced level.Shostak, Stu (03-28-2012). "Interview with Floyd Norman". Stu's Show. Retrieved June 22, 2014. In 1961, the studio released One Hundred and One Dalmatians, an animated feature which popularized the use of xerography during the process of inking and painting traditional animation cels.
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Before the multiplane camera, animators found it difficult to create a successful tracking shot using traditional animation methods. Furthermore, the act of animating the forward motion was becoming increasingly costly and time-consuming. The multiplane camera answered this problem by creating a realistic sense of three dimensional depth in a cartoon setting. The multiplane camera also made way for new types of special effects in animated films, such as moving water and flickering light.
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Your Friend the Rat is a 2007 animated special film by Pixar. The special takes on the form of an educational film and stars rats Remy and Emile, the main protagonists of Ratatouille, who argue for the reconciliation of humans and rats. They use historical facts presented via various styles of animation. This is Pixar's only special to feature traditional animation; at eleven minutes, it is also the 3rd longest Pixar special to date.
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This is very different from traditional animation software, which requires the use of keyframes to determine the position of an object at any given time. Such software then automatically creates motion to fill the spaces between the keyframes. This makes it easy to know exactly where objects are on the screen at any given time, but it is considerably more difficult to create realistic animations that build up on different, conflicting forces.
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A 2D animation of two circles joined by a chain 2D animation figures are created or edited on the computer using 2D bitmap graphics and 2D vector graphics. This includes automated computerized versions of traditional animation techniques, interpolated morphing, onion skinning and interpolated rotoscoping. 2D animation has many applications, including analog computer animation, Flash animation, and PowerPoint animation. Cinemagraphs are still photographs in the form of an animated GIF file of which part is animated.
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Traditionally animated backgrounds were sketched and painted by Perifel, with assistance from Zaarour, and a computer-animated background was created by Nguyen. Most of the traditional animation was colored by Ramonède, who also held primary responsibility for the compositing. The old woman and the Russian singer are both traditionally animated. The first scene with the old woman was animated by Ramonède, while the final scene with the character was animated by Perifel.
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In 1995, traditional animation artists from Amblimation joined the new studio, which led to DreamWorks buying part of Pacific Data Images, a company specializing in visual effects, and renaming PDI/DreamWorks. Both were software divisions and would merge later on. For then, DreamWorks had the traditional animators working for their animation department, and the computer animators worked on CG films. Amblimation would be shut down in 1997, leading the staff to join DreamWorks Animation.
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Unlike its 2 previous installments, which were all animated in the flash animation format, this film is animated in style of traditional animation. The animation is done by Ánima Estudios in Mexico while additional animation were provided by Toon City in the Philippines, Mighty in Mexico, and TeamApp.Credited in the "Additional Animation Services" section of the end credits. Director Alberto Rodríguez stated that the animation process was one of the challenges in the film.
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Past group exhibitions include One Man Show, an exhibition curated by Isabelle Woodley in Cooper Union's Great Hall Gallery, and Mentors, at the Visual Arts Gallery. Gigi Chen was born in China and raised in New York, where she attended Fiorello H. LaGuardia high school, and studied fine arts techniques. From there, she went on to the School of Visual Arts, majoring in Traditional Animation. Gigi sold her first piece during the Artstar show.
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Receiving little attention outside Japan, the films are remembered mainly for their special effects, which include a lot of puppetry, suitmation, and even traditional animation. The films made use of yōkai ("strange apparition"), based on traditional illustrations from Japanese folklore. The puppet used for the Kasa-obake in particular has become a recognizable rendering of the creature. In 2005, Takashi Miike directed a remake of Yokai Monsters: Spook Warfare titled The Great Yokai War.
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Stan Liu (head and founder of Kronos) said "we got stuck doing fighting games for a while simply because we were one of the very few U.S. game developers that actually made a fighting game. Hence, Dark Rift and Cardinal Syn." Unlike its predecessor Criticom, motion capture was used to create all the fighter animations in Dark Rift. The animation work was directed by Ted Warnock, whose background was in traditional animation.
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This new unit would produce computer- generated feature films, beginning with Antz in 1998. In the same year, DreamWorks SKG produced The Prince of Egypt, which used both CGI technology and traditional animation techniques. In 1997, DreamWorks partnered with Aardman Animations, a British stop-motion animation studio, to co-produce and distribute Chicken Run (2000), a stop-motion film already in pre-production. Two years later they extended the deal for an additional four films.
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Keyframing puts control in the hands of the animator and has roots in hand-drawn traditional animation. In contrast, a newer method called motion capture makes use of live action footage. When computer animation is driven by motion capture, a real performer acts out the scene as if they were the character to be animated. His/her motion is recorded to a computer using video cameras and markers and that performance is then applied to the animated character.
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Production rose in the following years, and in 2000 four films competed for the Goya Award for the first time. The Living Forest (2001) was the first widely distributed CGI feature, but most films were made in traditional animation for the first half of the decade. While most of them were influenced by American animation, Gisaku (Baltasar Pedrosa, 2005) was branded as the first Spanish anime featureDiario ABC and released at nearly the same time in Japan and Spain.
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The film featured a combination of traditional animation, motion capture, and CGI to explain the origins behind some of the movie's main characters, as well as a fifteen-minute behind-the- scenes documentary of the theatrical release. Trailers of the film were seen on the promotional screener VHS copy, and on other VHS releases from Turner Home Entertainment and New Line Home Video. The film was included on the Mortal Kombat Blu-ray released in April 2011.
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Rotoscoping is a method of traditional animation invented by Max Fleischer in 1915, in which animation is "traced" over actual film footage of actors and scenery. Traditionally, the live-action will be printed out frame by frame and registered. Another piece of paper is then placed over the live-action printouts and the action is traced frame by frame using a lightbox. The end result still looks hand-drawn but the motion will be remarkably lifelike.
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Once the animatic is finally approved by the director, animation begins. In the traditional animation process, animators will begin by drawing sequences of animation on sheets of transparent paper perforated to fit the peg bars in their desks, often using colored pencils, one picture or "frame" at a time. A peg bar is an animation tool used in traditional (cel) animation to keep the drawings in place. The pins in the peg bar match the holes in the paper.
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YukiClip2A The popularity of using animations to help learners understand and remember information has greatly increased since the advent of powerful graphics- oriented computers. This technology allows animations to be produced much more easily and cheaply than in former years. Previously, traditional animation required specialised labour-intensive techniques that were both time-consuming and expensive. In contrast, software is now available that makes it possible for individual educators to author their own animations without the need for specialist expertise.
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In 1994, Steve teamed with executive producer John Delmage. The resulting Freaky Stories pilot premiered during YTV's "Dark Night 3" Halloween block on October 28, 1995, and the series itself premiered as a one-hour special as part of "Dark Night 5" on October 24, 1997. While most episodes were finished on digibeta, the pilot was shot on film using traditional animation techniques but completed on video. The subsequent series was digitally inked, painted and composited.
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SMARTNEWS Keeping you current Russia Has Its Own Classic Version of an Animated Winnie-the-Pooh Roman Kachanov made numerous films for children. He started with puppet animation such as A Little Frog Is looking for His Father, The Mitten and, most famously, the Cheburashka series that turned Cheburashka into one of the iconic characters of Soyuzmultfilm. In his late years he switched to traditional animation with the feature science fiction film The Mystery of the Third Planet (1981).
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"The instruction by the executive production was to make these Mexican characters[,] but also have comedy[.] [...T]he fun thing about doing this was that we did it as a team and we were all on the same channel.". This is the first feature project Núñez has worked on, and with Ánima Estudios. Prior to the film, he worked traditional animation projects in 1996 before studying at Escuela Nacional de Artes Plásticas (now Faculty of Arts and Design).
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Also in season 10, the show's animation made the transition from traditional animation to Flash animation. The animation for season ten was done by Elliot Animation Studios in Canada, whereas all of the prior seasons were animated by Yeson Animation Studios in South Korea. Sparky was completely absent from season ten, with no in-universe explanation for his disappearance. Poof was absent throughout most of season 10 as well, but returned in the episode "Certifiable Super Sitter".
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"Market Forces" was written by Andrew Robinson and directed by Dan Fausett. Though the show is done in the style of traditional animation, computer-generated imagery was used to produce the green sonic beams made by Shocker. In the original comic book publications, Shocker's secret identity was a man named Herman Schultz. For The Spectacular Spider-Man, they changed his identity to that of Enforcer Montana, who had, in the comics, been a prominent character already.
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Carmen Sandiego has always been created through animation techniques in most of the games, either with various forms of computer graphics or traditional animation. The Time game show is the only time the character has officially been portrayed in live action, aside from photographs in early game manuals. Carmen Sandiego's voice was heard for the first time on Where in the World Is Carmen Sandiego? Deluxe Edition during her trial after she is captured by the player.
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The adaptation is mostly faithful, although the Seven Crystal Balls portion of the story was heavily condensed. Tintin and the Lake of Sharks () (1972), the second traditional animation Tintin film and the last Tintin release for nearly 40 years, it was based on an original script by Greg and directed by Raymond Leblanc. Belvision's second feature takes Tintin to Syldavia to outwit his old foe Rastapopoulos. While the look of the film is richer, the story is less convincing.
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The film featured a combination of traditional animation, motion capture, and CGI to explain the origins behind some of the movie's main characters, as well as a fifteen-minute behind-the-scenes documentary of the theatrical release. Trailers of the film were seen on the promotional screener VHS copy, and on other VHS releases from Turner Home Entertainment and New Line Home Video. The film was included on the Mortal Kombat Blu-ray released in April 2011.
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Modern animation of the United States from the late 1980s to late 1990s is referred to as the "renaissance age of American animation". During this period, many large American entertainment companies reformed and reinvigorated their animation departments following a general decline during the 1960s to 1980s. The United States has had a profound effect on animation worldwide. Since the 2000s traditional animation would lose interest against digital and Flash animation, naming this current period as the "millennium age of American animation".
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Dog. Painting by Norman Leto Norman Leto (born August 23, 1980, Bochnia, Poland), birth name Łukasz Banach,Norman Leto at filmpolski.pl is a Polish artist, self-educated in the fields of painting, film, and new media. In 1989, at the age of nine, Banach started to use the computer as a digital drawing tool. At the age of fourteen (1994) he created his first moving pictures using 16-bit computers while also developing "analog" skills with drawing, painting, and traditional animation techniques.
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The Necktie () is a 2008 animated short by Jean-François Lévesque about a man with a dreary job who rediscovers his old accordion at age 40, and with it, his joy for life. The film uses a variety of animation techniques. The central character is a puppet filmed in stop-motion, inside miniature sets. His co- workers are animated with traditional animation drawings on paper, digitally integrated into shots but designed to give the appearance of being 2D cardboard cutouts.
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Each new segment was produced by combining traditional animation with computer-generated imagery. Fantasia 2000 premiered on December 17, 1999 at Carnegie Hall in New York City as part of a concert tour that also visited London, Paris, Tokyo, and Pasadena, California. The film was then released in 75 IMAX theaters worldwide from January 1 to April 30, 2000, marking the first animated feature-length film to be released in the format. Its general release in regular theaters followed on June 16, 2000.
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Choreographed sword fights rendered with 3D animation were rare at that time, and Sato felt this would help distinguish the show. The use of theatrical elements and movie shooting techniques in its presentation sets Karas apart from its contemporaries. Producer Kenji Nakamura felt the team's lack of experience in this area pushed them to ignore their previous animation work experience and break free of restrictions influenced by traditional animation production.Karas Vol. 2 (説二), Staff Interview — 02 Kenji Nakamura, p.
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The production process and visual style of CGI lends itself perfectly for 3D-viewing, much more than traditional animation styles and methods. However, many traditionally animated films can be very effective in 3D. Disney successfully released a 3D version of The Lion King in 2011, followed by Beauty and the Beast in 2012. A planned 3D version of The Little Mermaid was cancelled when Beauty and the Beast and two 3D-converted Pixar titles were not successful enough at the box office.
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"The First Frames of Anime". The Roots of Japanese Anime, official booklet, DVD. As cutouts often have been hand-drawn and some productions combine several animation techniques, cutout animation can sometimes look very similar to hand-drawn traditional animation. While sometimes used as a simple and cheap animation method in children's programs (for instance in Ivor the Engine), cutout animation has remained a relatively artistic and experimental medium in the hands of for instance Harry Everett Smith, Terry Gilliam and Jim Blashfield.
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Pose to pose is a term used in animation, for creating key poses for characters and then inbetweening them in intermediate frames to make the character appear to move from one pose to the next. Pose-to-pose is used in traditional animation as well as computer-based 3D animation. The opposite concept is straight ahead animation, where the poses of a scene are not planned, which results in more loose and free animation, though with less control over the animation's timing.
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In one of his last publications he expressed a lot of enthusiasm regarding the possibilities of computer animation which he predicted to be the future of animation. His last project Assol (1982) based on the Scarlet Sails novel by Alexander Grin was also his first feature. Once again he decided to combine live action with traditional animation. Only this time he wanted to "approach from the other end... to transform a live actor into an animated figure using the achievements of modern photography".
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Horror News. October 2009. > There are lots of reasons [Godkiller was made as an illustrated film], but I > think the most important one was really being inspired by Anna Muckcracker's > gorgeous artwork. Brian Giberson (my partner at Halo-8) and I had been > experimenting with the illustrated film format for a while, but we might > still have gone with traditional animation for Godkiller since it's really > risky to experiment with a crazy story and a new filmmaking format at the > same time.
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Clean-up is a part of the workflow in the production of hand-drawn animation. In traditional animation, the first drawings are called "roughs" or "rough animation" because they are often done in a very loose fashion. If the animation is successfully pencil tested and approved by the director, clean versions of the drawings have to be done. In larger studios this task is given to the animator's assistant, or, in a more specialised setting, to a clean-up- artist.
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The Jimmy Timmy Power Hour is a television crossover film trilogy set between the universes of the animated television series The Adventures of Jimmy Neutron, Boy Genius and The Fairly OddParents. The saga consists of the three films The Jimmy Timmy Power Hour, The Jimmy Timmy Power Hour 2: When Nerds Collide, and The Jimmy Timmy Power Hour 3: The Jerkinators. The films premiered on Nickelodeon between 2004 and 2006, and were subsequently released to home video. The specials combines with traditional animation and CGI.
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Key- framing and tweening are also carried out in computer-generated animation but so are many techniques unrelated to traditional animation. Animators can break physical laws by using mathematical algorithms to cheat mass, force and gravity rulings. Fundamentally, time scale and quality could be said to be a preferred way to produce animation as they are major aspects enhanced by using computer-generated animation. Another positive aspect of CGA is the fact one can create a flock of creatures to act independently when created as a group.
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Development of Toy Story Animated Storybook was handled by the film's production company, Pixar, rather than an outsourced developer. While the majority of the storybooks feature a traditional animation style, Toy Story uses CGI graphics to simulate the film's visuals. 80 percent of the artwork Pixar created for the game was new. The Interactive Products Group (also known as the Pixar Interactive Division), a Pixar subsidiary, was founded in 1996. Its staff included 95 of Pixar's 300 and was headed by Vice President Interactive Products Pam Kerwin.
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The Hubba Bubba brand was discontinued in the U.S. in the early 1990s, but returned in 2004. In the United States, commercials are animated at Aardman in the same stop- motion style used in Wallace and Gromit, the Chevron commercials and Chicken Run. In Canada, commercials are animated in 2D traditional animation by Chuck Gammage Animation and use a duo of cartoon characters named Hubba (purple) and Bubba (pink). It was also used in the closing credits sequence on the popular YTV game show Uh Oh!.
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The critical reception to A Jewish Girl in Shanghai has been generally positive. The film was nominated for the Jewish Experience Award at the Jerusalem Film Festival, becoming the first Chinese film nominated for that award. At the China International Animation and Digital Arts Festival in Changzhou, Jiangsu, China, the film received the Golden Cartoon Award Best Chinese Film Prize. The film's animation has been widely praised, being described as "beautifully drawn" with "breathtaking traditional animation" and as being "artfully created with traditional animated imagery".
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Bird found working with CG "wonderfully malleable" in a way that traditional animation is not, calling the camera's ability to easily switch angles in a given scene "marvelously adaptable." He found working in computer animation "difficult" in a different way than working traditionally, finding the software "sophisticated and not particularly friendly." Bird wrote the script without knowing the limitations or concerns that went hand-in-hand with the medium of computer animation. As a result, this was to be the most complex film yet for Pixar.
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An exposure sheet (also referred to as camera instruction sheet, dope sheet or X-sheet) is a traditional animation tool that allows an animator to organize their thinking and give instructions to the camera operator on how the animation is to be shot. It consists of five sections, and is a bit longer and a bit narrower, than A4. Every eighth line down is marked thicker than the rest and shows half a foot of film. One second of animation would take three of these sections.
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"Market Forces" is the fourth episode of the animated television series The Spectacular Spider-Man, which is based on the comic book character Spider-Man, created by Stan Lee and Steve Ditko. In the episode, Spider-Man is hunted by Shocker, whose suit allows him to fire intense sonic blasts. "Market Forces" was written by Andrew Robinson and directed by Dan Fausett. It incorporated computer-generated imagery in the sonic blasts used by Shocker, which mixed in with the other, traditional animation style used in the show.
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Valkyria Chronicles made use of a proprietary game engine dubbed CANVAS, which produced stylised graphics modelled on watercolor paintings. Nonaka wanted to blend traditional animation style with CGI elements, something he had previously experienced with the "Neo-CGI" used in Sakura Wars 3: Is Paris Burning?. CANVAS came about from experiments within another of Sega's R&D; department with next-generation engine technology. Its graphical style, which allowed for the emulation of hand-drawn artwork, was picked by staff once the game was moved to the PS3.
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The theme song can be found on Yankovic's album Running with Scissors (1999) as "The Weird Al Show Theme". It tells the story of how Al came to live in a tree and get a television show, including references to the fabricated life story in The Compleat Al, such as having worked in a nasal decongestant factory. Also referenced is playing on the company bowling team, which may be a reference to "Generic Blues". The visuals for the show's theme are done in three different styles - traditional animation, 3D computer animation, and claymation.
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Walt Disney Studios Paris, the company's small Parisian production department, was brought on board to complete the project. The short was produced by Baker Bloodworth and directed by French animator Dominique Monféry in his first directorial role. A team of approximately 25 animators deciphered Dalí and Hench's cryptic storyboards (with a little help from the journals of Dalí's wife Gala Dalí and guidance from Hench himself), and finished Destinos production. The end result is mostly traditional animation, including Hench's original footage, but it also contains some computer animation.
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On December 3, 2010, Aardman Animations originally started the development for the show for Disney. The series is Aardman's first series to use traditional animation. The development was in co-production with Wildseed Studios to complete the development for the project together while Atomic Cartoons was hired to serve animation production and Tricon Films & Television committed to distribute the series until Sonar Entertainment had taken over its distribution. The designs for the show were provided by Antoine Birot and Raphael Chabassol based on original designs by Nick Edwards.
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The films ran the gamut of cinematography, from live action ("Good Morning Kaia") to computer generated animation ("1.618") and traditional animation ("The Internal Locus"). Several videos feature mathematical animations; most notably the fractals in "The Antikythera Mechanism" and use of the golden ratio throughout "1.618". "Good Morning Kaia" consists entirely of footage shot by Transeau of himself and his daughter, at home and on vacation, while a personal message from Transeau to Kaia scrolls across the screen. "1.618" was included as one of the default music videos on the Zune digital media player.
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This is the second of the six package films released by Walt Disney Productions in the 1940s, following Saludos Amigos (1942). It was also the first feature-length film to incorporate traditional animation with live- action actors. The film is plotted as a series of self-contained segments, strung together by the device of Donald Duck opening birthday gifts from his Latin American friends. Several Latin American stars of the period appear, including singers Aurora Miranda (sister of Carmen Miranda) and Dora Luz, as well as singer and dancer Carmen Molina.
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Clay animation or claymation, sometimes plasticine animation, is one of many forms of stop-motion animation. Each animated piece, either character or background, is "deformable"--made of a malleable substance, usually plasticine clay. Characters in the animated series From Ilich to Kuzmich A clay animation scene from a Finnish TV advertisement"Case study: Chicken in Clay" (1997). Traditional animation, from cel animation to stop motion, is produced by recording each frame, or still picture, on film or digital media and then playing the recorded frames back in rapid succession before the viewer.
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Spielberg became busy establishing DreamWorks, while Frank Marshall and Kathleen Kennedy decided to remain as producers. Test footage for Who Discovered Roger Rabbit was shot sometime in 1998 at the Disney animation unit in Lake Buena Vista, Florida; the results were a mix of CGI, traditional animation, and live-action that did not please Disney. A second test had the toons completely converted to CGI; but this was dropped as the film's projected budget would escalate past $100 million. Eisner felt it was best to cancel the film.
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The multiplane process is a technique primarily used to give a sense of depth or parallax to two- dimensional animated films. To use this technique in traditional animation, the artwork is painted or placed onto separate layers called planes. These planes, typically constructed of panes of transparent glass or plexiglass, are then aligned and placed with specific distances between each plane. The order in which the planes are placed, and the distance between them, is determined by what element of the scene is on the pane as well as the entire scene’s intended depth.
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Although Ramonède was inspired by Toy Story to pursue a career in computer animation, he changed course to pursue traditional animation after applying to Gobelins, l'École de l'image. He attended there from 2002 to 2005. In 2004, he created the short student film Récré Fighter, and collaborated with classmates Pierre Perifel, Jun Frederic Violet, and Rémi Zaarour on a second short film, Festival Qualité. The following year, he reteamed with Perifel and Zaarour to create his group thesis film, Le Building, which was also co-directed by Marco Nguyen and Olivier Staphylas.
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The video ends with Björk's face slowly fading into the middle of a glade, her eyes being opened just as she sings the last lyric. Ocelot stated that Björk had originally wanted Kirikou to be featured as a 20-year-old in the video. It was accomplished within strict time constraints through a combination of live-action, silhouette animation, 3D computer graphics, traditional animation, cut-outs and other special effects. "Kirikou" was danced by Legrand Bemba-Debert in a costume made, based on Ocelot's ideas, by paper sculptor Anne-Lise Kœhler.
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This Mexican-American animated adventure film uses both traditional animation and computer animation, produced by Santo Domingo Animation and directed by Benito Fernández, his directorial debut. The pre- production work was done in Toon Boom Storyboard Pro (animatics and storyboards). The post-production was done in Adobe After Effects (compositing and visual effects), Adobe Photoshop (background art), Autodesk Maya (computer animation), DigiCel FlipBook (rough animation), Pencil and Paper (hand drawn animation) and Toon Boom Harmony (digital ink-and-paint) to uses of hybrid of 2D animation and 3D animation.
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Parallax scrolling is a technique in computer graphics where background images move past the camera more slowly than foreground images, creating an illusion of depth in a 2D scene and adding to the sense of immersion in the virtual experience. The technique grew out of the multiplane camera technique used in traditional animation since the 1930s. Parallax scrolling was popularized in 2D computer graphics and video games by the arcade games Moon Patrol and Jungle Hunt, both released in 1982. Some parallax scrolling had earlier been used by the 1981 arcade game Jump Bug.
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After Tron was finished, Kroyer decided to stay with computer animation instead of traditional animation and worked at Robert Abel and Associates and Digital Productions. In 1986, he and his wife, Sue, started Kroyer Films to combine computer animation with hand-drawn animation. They made a short film titled Technological Threat; it was nominated for an Academy Award in 1988 and preserved by the Academy Film Archive in 2008. After Technological Threat was finished, Kroyer decided to stay with computer animation films for films such as Jetsons: The Movie and Rugrats in Paris: The Movie.
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Goliath II is a 1960 American short animated comedy film produced by Walt Disney Productions. Directed by Wolfgang Reitherman and written by Bill Peet, it is narrated by Sterling Holloway and stars Kevin Corcoran. It was released theatrically in the United States on January 21, 1960 alongside the live- action Toby Tyler (also starring Corcoran). The short was the first Disney short cartoon to make full use of xerography, a process of using Xerox technology to transfer animation drawings to cels as part of the traditional animation process instead of utilizing hand-inking.
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Raining Cats and Frogs (French: ''''', literally "The Prophecy of Frogs") is a French traditional animation children's feature film, released in 2003, directed by Jacques-Rémy Girerd and written by Girerd, Antoine Lanciaux and Iouri Tcherenkov at the animation studio Folimage. It is the first feature produced by Folimage and is distributed internationally by Universal Pictures. The movie is loosely based on the story of Noah's Ark. It is about a group of frogs who predict an imminent disaster where it will rain for forty days and forty nights.
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After studying art and animation in Romania and the US, he worked as an animator for Disney until 1979. He then moved to Williams Electronics to create the artwork for Joust, taking a 50% pay cut in the process because he believed video games had more potential than traditional animation. He continued to work for Williams (and, later, Midway Games after it merged with Williams) for 15 years until 1994, when his most ambitious project, The Pinball Circus, was discontinued. In 1994 he left Williams for Capcom and designed Flipper Football.
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The fourth season consisted of one 2AJNxx holdover episode while the remaining episodes of the season were from 3AJNxx production line. In this season, production switched from traditional animation, used during the first three seasons, to Flash animation. Because of the 2007–2008 Writers Guild of America strike, there was a shortage of episodes this season. Much like Family Guy, the episodes that were shown during the WGA strike were done so without permission from Seth MacFarlane, since MacFarlane showed support for the writers by not finishing any planned episodes until the strike ended.
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The series used traditional animation techniques and adhered closely to the original books, going so far as to transpose some frames from the original books directly to screen. In the episodes "Destination Moon" and "Explorers on the Moon", 3D animation was used for the moon rocket—an unusual step in 1989. Each frame of the animation was then printed and recopied onto celluloid, hand painted in gouache, and then laid onto a painted background. The rocket seen in the title sequence is animated using the same 3D techniques.
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Mike Henry wrote the episode. The episode was written by main cast member Mike Henry, who provides the voice for the Family Guy character Cleveland Brown, among others, and it was directed by series regular Greg Colton. In animating the Cripple-Tron sequence, Colton largely utilized computer technology to create the sequence, in addition to traditional animation and computer-generated imagery. "No Meals on Wheels", along with the four other episodes from Family Guys fifth season, were released on a three- disc DVD set in the United States on October 21, 2008.
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The French artist Émile Cohl created the first animated film using what came to be known as traditional animation methods: the 1908 Fantasmagorie. The film largely consisted of a stick figure moving about and encountering all manner of morphing objects, such as a wine bottle that transforms into a flower. There were also sections of live action where the animator's hands would enter the scene. The film was created by drawing each frame on paper and then shooting each frame onto negative film, which gave the picture a blackboard look.
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The creation of virtual worlds allows real-time animation in virtual reality, a medium that has been experimented with since 1962 and started to see commercial entertainment applications in the 1990s. In the first decades of the 21st century computer animation techniques slowly became much more common than traditional cel animation. To recreate the much-appreciated look of traditional animation for 3D animated techniques, cel-shading techniques were developed. True real-time cel-shading was first introduced in 2000 by Sega's Jet Set Radio for their Dreamcast console.
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Miyazaki began work on the initial storyboards for Princess Mononoke in August 1994, based on preliminary thoughts and sketches from the late 1970s. While experiencing writer's block during production, Miyazaki accepted a request for the creation of On Your Mark, a music video for the song of the same name by Chage and Aska. In the production of the video, Miyazaki experimented with computer animation to supplement traditional animation, a technique he would soon revisit for Princess Mononoke. On Your Mark premiered as a short before Whisper of the Heart.
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Smoodin also states that, in the way it has been viewed as bringing together traditional fairy tales and feminism as well as computer and traditional animation, the film's "greatness could be proved in terms of technology narrative or even politics".Smoodin (1993), p. 190. Animation legend Chuck Jones praised the film, in a 1992 guest appearance on Later with Bob Costas he claimed he "Loved it. I think it should have won [Best Picture] … I think the animation on the beast is one of the greatest pieces of animation I've seen".
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In 1982, the Pinis announced in Elfquest that talks had been initiated by Nelvana to produce an animated film based on the story, which was contemplated to open after issue #20's anticipated release in late 1984. While described as being in the "very early planning stages", nothing further was ever mentioned about this project. In 2008, Warner Brothers announced its intention to bring the Elfquest saga to the big screen, with Rawson Thurber serving as writer and director. The format (live action, CGI, or traditional animation) is yet unknown.
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Genre is a 1996 Live-action/animated short film by animator Don Hertzfeldt, his second student film, preceded by Ah, L'Amour (1995). The 16mm short combines traditional animation, pixilation, and stop-motion animation to present a cartoon rabbit careening through a variety of rapidly changing film genres as his animator struggles to come up with a good idea. The short is Hertzfeldt's least favorite of his work, but it nevertheless was an animation festival hit that went on to receive 17 awards. In 1997, it was shown on an episode of MTV's Cartoon Sushi.
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The term virtual band was popularised with Gorillaz in 2000, though the concept of the virtual band was first demonstrated by Alvin and the Chipmunks in 1958, when their creator, Ross Bagdasarian, accelerated recordings of his own voice to achieve the 'chipmunk voice'. There have since been numerous virtual bands that have recorded material. Computer animation, traditional animation, and vocal mixing and manipulation are common features. The term virtual idol originates from Japan, where it dates back to the 1980s and has roots in anime and Japanese idol culture.
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The style of animation used for depicting the characters varies. Some groups, like The Archies, Gorillaz, Dethklok, The Banana Splits, One-T and Alvin and the Chipmunks, are hand-drawn characters, and much of their media uses traditional animation and cartooning techniques. Others, such as Hatsune Miku, JuJu Eyeballs, Crazy Frog, Genki Rockets, Gummib%C3%A4r, Pinocchio and The Bots, are computer-generated. Some people consider puppetry as a form of animation; this consideration means groups like Dr. Teeth and the Electric Mayhem, can be considered virtual bands.
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Family Guy seventh season first aired on the Fox network in sixteen episodes from September 28, 2008 to May 17, 2009 before being released as two DVD box sets and syndicated. The animated television series follows the dysfunctional Griffin family (father Peter, mother Lois, daughter Meg, son Chris, baby Stewie and their anthropomorphic dog Brian), who reside in the town of Quahog. The show features the voices of series creator Seth MacFarlane, Alex Borstein, Seth Green, and Mila Kunis in the roles of the Griffin family. This was the last season to use traditional animation.
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Pegs'n Co was a French software company that developed a traditional animation software package called Pegs, and is now part of Canadian company Toon Boom Animation. It was based in Paris, France. Pegs was used for several animated feature films, shorts, and television series, and it powered the French animation industry until the 2000s as it was used by studios like Millimages, Alphanim, and Animage, but it was also used by studios in other countries, most notably Saerom Animation, CineGroupe, and Mike Young Productions. In total, Pegs was used by over 100 studios worldwide.
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The film was inspired by the ongoing conflicts in the Middle East, highlighting the impact on people who are merely seeking a better life. The project first came to life after Al-Wazzan started to experiment with a different form of animation that employed a combination of stop-motion, computer generated animation, claymation and traditional animation. The filmmaker single-handedly animated the entire film, built and painted hundreds of models, puppets and backgrounds in a span of three years in order to achieve a distinct world for the film.
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The CGI character was built around Serkis's facial features, voice, and acting choices, and is depicted naked but for a loincloth. Serkis based the iconic "gollum" throat noise on the sound of his cat coughing up hairballs. Using a digital puppet created by Jason Schleifer and Bay Raitt at Weta Digital, animators created Gollum's performance using a mixture of motion capture data recorded from Serkis and the traditional animation process of key frame, along with the laborious process of digitally rotoscoping Serkis's image and replacing it with the digital Gollum's in a technique coined rotoanimation.
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Their stop-motion Animagic productions were headed by Japanese stop-motion animator Tadahito Mochinaga at his studio, MOM Production. Nearly all of the Rankin/Bass' traditional animation was outsourced to at least five Japanese animation companies: MOM Production, Toei Animation, TCJ (Television Corporation of Japan), Mushi Production and Topcraft. Hanna-Barbera was another early example of animation outsourcing; In 1978, Taiwan's Wang Film Productions (originally known as Cuckoo's Nest Studio) was founded as an overseas facility for the studio. In 1988, Hanna-Barbera also started a subsidiary in the Philippines, Fil- Cartoons.
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The animations for Rumble Roses XX were created with a mixture of traditional animation and motion-capture. In an interview for Kotaku at the 2005 Tokyo Game Show, producer Akari Uchida said, "For this game, we've done a lot of motion capture and rendered individual motions for every character. No two characters will be moving the same way." Uchida also said that "we wanted to do a game for the first Xbox", but the decision was made to develop for the 360 upon learning of its superior technical abilities.
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The music was composed by Kow Otani, but was replaced with an original soundtrack in the English version. Although the series employs mostly traditional animation it uses CGI for the Guardians. Deltora Quest was originally licensed in North America by Geneon as one of their final licenses, but shut down before doing anything with the series. The series was then rescued by Dentsu's newly established North American branch, and they produced an English version of the series in association with Ocean Productions in Vancouver, British Columbia and recorded at their Calgary-based Blue Water Studios.
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This was further enhanced with additional functionality, such as digital video, and then became dubbed the "Antics Classic++". The first version of "Antics Classic++" for Windows was launched for free-trial download in 2010, and further updates continued to complete it for the Summer 2011 Edition. Subsequently, Antics continues to be developed, with additional updates issued periodically, taking it to new functionality beyond the original Antics 'Classic' concepts. However, the essential Antics principles have always remained the same, animation = drawings + movements, and are related to traditional animation techniques.
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Fish Heads Fugue and Other Tales for Twilight is a 2005 mixed-media animated short film directed by Lauren Indovina and Lindsey Mayer-Beug while they were attending Rhode Island School of Design. The story depicts a mechanical puppet theater, in which a series of dark and esoteric scenes are displayed. Traditional animation, cut-out animation, computer animation, and puppetry are all used. Critical reception has been favorable, and the film has received accolades from several noted commentators who have singled it out for its juxtaposition of music and evocative visual design.
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Clicker Clatter poster In addition to his scientific skepticism work, Radford has written and directed several animated short films. In Sirens (2009), "A young boy in a small-town library avoids his math homework and is instead drawn into the world of the mythological Sirens, beautiful women who lured sailors to their doom." Both films screened at film festivals around the world, and Clicker Clatter won the “Best Traditional Animation” award at the 2007 California International Animation Festival. Clicker Clatter has an online distributor and can be seen at SnagFilms.com.
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Katsudō Shashin Katsudō Shashin consists of a series of cartoon images on fifty frames of a celluloid strip and lasts three seconds at sixteen frames per second. It depicts a young boy in a sailor suit who writes the kanji characters "" (katsudō shashin, "moving picture") from right to left, then turns to the viewer, removes his hat, and bows. Katsudō Shashin is a provisional title for the film, whose actual title is unknown. Unlike in traditional animation, the frames were not produced by photographing the images, but rather were impressed onto film using a stencil.
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Nitsche and Lowood describe two methods of approaching machinima: starting from a video game and seeking a medium for expression or for documenting gameplay ("inside-out"), and starting outside a game and using it merely as animation tool ("outside- in").; Kelland, Morris, and Lloyd similarly distinguish between works that retain noticeable connections to games, and those closer to traditional animation. Belonging to the former category, gameplay and stunt machinima began in 1997 with Quake done Quick. Although not the first speedrunners, its creators used external software to manipulate camera positions after recording, which, according to Lowood, elevated speedrunning "from cyberathleticism to making movies".
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One of the songs, "This Only Happens in the Movies", was recorded in 2008 on the debut album of Broadway actress Kerry Butler. Eric Goldberg was set to be the new animation director, and began to redesign Roger's new character appearance. Spielberg became busy establishing DreamWorks, while Frank Marshall and Kathleen Kennedy decided to remain as producers. Test footage for Who Discovered Roger Rabbit was shot sometime in 1998 at the Disney animation unit in Lake Buena Vista, Florida; the results were a mix of CGI, traditional animation, and live-action that did not please Disney.
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Technological Threat is a 1988 American animated short made by Brian Jennings and Bill Kroyer and was produced by Kroyer Films. It was an example of early computer animation, integrated with traditional animation, and is itself an allegory for the threat computer animation represented to traditional animators at the time. The robots and backgrounds were drawn based on computer-generated 3D models,The film's credits explain that the robotic "Dweeb", the "Blocky Boss", and all backgrounds were rendered on a Silicon Graphics IRIS 3120 workstation and Softimage Creative Environment. while the dogs and wolves were drawn by hand.
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The studio also pioneered the art of storyboarding, which is now a standard technique used in both animated and live-action filmmaking. The studio's catalog of animated features is among Disney's most notable assets, with the stars of its animated shorts – Mickey Mouse, Minnie Mouse, Donald Duck, Daisy Duck, Goofy and Pluto – becoming recognizable figures in popular culture and mascots for The Walt Disney Company as a whole. Walt Disney Animation Studios is currently managed by Jennifer Lee (Chief Creative Officer) and Clark Spencer (President), and continues to produce films using both traditional animation and computer-generated imagery (CGI).
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Walt Disney Studios The multiplane camera is a motion-picture camera used in the traditional animation process that moves a number of pieces of artwork past the camera at various speeds and at various distances from one another. This creates a sense of parallax or depth. Various parts of the artwork layers are left transparent to allow other layers to be seen behind them. The movements are calculated and photographed frame by frame, with the result being an illusion of depth by having several layers of artwork moving at different speeds: the further away from the camera, the slower the speed.
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Mermaid was a huge critical and commercial success, won two Academy Awards for its song score, and became the first of a series of highly successful new Disney animated features. The studio invested heavily in new technology, creating the Computer Animation Production System to be used in tandem with traditional animation techniques. The first film to use this technology, The Rescuers Down Under, only grossed $27,931,461 ($ in today's dollars), not even equalling the take of the original 1977 film. However, the films that followed it, Beauty and the Beast and Aladdin, won rave reviews, received multiple Oscars, and topped the box office charts.
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Some of the most ambitious projects in more recent years were produced just in Spain with the backing of television networks, such as Mediaset in Lightbox Entertainment's Tad, the Lost Explorer (2012) and Capture the Flag (2015). Meanwhile live-action directors Juan José Campanella and Javier Fesser entered the CGI animation field with Underdogs (2013) and Mortadelo and Filemon: Mission Implausible (2014) respectively. Traditional animation is still used in adult projects. Chico and Rita (Fernando Trueba, 2010) won the European Award and was nominated for the Academy Award, while Wrinkles (Ignacio Ferreras, 2011) was nominated for the European Award and the Annie Award.
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Weidenfeld's first responsibility was to find talent, particularly developers outside the traditional animation pipelines, who could help the company grow beyond animation into live action. In seven years there, Weidenfeld developed, among others, Robot Chicken, the Peabody Award-winning animated series The Boondocks, Delocated, and Childrens Hospital, in addition to providing the voice of Peanut Cop in 12 oz. Mouse. For Childrens Hospital, he would win producing Emmy Awards in 2012 and 2013. In June 2008, he married Amantha Starr Walden, a music executive at Adult Swim and daughter of the late record label executive Phil Walden.
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The films' past characters, including Don Andrés and Xochitl, were left absent, while Fernando "Nando" San Juan, Leo's older brother from Nahuala, makes a return to the franchise. The film also uses traditional animation, which is the first time since Nahuala and the first during the Ánima Estudios era. In another series first, the film was released in the United States on 14 October 2016, one week prior to its release in Mexico. Distributed by Pantelion Films, a major American film distributor for Latin American-themed films, the film was shown in the original Spanish-language format with English subtitles.
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The game sprites were pencil-drawn on paper and also scanned, and then edited and colored digitally, not unlike the traditional animation process in animated feature films of the era. Of the 70 characters that appear in the game, some are more realistic and human-like (like the protagonists) and others more cartoony. According to lead animator (and character designer) Marc Hudgins, it was the first time when the art department had to use outside (Russian and Croatian) animation houses. Part of the challenge had to do with the fact that the animators had no experience in computer game animation.
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The spread and development of multiplane animation helped animators tackle problems with motion tracking and scene depth, and reduced production times and costs for animated works.In a 1957 recording, Walt Disney explained why motion tracking was an issue for animators, as well as what multiplane animation could do to solve it. Using a two-dimensional still of an animated farmhouse at night, Disney demonstrated that zooming in on the scene, using traditional animation techniques of the time, increased the size of the moon. In real-life experience, the moon would not increase in size as a viewer approached a farmhouse.
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Editing the film at the animatic stage prevents the animation of scenes that would be edited out of the film; as traditional animation is a very expensive and time- consuming process, creating scenes that will eventually be edited out of the completed cartoon is strictly avoided. Advertising agencies today employ the use of animatics to test their commercials before they are made into full up spots. Animatics use drawn artwork, with moving pieces (for example, an arm that reaches for a product, or a head that turns). Video storyboards are similar to animatics but do not have moving pieces.
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The episode took eight weeks to complete, which is eight times that of a normal episode, due to the use of traditional animation in order to make it resemble the film Heavy Metal. The female object of Kenny's affections in the episode was portrayed by pornographic actress Lisa Daniels, live-action video of whom was converted to animated form by rotoscoping. Two different songs are alternately played in the "cheese trip" portions of the episode: "Heavy Metal (Takin' a Ride)" by Don Felder and "Heavy Metal" by Sammy Hagar. "Radar Rider" by Riggs is played briefly during the arena scene.
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"Cult Icons > Topline Halo-8's 'Godkiller'". Bloody-Disgusting. February 24, 2009. Pizzolo clarified further in an interview with Horror News: > There are lots of reasons [Godkiller was made as an illustrated film], but I > think the most important one was really being inspired by Anna Muckcracker's > gorgeous artwork. Brian Giberson (my partner at Halo-8) and I had been > experimenting with the illustrated film format for a while, but we might > still have gone with traditional animation for Godkiller since it's really > risky to experiment with a crazy story and a new filmmaking format at the > same time.
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The founder of NYIT (New York Institute of Technology), entrepreneur and eccentric millionaire Dr. Alexander Schure, had a long and ardent interest in animation. He was a great admirer of Walt Disney and dreamed of making animated features like those from the golden age of theatrical animation. He had already created a traditional animation facility at NYIT. After visiting the University of Utah and seeing the potential of the computer technology in the form of the computer drawing program Sketchpad created by Ivan Sutherland, he told his people to pore over the Utah research center and get him one of everything they had.
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Harmony contains the tools required to handle cutout (puppet), paperless frame-by-frame and traditional animation workflows from scanning to compositing and 2D/3D integration. Its toolset includes pencil lines with textures, deformation tools, morphing, inverse kinematics, particles, built-in compositor, 3D camera and 2D-3D integration. Users can also draw animation directly into the software, using a graphics tablet. Harmony has been in continuous development since 2005 and has been used on productions like The Simpsons, The Princess and the Frog, The SpongeBob Movie: Sponge Out of Water, The Congress and My Little Pony: The Movie, among others.
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Once a title neared completion, Guillotine spoke to their distribution company to print discs and send them to stores. However, as the distribution company was very large they didn't have time to invest into a small local game like Piposh so the games ended up being sent out two weeks later than intended, once the advertising and buzz had died down. For each title, Ronan produced advertising materials such as posters, business cards and funny stickers. Piposh 3D was the series' first foray into 3D graphics, after using traditional animation for the previous games; this title was directed by Roy Lazarowitz.
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Between 1895 and 1920, during the rise of the cinematic industry, several different animation techniques were developed, including stop-motion with objects, puppets, clay or cutouts, and drawn or painted animation. Hand-drawn animation, mostly animation painted on cels, was the dominant technique throughout most of the 20th century and became known as traditional animation. Around the turn of the millennium, computer animation became the dominant animation technique in most regions (while Japanese anime remains very popular). Computer animation is mostly associated with a three-dimensional appearance with detailed shading, although many different animation styles have been generated or simulated with computers.
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While the creation of animation using Adobe Animate can be much easier and less expensive than traditional animation techniques, the amount of time, money, and skill required to produce a project using the software depends on the chosen content and style. Internet distribution is considerably easier and less expensive than television broadcasting, and websites such as Newgrounds provide free hosting. Many Adobe Flash animations are created by individual or amateur artists and many that are first distributed on the web became popular enough to be broadcast on television, particularly on such networks as MTV and G4.
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16 ; Traditional animation: With the rise of computer animation, hand-drawn, cel- based (or "2D") animation is now referred to as this. ; Traditional Cigarette (also known as Combustible cigarette): A tobacco cigarette. Before electronic cigarettes became popular, all commercially available cigarettes were tobacco cigarettes. Along the same lines, the smoking of traditional cigarettes is sometimes referred to as “traditional smoking” in order to distinguish it from vaping, which could also be considered a form of smoking. ; Transformers: Generation 1 : referring to the original Transformers toyline which ran from 1984 to 1992, and the assorted tie-in media.
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Each finished film clip is then checked for quality and rushed to a film editor, who assembles the clips together to create the film. While early computer animation was heavily criticized for rendering human characters that looked plastic or even worse, eerie (see uncanny valley), contemporary software can now render strikingly realistic clothing, hair, and skin. The solid shading of traditional animation has been replaced by very sophisticated virtual lighting in computer animation, and computer animation can take advantage of many camera techniques used in live-action filmmaking (i.e., simulating real-world "camera shake" through motion capture of a cameraman's movements).
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The Enchanted World of Danny Kaye: The Emperor's New Clothes is a television special broadcast on ABC on Monday night, February 21, 1972. The special was produced by Rankin/Bass Productions, a former division of Tomorrow Entertainment, using their "Animagic" stop-motion puppetry technique in Japan, along with some live-action footage shot in Denmark. Traditional animation (possibly by Osamu Tezuka's Mushi Production with Steve Nakagawa's involvement) and special effects were also featured. The special, a musical adaptation of the Hans Christian Andersen fable The Emperor's New Clothes, starred Danny Kaye as the voice of the narrator and main character, Marmaduke.
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Computer facial animation is primarily an area of computer graphics that encapsulates methods and techniques for generating and animating images or models of a character face. The character can be a human, a humanoid, an animal, a legendary creature or character, etc. Due to its subject and output type, it is also related to many other scientific and artistic fields from psychology to traditional animation. The importance of human faces in verbal and non-verbal communication and advances in computer graphics hardware and software have caused considerable scientific, technological, and artistic interests in computer facial animation.
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Upon joining Production I.G., Shiotani became interested in combining traditional animation with cgi animation for his works, most notably Oblivion Island. Shiotani's first directed work was the film Tokyo Marble Chocolate which he made for a young a demographic by giving it the theme of a family. He then directed the 2012-2013 television series Psycho-Pass which became one of his highlights of his career. Psycho-Pass originated from Production I.G.'s interest in making a successor to Mamoru Oshii's Ghost in the Shell and Patlabor; the company hired Katsuyuki Motohirowho became the series' chief directorand veteran I.G. animator Naoyoshi Shiotani to supervise direction.
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Merida as she appeared when it was announced she would be joining the Disney Princess line-up In May 2013, Disney released a traditional animation-style redesign of Merida in preparation for her coronation as Disney's 11th princess. The redesign of the character featured a slimmer waist, more revealing neckline, larger eyes and a sparkly dress. Feminist groups criticized the makeover for allegedly disempowering Merida, sparking outrage from mothers and feminist groups who saw the new Merida as "an overly sexualized pin-up version of her former self." Critics were also very critical of the makeover, saying it turned Merida into "just another princess".
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The terms inbetweening and morphing are often used interchangeably, and signify the creating of a sequence of images where one image transforms gradually into another image smoothly by small steps. Graphically, an early example would be Charles Philipon's famous 1831 caricature of French King Louis Philippe turning into a pear (metamorphosis).Charles Philipon's 1831 caricature of Louis Philippe turning into a pear (retrieved 27 July 2012). "Inbetweening" (AKA "tweening") is a term specifically coined for traditional animation technique, an early example being in E.G.Lutz's 1920 book Animated Cartoons.Online copy of E.G.Lutz's book Animated Cartoons, 1926 ed, Charles Scribner's Sons, see p 179 (retrieved 27 July 2012).
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Within the software package, the creator places drawings into different key frames which fundamentally create an outline of the most important movements. The computer then fills in the "in-between frames", a process commonly known as Tweening. Computer-assisted animation employs new technologies to produce content faster than is possible with traditional animation, while still retaining the stylistic elements of traditionally drawn characters or objects. Examples of films produced using computer-assisted animation are The Little Mermaid, The Rescuers Down Under, Beauty and the Beast, Aladdin, The Lion King, Pocahontas, The Hunchback of Notre Dame, Hercules, Mulan, The Road to El Dorado and Tarzan.
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In this sequence in the film, the viewer sees a digitized human hand composed of lines. Professor Ivan Sutherland opened a line of communication with The Walt Disney Company to see whether Disney could be persuaded to use computer graphics in its production process for traditional animation. Sutherland brought Catmull to Disney to meet with executives, but Disney management was not interested in computer graphics at that time. Instead, they invited Catmull (to no avail) to help the Disney Imagineering team use computers to design a new ride - specifically, Space Mountain, a roller-coaster ride planned for the new Walt Disney World complex in Orlando, Florida.
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The film was made using hand-drawn traditional animation, with pencil on paper, and then scanned and digitally coloured, with about half of the animation by Kove, and the rest divided between animators in Montreal and Norway. Kove's style is simplistic, which she says is less a specific style choice than "quite simply [...] the only one I know how to do." The backgrounds were painted by Montreal artist Anne Ashton. Narrator Liv Ullmann was selected for the film because Kove liked her voice and "thought that her delivery would be right for the story"; she reaffirmed this after the film's release, stating that Ullmann was "just right".
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Before true animation begins, a preliminary soundtrack or scratch track is recorded, so that the animation may be more precisely synchronized to the soundtrack. Given the slow, methodical manner in which traditional animation is produced, it is almost always easier to synchronize animation to a pre-existing soundtrack than it is to synchronize a soundtrack to pre-existing animation. A completed cartoon soundtrack will feature music, sound effects, and dialogue performed by voice actors. However, the scratch track used during animation typically contains only the voices, any vocal songs to which characters must sing-along, and temporary musical score tracks; the final score and sound effects are added during post-production.
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This image shows how two transparent cels, each with a different character drawn on them, and an opaque background are photographed together to form the composite image. The cel is an important innovation to traditional animation, as it allows some parts of each frame to be repeated from frame to frame, thus saving labor. A simple example would be a scene with two characters on screen, one of which is talking and the other standing silently. Since the latter character is not moving, it can be displayed in this scene using only one drawing, on one cel, while multiple drawings on multiple cels are used to animate the speaking character.
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Traditional animation and clean-up were done at the Paris-based division of Walt Disney Feature Animation, while all painting, digital work, and post-production were performed at the Burbank studio. The short was developed as a potential segment for Fantasia 2006, the third installment following Fantasia and Fantasia 2000. After several years of funding and staff cutbacks at Walt Disney Feature Animation, the project was shelved by November 2003. In addition to Lorenzo, two other potential shorts that could be included in Fantasia 2006 were also completed before the projects cancellation – Destino and One by One – and were subsequently released as individual short films.
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In 1989, around 75% of the 350 staff employed at the Dublin studio was Irish, and by late 1990, most of the original US crew had returned to America to be replaced by Irish artists and animators. Some senior staff at the studio became part-time instructors at the college. The success of the animation course at Ballyfermot spurred the creation of an animation programme at Dún Laoghaire Institute of Art, Design and Technology, focussed more on experimental and arthouse techniques compared to Ballyfermot's traditional animation approach. The closure of Sullivan Bluth Studios in 1995 brought about a near collapse in the Irish animation industry.
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Peter Foldes worked in collaboration with the National Research Council's Division of Radio and Electrical Engineering's Data Systems Group, who decided to develop a computer animation application in 1969. NRC scientist Nestor Burtnyk had heard an animator from Disney explain the traditional animation process, where a head animator draws the key cels and assistants draw the fill in pictures. The work of the artist's assistant seemed to Burtnyk to be the ideal demonstration vehicle for computer animation and within a year he programmed a "key frame animation" package to create animated sequences from key frames. The NFB in Montreal was contacted so that artists could experiment with computer animation.
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Before the film's release, its title was changed from Rapunzel to Tangled, reportedly to market the film gender-neutrally. Tangled spent six years in production at a cost that has been estimated at $260 million, which, if accurate, would make it the most expensive animated film ever made and one of the most expensive films of all time. The film employed a unique artistic style by blending together features of computer- generated imagery (CGI) and traditional animation while using non- photorealistic rendering to create the impression of a painting. Composer Alan Menken, who had worked on prior Disney animated features, returned to score Tangled.
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The concept of an animated film based on the Brothers Grimm fairy tale "Rapunzel" originated from Disney supervising animator Glen Keane in 1996. In 2001, Keane pitched the idea to then-Disney CEO Michael Eisner who approved it, but requested the film to be computer-animated. However, Keane was hesitant as he felt computer animation was not quite as fluid or organic as traditional animation was. In October 2003, the film was announced as Rapunzel Unbraided, as a computer animated feature scheduled for a 2007 release which Keane described as "a Shrek-like version of the film" that revolved around an entirely different concept.
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In the 21st century, the use of other animation techniques is mostly limited to independent short films, including the stop motion puppet animation work produced by Tadahito Mochinaga, Kihachirō Kawamoto and Tomoyasu Murata. Computers were integrated into the animation process in the 1990s, with works such as Ghost in the Shell and Princess Mononoke mixing cel animation with computer-generated images. Fuji Film, a major cel production company, announced it would stop cel production, producing an industry panic to procure cel imports and hastening the switch to digital processes. Prior to the digital era, anime was produced with traditional animation methods using a pose to pose approach.
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Tinker Bell is a 2008 American computer animated film and the first installment in the Disney Fairies franchise produced by DisneyToon Studios. It is about Tinker Bell, a fairy character created by J. M. Barrie in his 1904 play Peter Pan, or The Boy Who Wouldn't Grow Up, and featured in the 1953 Disney animated film, Peter Pan and its 2002 sequel Return to Neverland. Unlike Disney's two Peter Pan films featuring the character, which were produced primarily using traditional animation, Tinker Bell was produced using digital 3D modeling. The film was released on DVD and Blu-ray by Walt Disney Studios Home Entertainment on October 28, 2008.
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Nicole Clark of San Francisco Chronicle said that Kitbull uses "unlikely animal companionship to tell a larger story about compassion, friendship and redemption". She stated that the short "ends with a beautiful, sweeping vista of San Francisco, from the top of Bernal Hill", adding that "the location perfectly captures the full emotional swell of the short", "the warmth of a new friendship" and "the hope of a new beginning". The short's use of traditional animation has been praised by critics. Chris Pastrick said that the short "is special in that [it is] the first entirely hand-drawn feature from the studio known for its cutting-edge digital animation".
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Legend of the Boneknapper Dragon is a 16 minute sequel short film to the feature film, How to Train Your Dragon. The short was originally broadcast on television on October 14, 2010, on Cartoon Network, and released next day as a special feature on Blu-ray and double DVD edition of the original feature film. The film follows Hiccup and his young fellows accompanying their mentor, Gobber, on a quest to kill the legendary Boneknapper Dragon. About half the film is done in traditional animation, showing Gobber's history and his encounters with the Boneknapper, and how he comes to look like he does now.
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Chowder is an American animated television series created by C. H. Greenblatt for Cartoon Network that premiered in the United States on November 2, 2007. The series follows an aspiring young child named Chowder and his day-to-day adventures as an apprentice in Chef Mung Daal's catering company. Although he means well, Chowder often finds himself in predicaments due to his perpetual appetite and his nature as a scatterbrain. The series is animated with both traditional animation in Toon Boom and Adobe Flash as well as short stop motion and puppet sequences that are inter-cut into the episodes, and that run over the end credits.
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Eleven minutes of Oliver & Company used "computer-assisted imagery" such as the skyscrapers, the taxi cabs, trains, Fagin's scooter-cart, and the climactic subway chase. The traditional animation was handled by the next generation of Disney animators, including supervising animators Glen Keane, Ruben A. Aquino, Mike Gabriel, Hendel Butoy, and Mark Henn, as the "Nine Old Men" had retired in the early 1980s. Throughout two and a half years of production, six supervising animators and a team of over 300 artists and technicians worked on the film. Skidmore, Owings & Merrill was the database for the New York City skyline, which was recreated for the film.
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Treasure Planet is a 2002 American animated science fiction action adventure film produced by Walt Disney Feature Animation and released by Walt Disney Pictures on November 27, 2002. The 43rd Disney animated feature film, it is a science fiction adaptation of Robert Louis Stevenson's 1883 adventure novel Treasure Island and was the first film to be released simultaneously in regular and IMAX theaters. It is at least the second retelling of the story in an outer space setting, following the 1987 Italian miniseries Treasure Island in Outer Space. It employs a novel technique of hand-drawn 2D traditional animation set atop 3D computer animation.
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In addition, the studio won its first Academy Award for a short film in forty-four years with Paperman, which was released in theaters with Wreck-It Ralph. Directed by John Kahrs, Paperman utilized new software developed in-house at the studio called Meander, which merges hand-drawn and computer animation techniques within the same character to create a unique "hybrid." According to Producer Kristina Reed, the studio is continuing to develop the technique for future projects, including an animated feature. In 2013, the studio laid off nine of its hand-drawn animators, including Nik Ranieri and Ruben A. Aquino, leading to speculation on animation blogs that the studio was abandoning traditional animation, an idea that the studio dismissed.
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WN.com; The main voice actors of the 2004 film will reprise their role in the 2014 film The sequel was animated using the same animation style (traditional animation) as the TV show was. In 2012, following the news of the Viacom buyout of the Teenage Mutant Ninja Turtles franchise, it was announced that Nickelodeon would produce a new film through Paramount Pictures with an expected release date sometime in 2012. In late May 2011, it was announced that Paramount and Nickelodeon had brought Michael Bay and his Platinum Dunes partners Brad Fuller and Andrew Form on to produce the next film that would reboot the film series. Bay, Fuller, and Form would produce alongside Walker and Mednick.
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Years after its original newspaper run, Calvin and Hobbes has continued to exert influence in entertainment, art and fandom. In television, Calvin and Hobbes have been satirically depicted in stop motion animation in the 2006 Robot Chicken episode "Lust for Puppets," and in traditional animation in the 2009 Family Guy episode "Not All Dogs Go to Heaven." In the 2013 Community episode "Paranormal Parentage," the characters Abed Nadir (Danny Pudi) and Troy Barnes (Donald Glover) dress as Calvin and Hobbes, respectively, for Halloween. British artists, merchandisers, booksellers and philosophers were interviewed for a 2009 BBC Radio 4 half-hour programme about the abiding popularity of the comic strip, narrated by Phill Jupitus.
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Between 1989 and 2003 Kentridge made a series of nine short films that he eventually gathered under the title 9 Drawings for Projection. In 1989, he began the first of those animated movies, Johannesburg, 2nd Greatest City After Paris. The series runs through Monument (1990), Mine (1991), Sobriety, Obesity & Growing Old (1991), Felix in Exile (1994), History of the Main Complaint (1996), Weighing and Wanting (1997), and Stereoscope (1999), up to Tide Table (2003) and Other Faces, 2011. For the series, he used a technique that would become a feature of his work - successive charcoal drawings, always on the same sheet of paper, contrary to the traditional animation technique in which each movement is drawn on a separate sheet.
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In April 1994 Computer Gaming World said that Tuneland was "a wholly captivating experience for both children and their parents" The magazine in May 1994 said that the game "uses traditional animation techniques and a lot of creative humor" to teach songs and rhymes "children would normally have to learn from Barney". Tuneland received various awards including World Class Award for Children's CD-ROM Game from PC World, and an Award in Excellence from the Film Advisory Board. In 1994 it was also featured in the Top 10 Best Kids Products of the Year from Entertainment Weekly and the Top 100 CD-ROMs from PC Magazine. A screenshot of the opening location of the game, also showing Little Howie.
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Due to Zemeckis' dynamic camera moves, the animators had to confront the challenge of ensuring the characters were not "slipping and slipping all over the place." After rough animation was complete, it was run through the normal process of traditional animation until the cels were shot on the rostrum camera with no background. The animated footage was then sent to ILM for compositing, where technicians animated three lighting layers (shadows, highlights, and tone mattes) separately, to make the cartoon characters look three-dimensional and give the illusion of the characters being affected by the lighting on set. Finally, the lighting effects were optically composited on to the cartoon characters, who were, in turn, composited into the live-action footage.
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Kevin Schaller of Game Revolution praised the accuracy of the game's controls, as well as the game's visuals, which he described as "somewhere between traditional animation and claymation in appearance". Several reviewers, however, had complaints about the game's consistency. Ventner of GameSpot complained that trying the same thing three times would often yield three different results, while Kyle Hilliard of Game Informer lamented how much of a factor luck played in the game. Lorenzo Veloria of GamesRadar felt that the game was too repetitive, and that the Combo Nation felt "less like a puzzle and more like an exercise in trial and error", coming to the conclusion that the game was better suited for phones than the console.
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Due to the fact that the fairy tale already had a worldwide audience as the fairy tale is well known to young viewers and their parents in many countries as well as being a classic in Russia, Wizart used a combination of the traditions of classical animation and 3D stereoscopy to bring to life The Snow Queen movie. Animation of the iconic polar settings were inspired by Denmark, Laplands, and Russia as Gerda the main character and heroine was bought to animated life. The new adaptation used inspiration from its source material but is decidedly more comical. Despite the shift from traditional animation to 3D, the director and the writers kept the spirit of the original story intact.
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The voice cast consists of Val Kilmer in a dual role, Ralph Fiennes, Michelle Pfeiffer, Sandra Bullock, Jeff Goldblum, Danny Glover, Patrick Stewart, Helen Mirren, Steve Martin, and Martin Short. Jeffrey Katzenberg had frequently suggested an animated adaptation of the 1956 film The Ten Commandments while working for The Walt Disney Company, and he decided to put the idea into production after co- founding DreamWorks Pictures in 1994. To make this inaugural project, DreamWorks employed artists who had worked for Walt Disney Feature Animation and Amblimation, totaling a crew of 350 people from 34 different countries. The film has a blend of traditional animation and computer-generated imagery, created using software from Toon Boom Animation and Silicon Graphics.
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As at Disney's, character animators were grouped into teams by character: for example, Kristof Serrand, as the supervising animator of Older Moses, set the acting style of the character and assigned scenes to his team. Consideration was given to depicting the ethnicities of the ancient Egyptians, Hebrews, and Nubians properly. There are 1,192 scenes in the film, and 1,180 contain work done by the special effects department, which animates everything in an animated scene which is not a character: blowing wind, dust, rainwater, shadows, etc. A blend of traditional animation and computer-generated imagery was used in the depictions of the ten plagues of Egypt and the parting of the Red Sea.
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Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a gigantic metallic robot who fell from outer space. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant. The film's development began in 1994 as a musical with the involvement of The Who's Pete Townshend, though the project took root once Bird signed on as director and hired McCanlies to write the screenplay in 1996. The film was animated using traditional animation, with computer-generated imagery used to animate the titular character and other effects.
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During production, a novel coloring method was used to mimic the refraction of light on the skin of the characters. Like other Japanese anime, The Garden of Words was created using a combination of hand-drawn animation, rotoscoping and computer animation (CGI), with the latter facilitating the realistic appearance of the film's rain sequences. Shinkai made half of the film's backgrounds by using his photographs as a base and then drawing over the top with Adobe Photoshop, while the other half were fictional settings created with traditional animation and computer graphics. As with his other films, the backgrounds are vivid and meticulously drawn scenery while the characters are drawn with less detail, though they are still convincing and realistic.
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Papelucho series is one of the most popular children's book in Chile. Cine Animadores, after their local success with Ogu and Mampato in Rapa Nui started the production of the film in 2005 with the financial help of Canal 13 Films, using 1.5 million dollars in budget. The most notable difference between Papelucho and the Martian and Ogu and Mampato in Rapa Nui is the use of CG scenes mixed with traditional animation at the same time. The film was very loosely based on the book of the same name Papelucho y el Marciano written by Marcela Paz in 1968 because is one of the most popular books of Papelucho line and also because of his sci-fi themes.
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Mark Caballero, Seamus Walsh and Chris Finnegan of Screen Novelties animated its opening titles. Finnegan claimed that the crew were "thrill[ed]" to do the title sequence because "the original title sequence is so recognizable and everyone seen it over and over and it's so great in its own way." Executive producer and the episode's writer Paul Tibbitt said "We don't just want to redraw it [the original title sequence], we want it to be something special and different[...] So we thought we would do it in three dimensions[...]" Nickelodeon animation president Brown Johnson lauded the new title sequence and said it is "SO great!" Some traditional animation on scraps of brown paper are intermixed into the stop motion.
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Adolescence of Utena was released on 35 mm movie film, and was created using a combination of traditional and digital animation. The opening title sequence was created by modifying digital graphics through nonlinear composite editing using a supercomputer, a relatively new process for animation at the time. The opening scene depicting the architecture of Ohtori Academy and the dance scene with Utena and Anthy were entirely digitally animated using 3-D Works. Ikuhara had expressed hesitation in using digital animation, stating that computer graphics in anime "tend to be harsh and cold," but expressed satisfaction with the seamless blending of the digital dance scene with the rest of the film's traditional animation.
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Pre-production began in January 2007; it involved not only storyboarding but also creating the puppets and sets from a "huge amount of junk and antique stuff." The filming and animation took place from June 2007 to September 2008, which the final product contains 1,200 stills; and post-production was finished by early 2009. The main part of the film's animation is that of puppets animated by stop motion but there are also examples of clay animation in the character Šubrt and the objects of his room, special effects such as steam in traditional animation and the face of the plaster bust Hlava ("Head") was performed in pixilation and voiced in the original Czech audio by actor Jiří Lábus.
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Captain Pugwash is a fictional pirate in a series of British children's comic strips and books created by John Ryan. The character's adventures were adapted into a TV series, using cardboard cut-outs filmed in live-action (the first series was performed and broadcast live), also called Captain Pugwash, first shown on the BBC in 1957, a later colour series, first shown in 1974–75, and a traditional animation series, The Adventures of Captain Pugwash, first aired in 1998. The eponymous hero – Captain Horatio Pugwash – sails the high seas in his ship called the Black Pig, assisted by cabin boy Tom, pirates Willy and Barnabas, and Master Mate. His mortal enemy is Cut-Throat Jake, captain of the Flying Dustman.
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In January 1998, Hess met with Blue Byte's head writer, Wolfgang Walk, to discuss the game's storyline. As it had already been decided that a new gameplay element would be "Divine Intervention", Hess suggested the plot have something to do with the gods of each culture, and the two worked out a rough draft in a single evening, based around a competition between Jupiter (Roman), Horus (Egyptian) and Chi-yu (Asian). Hertzler and Wertich approved the concept, but it quickly became apparent that the team currently working on the game would have no time to design or render any cutscenes. As a result, Hess suggested using a traditional animation studio with whom he had worked in the past, a Turkish company called Denge Animation.
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Their animation technique was at that time a new technology. Johnson hired artist Dave Palmer and production company Big Pink to create the animation from simple materials like fabric, paper, or pipe-cleaners, and scan them into a Macintosh computer so that they could be animated using inexpensive computer software such as Media 100, Ultimatte, Photoshop and After Effects, instead of being repeatedly redrawn as in traditional animation. Johnson credited Kessler with the idea of using the Macintosh. The result was something that looked different from anything else on television at the time, and the producers were able to animate two episodes in eight weeks, as compared to the sixteen weeks necessary to create a single episode by traditional methods.
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Similar to the computer animation and traditional animation hybrids described above, occasionally a production will combine both live-action and animated footage. The live-action parts of these productions are usually filmed first, the actors pretending that they are interacting with the animated characters, props, or scenery; animation will then be added into the footage later to make it appear as if it has always been there. Like rotoscoping, this method is rarely used, but when it is, it can be done to terrific effect, immersing the audience in a fantasy world where humans and cartoons co-exist. Early examples include the silent Out of the Inkwell (begun in 1919) cartoons by Max Fleischer and Walt Disney's Alice Comedies (begun in 1923).
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It has also been broadcast on various other channels overseas, such as Animania HD in the United States, Cartoon Network in Latin America, and Toon Disney in the United Kingdom. The show is also notable for its positive portrayal of rats, unusual for Western and North American cultures, which often give its fictional rats selfish, antagonizing and evil characteristics. Also of interest is the pure blend of traditional animation and 3D animation, making it Canada's most expensive Teletoon show at the time, and the eclectic soundtrack by Hervé Lavandier. Ratz was originally titled Rapido and featured a chunkier animation style; some websites (including Xilam's own website as well) still reflect this right after the 14 years of Wimsieland had the final episode on September 23, 1999.
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In March 2006, a day after the DVD release of Chicken Little, Dindal and producer Randy Fullmer left the company because they were reportedly tired of dealing with then-WDFA head David Stainton. In the next few years, Dindal was attached as a director to several live-action films, including Sherlock's Secretary and Housebroken, both of which for Walden Media, and a film adaptation of the book Kringle for Paramount Pictures. In December 2010, Dindal was directing at DreamWorks Animation an animated feature film titled Me and My Shadow, which would've combine both computer and traditional animation. By January 2012, he was no longer directing the film and was replaced by story artist Alessandro Carloni as director, and the film has been in development limbo since 2013.
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He is known in Venezuela and in some countries of America as one of the most prominent exponents of Traditional Animation in Latin America. He started his career in Argentina as animator, and then settle in Venezuela, brought by the hand of the founder of Bolivar Films. He was one of the pillars of the founding of the Simon Bolivar University animation studios and its media division Artevisión in Caracas, Venezuela, he served for several years like director of many young animators who began their careers in this animation company. During those years he produce with his team the first soap opera "telenovela" that used animated characters with real people in RCTV, "Dulce Ilusión" was a huge success in the latinoamerican television.
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Ghost in the Shell used a novel process called "digitally generated animation" (DGA), which is a combination of cel animation, computer graphics (CG), and audio that is entered as digital data. In 1995, DGA was thought to be the future of animation, as it allowed traditional animation to be combined with computer graphics and digital cel work with visual displays. Editing was performed on an AVID system of Avid Technology, which was chosen because it was more versatile and less limiting than other methods and worked with the different types of media in a single environment. The digital cel work included both original illustrations, compositions and manipulation with traditional cel animation to create a sense of depth and evoke emotion and feelings.
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This technique was put to significant use during the "Beauty and the Beast" waltz sequence, in which Belle and Beast dance through a computer-generated ballroom as the camera dollies around them in simulated 3D space. The filmmakers had originally decided against the use of computers in favor of traditional animation, but later, when the technology had improved, decided it could be used for the one scene in the ballroom. Before that, CGI environments had first been printed out as wireframe, but this was the first time Disney made use of 3D rendering.25 Years Ago: The CG Secrets of the Ballroom Sequence in ‘Beauty and the Beast’ The success of the ballroom sequence helped convince studio executives to further invest in computer animation.
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Development for the game began in January 1993, with a team of ten animators working on the animation frames, making it the first video game to use hand- drawn animation. The work was then shipped to Virgin's California facility to be digitized. The game used traditional animation, which was produced by Disney animators under the supervision of Virgin's animation staff, including animation producer Andy Luckey, technical director Paul Schmiedeke and animation director Mike Dietz, using an in-house "Digicel" process to compress the data onto the cartridge. Virgin was given the deadline of October 1993 to complete production as to coincide with the home video release of the film; this deadline left Virgin with about three-quarters the normal amount of time to build a game.
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Sometimes, traditional animation is used. After airing again the following year, the special made its first cable TV premiere on Nickelodeon on December 15, 2001; It would then premiere the following year on Cartoon Network on December 11, 2002, and aired during each holiday season until it was last seen as late as December 26, 2010. The special would also air on other local syndicated networks, such as The WB, MyNetworkTV, The CW and WGN- TV. The story was based on the 1997 children's book by Vivian Walsh and illustrated by J. Otto Seibold. In the song, Rudolph the Red-Nosed Reindeer, the lyric "All of the other reindeer" can be misheard in dialects with the cot–caught merger as the mondegreen "Olive, the other reindeer".
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A ragdoll usually consists of a series of connected rigid bodies that are programmed to have Newtonian physics acting upon them; therefore, very realistic effects can be generated that would very hardly be possible with traditional animation. For example, a character can die slumped over a cliff and the weight of its upper-body can drag the rest of it over the edge. Even more complex examples of procedural animation can be found in the game Spore wherein user-created creatures will automatically be animated to all actions needed in the game from walking, to driving, to picking things up. In the game Unreal Tournament 3, bodies who have gone into ragdoll mode to fake death can arise from any position into which they have fallen and get back on their feet.
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Computer animation is essentially a digital successor to stop motion techniques, but using 3D models, and traditional animation techniques using frame-by-frame animation of 2D illustrations. Computer- generated animations are more controllable than other, more physically based processes, like constructing miniatures for effects shots, or hiring extras for crowd scenes, because it allows the creation of images that would not be feasible using any other technology. It can also allow a single graphic artist to produce such content without the use of actors, expensive set pieces, or props. To create the illusion of movement, an image is displayed on the computer monitor and repeatedly replaced by a new image that is similar to it but advanced slightly in time (usually at a rate of 24, 25, or 30 frames/second).
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Their process looked like traditional cut-out animation, but was faster, more flexible, and less expensive, and it allowed them to make changes based on feedback from test audiences. Unlike traditional animation environments, which tended to be highly structured, the animators were given information about the characters and goals of the scenes they would animate, and then given the freedom to work out the timing and look of each scene themselves, as long as their creations were true to the characters and to the story. By 1999, the show's animation department consisted of Palmer, 20 animators, 11 digital designers, and 5 art directors and model makers. By 2002, Nickelodeon had built a "state-of-the-art" $6 million digital animation studio that housed 140 people, including 70 animators.
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Production of Ponyo began in May 2006. Kondō was given the role of animation supervisor, and worked closely with Miyazaki in outlining a set of goals that defined the direction of the project, including the use of traditional animation throughout production. Borrowing from Kondō's experience in animating House Hunting, Ponyo would use solid and simple lines; in isolating basic animation elements, the film would aim to demonstrate the advantages of hand drawn animation through the depiction of motion that cannot be reproduced in any other medium. An example of the simple style is when Miyazaki painted a picture of Ponyo riding on a flock of fish, called "Ponyo is Here", which was inspired by him listening to Ride of the Valkyries while writing a letter to his staff about going with a more elemental style.
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Clay painting animation is a form of clay animation, which is one of the many kinds of stop motion animation. It blurs the distinction between clay animation, cel animation and cutout animation. Clay painting animation (which is also a variation of the direct manipulation animation process), is animation where clay is placed and flattened on a flat supporting surface and moved like "wet" oil paints as on a traditional artistic canvas to produce any style of images, but with a clay 'look' to them, filmed frame-by-frame by an animation camera (shooting from above, and in a traditional animation stand) after each small adjustment of the clay images. The clay-painting process has also been used as a background, photographically combined with other forms of animation, and even live action.
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The drawings were altered to make the whales slow down and "more believable".Segment Directors Audio Commentary at 10:32–11:59 The eyes of the whales were drawn by hand, as the desired looks and glances were not fully achievable using CGI.Supplemental Features: Creating Pines of Rome at 2:30–2:51 Butoy recalled the challenge of having the water appear and move as naturally as possible; the team decided to write computer code from scratch as traditional animation would have been too time consuming and would have produced undesired results.Segment Directors Audio Commentary at 12:27–13:30 The code handling the pod of whales was written so the whales would move away if they were to collide and not bump into, overlap, or go through each other.
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Ward wanted "to do a Christmas episode without doing Christmas", but found that it was too difficult to "just dance around" the holiday. Originally, Ward's idea for the episode was to do it in the style of Mystery Science Theater 3000, featuring Finn and Jake digging up actual Christmas specials, and having them comment on them. This would have entailed a mixing of live-action and traditional animation, but Ward eventually rejected this idea, because the mixing of live action with the animation would have destroyed the world that the cast and crew had spent three seasons creating. To make up for this last-minute change of plans, the writers had to replace the Christmas programs that Finn and Jake would watch with "the Ice King's odd home movies".
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With 1000 meters of film and 14 frames per second the cartoon ran over 50 minutes at the time, which made it one of the world's first animated features. For the next ten years she worked with her brother and the Brumberg sisters as a co- director, animator, art director and screenwriter. Their most famous works include One of Many (1927) that mixed live action and traditional animation in a story about the misadventures of a Komsomol girl in Hollywood; The Samoyed Boy (1928) stylized as traditional Nenets art and described by Khodataev as "the first steps in conquering the tradegy genre"; and The Little Organ (1933), an adaptation of The History of a Town that manifested "a plasticity of animation movement and the filmmaker's ability to nudge animation towards real art".Sergei Asenin (2012).
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The plot reveals a new invention, the blue orange, that can grow in the desert and solve world famines, devised by Calculus' friend, the Spanish Professor Zalamea. An emir whose interests are threatened by the invention of the blue orange proceeds to kidnap both Zalamea and Calculus, and Tintin and Haddock travel to Spain in order to rescue them. Tintin and the Temple of the Sun () (1969), the first traditional animation Tintin film, was adapted from two of Hergé's Adventures of Tintin: The Seven Crystal Balls and Prisoners of the Sun. The first full-length, animated film from Raymond Leblanc's Belvision, which had recently completed its television series based upon the Tintin stories; it was directed by Eddie Lateste and featured a musical score by the critically acclaimed composer François Rauber.
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In pre-release coverage, multiple critics praised the game's presentation. Nathan Grayson at Kotaku and Kyle LeClair at Hardcore Gamer both compared it to the Japanese developer Atlus's titles, with Grayson describing it as stylish and like Persona in a coffee shop, and LeClair saying that the anime-like aesthetics, the music and the atmosphere "wouldn't seem out of place in a top-level Atlus game". Rock, Paper, Shotgun Kate Gray said that the game looks "so good you just want to eat [it]", praising the sunset-like color palette used and comparing it to the visual style of the game Firewatch. Joel Couture of Siliconera called the art style "striking", with its use of 3D art rather than the traditional animation and static 2D images common to the visual novel genre.
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The logo was created by Walt Disney Feature Animation in traditional animation and featured a white silhouette of Disneyland's Sleeping Beauty Castle against a blue background, with the studio's name and underscored by "When You Wish Upon A Star", in arrangement composed by John Debney. A short rendition of the logo was used as a closing logo as well as the movie Return to Oz, although the film was months before The Black Cauldron was released. Beginning with Dinosaur (2000), an alternative logo featuring an orange castle and logo against a black background, was occasionally presented with darker tone and live-action films. A computer-animated RenderMan variant appeared before every Pixar Animation Studios film from Toy Story until Ratatouille, featuring an original fanfare composed by Randy Newman, based on the opening score cue from Toy Story.
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Moomins and the Comet Chase is a 2010 3D stop motion animated fantasy adventure comedy family film compiled from the Comet in Moominland-based episodes of the 1977–1982 The Moomins TV series animated at Se-ma-for in Poland, restored and re-soundtracked with multiple voice actors replacing the single narrator. It is the second such Moomin film produced by Finnish children's film company Filmkompaniet, the first being Moomin and Midsummer Madness, and the first one converted to stereoscopic 3-D. A similar revision of the remainder of the series for high-definition television of all 78 episodes will follow and is currently in production. The same novel has been adapted into film at least twice before, with the 1978 Russian stop motion serial Mumi-troll and the 1992 Japanese traditional animation feature Comet in Moominland.
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The puppets had separate parts for the upper and lower parts of the head that could be exchanged for different facial expressions, and the characters of Coraline could potentially exhibit over 208,000 facial expressions. Computer artists composited separately-shot elements together, or added elements of their own, which had to look handcrafted instead of computer-generated – for instance, the flames were done with traditional animation and painted digitally, and the fog was dry ice. At its peak, the film involved the efforts of 450 people, including from 30 to 35 animators and digital designers in the Digital Design Group (DDG), directed by Dan Casey, and more than 250 technicians and designers. One crew member, Althea Crome, was hired specifically to knit miniature sweaters and other clothing for the puppet characters, sometimes using knitting needles as thin as human hair.
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The 15th season of the television series Arthur was originally broadcast on PBS in the United States from October 10, 2011 to June 15, 2012 and contains 10 episodes, all of which are from the season 14 production, which have previously aired in other countries. This is the last season in which Dallas Jokic, Robert Naylor, Lyle O'Donohoe, Dakota Goyo, and Alexina Cowan voice Arthur, D.W., the Brain, Timmy and Catherine, respectively. This is also the final season to be produced by Cookie Jar Entertainment and to be animated with traditional animation. In the next season, 9 Story Media Group produces this series and the show switches to Flash animation, and would also be the first season in the US to air in the 1080i widescreen format where it was previously only done in foreign markets.
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Overseeing the filming of Contact (1997) After Romancing, the director had the clout to direct his time-traveling screenplay, which was titled Back to the Future. Starring Michael J. Fox, Lea Thompson, Crispin Glover, and Christopher Lloyd, the 1985 film was wildly successful upon its release, and was followed by two sequels, released as Back to the Future Part II in 1989 and Back to the Future Part III in 1990. Before the Back to the Future sequels were released, Zemeckis collaborated with Disney and directed another film, the madcap 1940s-set mystery Who Framed Roger Rabbit, which painstakingly combined traditional animation and live-action; its $70 million budget made it one of the most expensive films made up to that point. The film was both a financial and critical success and won three Academy Awards.
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In addition, film genres not known for their popular appeal in North America became increasingly attractive to filmgoers: films in foreign languages like Crouching Tiger, Hidden Dragon, The Passion of the Christ and Letters from Iwo Jima; and documentary films like An Inconvenient Truth, March of the Penguins, Super Size Me, and Fahrenheit 9/11, became very successful. Computer animation replaced traditional animation as the dominant medium for animated feature films in American cinema (especially with the release of Shrek): DreamWorks Animation was the dominant animation studio in that decade. Pixar and 20th Century Fox Animation followed close behind (the latter after Fox Animation Studios was closed down on October 31, 2000). Further extending to the exploration of motion capture technology in films such as Sinbad: Beyond the Veil of Mists (2000), Final Fantasy: The Spirits Within (2001) and The Polar Express (2004).
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Katzenberg at the 34th Annie Awards Later in 1994, Katzenberg co-founded DreamWorks SKG with Steven Spielberg and David Geffen, with Katzenberg taking primary responsibility for animation operations. He was also credited as executive producer on the DreamWorks animated films The Prince of Egypt (1998), The Road to El Dorado and Joseph: King of Dreams (both in 2000), Shrek in 2001, Spirit: Stallion of the Cimarron in 2002, and Shrek 2 in 2004. After DreamWorks Animation suffered a $125 million loss on the traditionally animated Sinbad: Legend of the Seven Seas (2003), Katzenberg believed that telling traditional stories using traditional animation was a thing of the past, and the studio switched to all computer- generated animation. Since then, most of DreamWorks' animated feature films have been successful financially and critically with several Annie Awards and Academy Awards nominations and wins.
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Return to Treasure Island (, Ostrov sokrovishch) is a 1988 Soviet animated film in two parts based on the 1883 novel with the same name by Robert Louis Stevenson. While the film combines traditional animation and live action, it does it in a very different way than the American film Who Framed Roger Rabbit (which was also filmed in 1988), by predominantly incorporating live action sequences as episodes into the movie, as opposed to having a relatively seamless filmed picture with a number of hand-drawn characters added into it. The first part of the film was released in 1986 and the second in 1988, after which the two parts were always displayed together. The film attained a cult classic status practically immediately after release, even though it went directly to TV and never had a theatrical release.
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Extended interviews with several former Disney Feature Animation employees discussing changes to the studio's story development processes between 1999 and 2004. Mulan and My Peoples (also known as A Few Good Ghosts) are discussed at length by director Barry Cook. Upon the unsuccessful April 2004 release of Home on the Range, Disney, led by executive Bob Lambert, officially announced its conversion of Walt Disney Feature Animation into a fully CGI studio – a process begun two years prior – now with a staff of 600 people and began selling off all of its traditional animation equipment. Just after Brother Bears November 2003 release, Feature Animation chairman Roy E. Disney had resigned from The Walt Disney Company, launching with business partner Stanley Gold a second external "SaveDisney" campaign similar to the one that had forced Ron Miller out in 1984, this time to force out Michael Eisner.
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The following film, 2008's Bolt, had the best critical reception of any Disney animated feature since Lilo & Stitch, and became a moderate success. An adaptation of the Brothers Grimm's "Rapunzel" tale entitled Tangled was released in 2010, earning $591 million in worldwide box office revenue, and signified a return by the studio to fairytale-based features common in the traditional animation era. This trend was followed in 2013's global blockbuster hit Frozen, a film inspired by Hans Christian Andersen's The Snow Queen tale, which released to widespread acclaim and was the first Disney animated film to earn over $1 billion in worldwide box office revenue and is currently the highest-grossing animated film of all time, surpassing Pixar's Toy Story 3. Frozen also became the first film from Walt Disney Animation Studios to win the Academy Award for Best Animated Feature Film.
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A Pixar computer at the Computer History Museum in Mountain View with the 1986–95 logo on it Pixar got its start in 1974 when New York Institute of Technology's (NYIT) founder, Alexander Schure, who was also the owner of a traditional animation studio, established the Computer Graphics Lab (CGL), recruited computer scientists who shared his ambitions about creating the world's first computer-animated film. Edwin Catmull and Malcolm Blanchard were the first to be hired and were soon joined by Alvy Ray Smith and David DiFrancesco some months later, which were the four original members of the Computer Graphics Lab. Schure kept pouring money into the computer graphics lab, an estimated $15 million, giving the group everything they desired and driving NYIT into serious financial troubles. Eventually, the group realized they needed to work in a real film studio in order to reach their goal.
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In 1977, Rankin/Bass produced an animated version of J. R. R. Tolkien's The Hobbit. It was followed in 1980 by an animated version of The Return of the King (the animation rights to the first two volumes were held by Saul Zaentz, producer of Ralph Bakshi's animated adaptation The Lord of the Rings). Other books adapted include The Last Unicorn by Peter S. Beagle, a rare theatrical release that was co-produced with ITC Entertainment in London, England, Peter Dickinson's The Flight of Dragons and Kenneth Grahame's The Wind in the Willows which was animated by Cuckoo's Nest Studios (now Wang Film Productions) in Taipei, Taiwan. In addition to their prime time specials, Rankin/Bass produced several regular television shows in traditional animation, including The King Kong Show in 1966, co-produced with Toei Animation, The Jackson 5ive in 1971, co-produced with Motown Productions, and The Osmonds in 1972.
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During Bluth Group's period working with Cinematronics, Don Bluth met Morris Sullivan, a mergers and acquisitions broker and enthusiast of traditional animation, who quickly saw the potential in the studio. When the studio declared its second bankruptcy, Sullivan stepped in to assist, combining his experience of the business world with Bluth and his crew's talent to form Sullivan-Bluth Studios (later dropping the hyphen to become Sullivan Bluth Studios). Moving out of the smaller Studio City facility and into a dedicated building in Van Nuys, California, the studio opened in 1985. In its early days, the studio worked on a number of smaller projects such as commercials while seeking a suitable feature film project. In 1984, as the studio was preparing to move to its new headquarters, Bluth was approached by Steven Spielberg with an idea for a feature film about a mouse family emigrating to America, An American Tail.
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For each scene, layout artists set up virtual cameras and rough blocking. Finally, when a character's bugs have been worked out and its scenes have been blocked, it is handed off to an animator (that is, a person with that actual job title) who can start developing the exact movements of the character's virtual limbs, muscles, and facial expressions in each specific scene. At that point, the role of the modern computer animator overlaps in some respects with that of his or her predecessors in traditional animation: namely, trying to create scenes already storyboarded in rough form by a team of story artists, and synchronizing lip or mouth movements to dialogue already prepared by a screenwriter and recorded by vocal talent. Despite those constraints, the animator is still capable of exercising significant artistic skill and discretion in developing the character's movements to accomplish the objective of each scene.
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Mickey's House of Villains (also known as House of Mouse: The Villains) is a 2002 direct-to-video animated comedy film produced by Walt Disney Television Animation. It is based on the animated television series, House of Mouse and serves as a stand-alone sequel to the direct-to-video animated film Mickey's Magical Christmas: Snowed in at the House of Mouse, starring Mickey Mouse, Donald Duck, Minnie Mouse, Goofy, Daisy Duck and Disney Villains that have appeared in past Disney productions.Family-friendly Disney titles to catch on Netflix before they’re gone - Deseret News It was released on both VHS and DVD by Walt Disney Home Entertainment on September 3, 2002.DVDizzy It was followed by the 2004 direct-to-video animated films, Mickey, Donald, Goofy: The Three Musketeers (in traditional animation) and Mickey's Twice Upon a Christmas (in computer animation), both produced by DisneyToon Studios.
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The storyboard and soundtrack are amended if necessary, and a new animatic may be created and reviewed by the production staff until the storyboard is finalized. Editing at the animatic stage can help a production avoid wasting time and resources on the animation of scenes that would otherwise be edited out of the film at a later stage. A few minutes of screen time in traditional animation usually equates to months of work for a team of traditional animators, who must painstakingly draw and paint countless frames, meaning that all that labor (and salaries already paid) will have to be written off if the final scene simply does not work in the film's final cut. In the context of computer animation, storyboarding helps minimize the construction of unnecessary scene components and models, just as it helps live-action filmmakers evaluate what portions of sets need not be constructed because they will never come into the frame.
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Animation film crews have many of the same roles and departments as live- action films (including directing, production, editing, camera, sound, etc.), but nearly all on-set departments (lighting, electrical, grip, sets, props, costume, hair, makeup, special effects, and stunts) were traditionally replaced with a single animation department made up of various types of animators (character, effects, in-betweeners, cleanup, etc.). In traditional animation, the nature of the medium meant that everything was literally flattened into the drawn lines and solid colors that became the characters, making nearly all live-action positions irrelevant. Because animation has traditionally been so labor-intensive and thus expensive, animation films normally have a separate story department in which storyboard artists painstakingly develop scenes to make sure they make sense before they are actually animated. However, since the turn of the 21st century, modern 3D computer graphics and computer animation have made possible a level of rich detail never seen before.
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Founded as Disney Brothers Cartoon Studio in 1923, renamed Walt Disney Studio in 1926 and incorporated as Walt Disney Productions in 1929, the studio was exclusively dedicated to producing short films until it expanded into feature production in 1934, resulting in 1937's Snow White and the Seven Dwarfs, one of the first full- length animated feature films and the first one made in the United States. In 1986, during a large corporate restructuring, Walt Disney Productions, which had grown from a single animation studio into an international multimedia company, was renamed The Walt Disney Company and the animation studio Walt Disney Feature Animation in order to differentiate it from the other divisions. Its current name was adopted in 2007 after Pixar Animation Studios was acquired by Disney in the previous year. For much of its existence, the studio was recognized as the premier American animation studio; it developed many of the techniques, concepts and principles that became standard practices of traditional animation.
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Tiernan was trained in traditional animation for feature film in his native Ireland, at Don Bluth's now-defunct Dublin-based Sullivan Bluth Studios. There, he worked with Bluth in various capacities on the films An American Tail (1986), The Land Before Time (1988) and All Dogs Go to Heaven (1989). Tiernan later worked on one episode of the British children's animated series Danger Mouse for Cosgrove Hall, several episodes of Garfield & Friends, the 1983 animated series of the comic series Lucky Luke, Ralph Bakshi's live action and animation mixed feature film Cool World (1992) and two animated feature films from Germany Der kleene Punker (1992) and Felidae (1994) which was later released on YouTube premieres on 7 August 2013 in the USA, UK, Canada and any of countries lot of views in audiences for older teens and up. Soon after, he moved to Los Angeles and became a sequence director for Klasky Csupo.
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The word "cinema", short for cinematography, is often used to refer to filmmaking and the film industry, and to the art form that is the result of it. The moving images of a film are created by photographing actual scenes with a motion- picture camera, by photographing drawings or miniature models using traditional animation techniques, by means of CGI and computer animation, or by a combination of some or all of these techniques, and other visual effects. Traditionally, films were recorded onto celluloid film stock through a photochemical process and then shown through a movie projector onto a large screen. Contemporary films are often fully digital through the entire process of production, distribution, and exhibition, while films recorded in a photochemical form traditionally included an analogous optical soundtrack (a graphic recording of the spoken words, music and other sounds that accompany the images which runs along a portion of the film exclusively reserved for it, and is not projected).
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In the 1930s and 1940s Fleischer Studio made several cartoons with extensive stereoscopic 3D backgrounds, including several Popeye, Betty Boop, and Superman cartoons. In the early to mid-1950s, only half of the major Animation film studios operation experimented with creating traditional 3D animated short subjects. Walt Disney Studio produced two traditional animation short for stereoscopic 3D, for cinemas. Adventures in Music: Melody (1952), and the Donald Duck cartoon Working for Peanuts (1953). Warner Brothers only produced a single cartoon in 3D: Lumber Jack-Rabbit (1953) starring Bugs Bunny. Famous Studio produced two cartoons in 3D, the Popeye cartoon Popeye, the Ace of Space (1953), and the Casper the Friendly Ghost cartoon Boo Moon (1954). Walter Lantz Studio produced the Woody Woodpecker cartoon Hypnotic Hick (1953), which was distributed by Universal. From the late 1950s until the mid-2000s almost no animation was produced for 3D display in theaters. Although several films used 3D backgrounds.
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Pomeroy remained at the Dublin studio to work as the directing animator and producer on An American Tail and The Land Before Time, before moving back to America in 1989 to form a new US wing of the company. After working with Sullivan Bluth for thirteen years, Pomeroy was convinced to return to Disney by Don Hahn to work as the supervising animator on John Smith for Pocahontas. While working at Disney, Pomeroy also provided animation for the films Fantasia 2000, Atlantis: The Lost Empire, and Treasure Planet. Pomeroy then left Disney once again in 2003 during the period where they briefly shut down their traditional animation department and subsequently started to do freelance work and was an animator for Curious George, and most recently, The Simpsons Movie, as well as Tom and Jerry and the Wizard of Oz, Tom and Jerry: The Lost Dragon, Tom and Jerry: Spy Quest, Tom and Jerry: Back to Oz, and Tom and Jerry: Willy Wonka and the Chocolate Factory.
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The Legend of Korra was produced mainly as traditional animation, with most frames drawn on paper in South Korea by the animators at Studio Mir and scanned for digital processing. Each episode comprises about 15,000 drawings. The series makes occasional use of computer-generated imagery for complex scenes or objects, most noticeably in the animations of the pro-bending arena or the mecha-suits of the later seasons. While The Legend of Korra was produced in the United States and therefore not a work of Japanese animation ("anime") in the strict sense, The Escapist magazine argued that the series is so strongly influenced by anime that it would otherwise easily be classified as such: its protagonists (a superpowered heroine, her group of talented, supporting friends, a near-impervious villain who wants to reshape the world), its themes (family, friendship, romance, fear, and death) and the quality of its voice acting as well as the visual style are similar to those of leading anime series such as Fullmetal Alchemist: Brotherhood, Bleach or Trigun.
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The departure in 1979 of animators Bluth, Goldman and Pomeroy, along with a further four animators and four assistant animators from Disney's feature animation studio, caused a considerable disturbance in the animation industry.Harmetz, 11 Animators Quit Disney, Form Studio The eleven animators who left represented about 17% of the studio's animation staff, a loss that delayed the release of The Fox and the Hound by six months. Ron W. Miller, the president and CEO of The Walt Disney Company at the time, remarked that although the timing of their departure was unfortunate, it was “possibly the best thing that could happen to our animation group”.Wall Street Journal, September 19, 1979. Disney Is Dealt Blow by the Resignations of 11 Animators to Start Production Firm Bluth expressed concerns that as Disney's productions became more technically advanced, the story seemed to lose importance. The aim of his new studio was to “return animation to its glorious past”, concentrating on strong stories, and using traditional animation techniques that had fallen out of favour at Disney.
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Conceived as a project for Level-5's tenth anniversary, Ni no Kuni: The Another World was announced in the September 2008 issue of Famitsu, as a title for the Nintendo DS. In June 2010, Level-5 announced that the game would also be released for the PlayStation 3, with significant differences; the DS version was renamed Ni no Kuni: Dominion of the Dark Djinn, while the PlayStation 3 version was given the title Ni no Kuni: Wrath of the White Witch. Both versions were revealed to be in development separately, only retaining the same "story axle", while features such as artwork, graphics and specifications all received significant changes. Journalists noted that the game's announcement ignited widespread anticipation within the gaming industry. Level-5 collaborated with Studio Ghibli to produce the game's animated sequences, and the game features graphics and visuals replicating the traditional animation style of Studio Ghibli films. The collaboration began when musician Naoya Fujimaki, who had previously worked with both companies, introduced Level-5 president Akihiro Hino to Studio Ghibli president Toshio Suzuki.
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Traditional silhouette animation as invented by Reiniger is subdivision of cutout animation (itself one of the many forms of stop motion). It utilises figures cut out of paperboard, sometimes reinforced with thin metal sheets, and tied together at their joints with thread or wire (usually substituted by plastic or metal paper fasteners in contemporary productions) which are then moved frame-by-frame on an animation stand and filmed top-down with a rostrum camera – such techniques were used, albeit with stylistic changes, by such practitioners as Noburō Ōfuji in the 1940s and Bruno J. Böttge in the 1970s. Michel Ocelot's television series Ciné si (Cinema If, 1989) was a little different, combining cutouts and cels and also, more occasionally, live-action and clay animation (this series is better known as Princes et princesses, the feature film version mentioned below). This was also the first silhouette animation to successfully make characters appear to speak for themselves (traditionally, either intertitles or voice-over narration had been used) as the mixed medium made accurate lip syncing possible. Traditional animation can also be used to imitate silhouette animation, as seen regularly in Be-PaPas' Shōjo Kakumei Utena (Revolutionary Girl Utena, 1997).
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Enchanted is the first feature-length Disney live-action/traditional animation hybrid since Disney's Who Framed Roger Rabbit in 1988, though the traditionally animated characters do not interact in the live-action environment in the same method as they did in Roger Rabbit; however, there are some scenes where live-action characters share the screen with two-dimensional animated characters, for example, a live-action Nathaniel communicating with a cel-drawn Narissa, who is in a cooking pot. The film uses two aspect ratios; it begins in 2.35:1 when the Walt Disney Pictures logo and Enchanted storybook are shown, and then switches to a smaller 1.85:1 aspect ratio for the first animated sequence. The film switches back to 2.35:1 when it becomes live-action and never switches back, even for the remainder of the animated sequences. When this movie was aired on televised networks, the beginning of the movie (minus the logo and opening credits) was shown in the pillarboxed 4:3 aspect ratio; the remainder of the movie was shown in the 16:9 aspect ratio when it becomes live-action.
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