Animation
Animation is the rapid display of a sequence of images of 2-D or 3-D artwork or model positions to create an illusion of movement. The effect is an optical illusion of motion due to the phenomenon of persistence of vision, and can be created and demonstrated in several ways. The most common method of presenting animation is as a motion picture or video program, although there are other methods.
Early examples
An Egyptian burial chamber mural, approximately 4000 years old, showing wrestlers in action. Even though this may appear similar to a series of animation drawings, there was no way of viewing the images in motion. It does, however, indicate the artist's intention of depicting motion.
Early examples of attempts to capture the phenomenon of motion drawing can be found in paleolithic cave paintings, where animals are depicted with multiple legs in superimposed positions, clearly attempting to convey the perception of motion.
Five images sequence from a vase found
A 5,000 year old earthen bowl found in Iran.It has five images of a goat painted along the sides. This has been claimed to be an example of early animation. However, since no equipment existed to show the images in motion, such a series of images cannot be called animation in a true sense of the word.
A Chinese zoetrope-type device had been invented in 180 AD. The phenakistoscope, praxinoscope, and the common flip book were early popular animation devices invented during the 19th century.
These devices produced the appearance of movement from sequential drawings using technological means, but animation did not really develop much further until the advent of
cinematography.
An Egyptian burial chamber mural, approximately 4000 years old, showing wrestlers in action. Even though this may appear similar to a series of animation drawings, there was no way of viewing the images in motion. It does, however, indicate the artist's intention of depicting motion.
There is no single person who can be considered the "creator" of film animation, as there were several people working on projects which could be considered animation at about the same time.
Georges Méliès was a creator of special-effect films; he was generally one of the first people to use animation with his technique. He discovered a technique by accident which was to stop the camera rolling to change something in the scene, and then continue rolling the film. This idea was later known as stop-motion animation. Méliès discovered this technique accidentally when his camera broke down while shooting a bus driving by. When he had fixed the camera, a hearse happened to be passing by just as Méliès restarted rolling the film, his end result was that he had managed to make a bus transform into a hearse. This was just one of the great contributors to animation in the early years.
The earliest surviving stop-motion advertising film was an English short by Arthur Melbourne-Cooper called Matches: An Appeal (1899). Developed for the Bryant and May Matchsticks company, it involved stop-motion animation of wired-together matches writing a patriotic call to action on a blackboard.
J. Stuart Blackton was possibly the first American film-maker to use the techniques of stop-motion and hand-drawn animation. Introduced to film-making by Edison, he pioneered these concepts at the turn of the 20th century, with his first copyrighted work dated 1900. Several of his films, among them The Enchanted Drawing (1900) and Humorous Phases of Funny Faces (1906) were film versions of Blackton's "lightning artist" routine, and utilized modified versions of Méliès' early stop-motion techniques to make a series of blackboard drawings appear to move and reshape themselves. 'Humorous Phases of Funny Faces' is regularly cited as the first true animated film, and Blackton is considered the first true animator.
Another French artist, émile Cohl, began drawing cartoon strips and created a film in 1908 called 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. This makes Fantasmagorie the first animated film created using what came to be known as traditional (hand-drawn) animation.
Fantasmagorie by Emile Cohl, 1908
Following the successes of Blackton and Cohl, many other artists began experimenting with animation. One such artist was Winsor McCay, a successful newspaper cartoonist, who created
detailed animations that required a team of artists and painstaking attention for detail. Each frame was drawn on paper; which invariably required backgrounds and characters to be redrawn and animated. Among McCay's most noted films are Little Nemo (1911), Gertie the Dinosaur (1914) and The Sinking of the Lusitania (1918).
The production of animated short films, typically referred to as "cartoons", became an industry of its own during the 1910s, and cartoon shorts were produced to be shown in movie theaters. The most successful early animation producer was John Randolph Bray, who, along with animator Earl Hurd, patented the cel animation process which dominated the animation industry for the rest of the decade.
El Apóstol (Spanish: "The Apostle") was a 1917 Argentine animated film utilizing cutout animation, and the world's first animated feature film.
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, which are first drawn on paper. To create the illusion of movement, each drawing differs slightly from the one before it. The animators' drawings are traced or photocopied onto transparent acetate sheets called cels, which are filled in with paints in assigned colors or tones on the side opposite the line drawings. The completed character cels are photographed one-by-one onto motion picture film against a painted background by a rostrum camera.
An example of traditional animation, a horse animated by rotoscoping from Eadweard Muybridge's 19th century photos
The traditional cel animation process became obsolete by the beginning of the 21st century. Today, animators' drawings and the backgrounds are either scanned into or drawn directly into a computer system. Various software programs are used to color the drawings and simulate camera movement and effects. The final animated piece is output to one of several delivery media, including traditional 35 mm film and newer media such as digital video. The "look" of traditional cel animation is still preserved, and the character animators' work has remained essentially the same over the past 70 years. Some animation producers have used the term "tradigital" to describe cel animation which makes extensive use of computer technology.
Examples of traditionally animated feature films include Pinocchio (United States, 1940), Animal Farm (United Kingdom, 1954), and Akira (Japan, 1988). Traditional animated films which were produced with the aid of computer technology include The Lion King (US, 1994) Sen to Chihiro no Kamikakushi (Spirited Away) (Japan, 2001), and Les Triplettes de Belleville (France, 2003).
Full animation refers to the process of producing high-quality traditionally animated films, which regularly use detailed drawings and plausible movement. Fully animated films can be done in a variety of styles, from more realistically animated works such as those produced by the Walt Disney studio (Beauty and the Beast, Aladdin, Lion King) to the more 'cartoony' styles of those produced by the Warner Bros. animation studio. Many of the Disney animated features are examples of full animation, as are non-Disney works such as The Secret of NIMH (US, 1982), The Iron Giant (US, 1999), and Nocturna (Spain, 2007).
Limited animation involves the use of less detailed and/or more stylized drawings and methods of movement. Pioneered by the artists at the American studio United Productions of America, limited animation can be used as a method of stylized artistic expression, as in Gerald McBoing Boing (US, 1951), Yellow Submarine (UK, 1968), and much of the anime produced in Japan. Its primary use, however, has been in producing cost-effective animated content for media such as television (the work of Hanna-Barbera, Filmation, and other TV animation studios) and later the Internet (web cartoons)。
Rotoscoping is a technique, patented by Max Fleischer in 1917, where animators trace live-action movement, frame by frame. The source film can be directly copied from actors' outlines into animated drawings, as in The Lord of the Rings (US, 1978), or used in a stylized and expressive manner, as in Waking Life (US, 2001) and A Scanner Darkly (US, 2006). Some other examples are: Fire and Ice (USA, 1983) and Heavy Metal (1981).
Live-action/animation is a technique, when combining hand-drawn characters into live action shots. One of the earlier uses of it was Koko the Clown when Koko was drawn over live action footage. Other examples would include Who Framed Roger Rabbit (USA, 1988), Space Jam (USA, 1996) and Osmosis Jones (USA, 2002).
A short gif animation of Earth
Computer animation
2D animation
2D animation figures are created and/or edited on the computer using 2D bitmap graphics or
created and edited using 2D vector graphics. This includes automated computerized versions of traditional animation techniques such as of, 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 which part is animated.
3D animation
3D animation is digitally modeled and manipulated by an animator. To manipulate a mesh, it is given a digital skeletal structure that can be used to control the mesh. This process is called rigging. Various other techniques can be applied, such as mathematical functions (ex. gravity, particle simulations), simulated fur or hair, effects such as fire and water and the use of motion capture to name but a few, these techniques fall under the category of 3D dynamics. Well-made 3D animations can be difficult to distinguish from live action and are commonly used as visual effects for recent movies. Toy Story (1995, USA) is the first feature-length film to be created and rendered entirely using 3D graphics.
Terms
Cel-shaded animation, is used to mimic traditional animation using CG software. Shading looks stark, with less blending colors. Examples include, Skyland (2007, France), Appleseed Ex Machina (2007, Japan), The Legend of Zelda: Wind Waker (2002, Japan)
Machinima, Films created by screen capturing in video games and virtual worlds.
Motion capture, is used when live action actors wear special suits that allow computers to copy their movements into CG characters. Examples include Polar Express (2004, USA), Beowulf (2007, USA), A Christmas Carol (2009, USA), The Adventures of Tintin (2011, USA) Photo realistic animation, is used primarily for animation that attempts to resemble real life. Using advanced rendering that makes detailed skin, plants, water, fire, clouds, etc. to mimic real life. Examples include Up (2009, USA), Kung-Fu Panda (2008, USA), Ice Age (2002, USA).
2D animation techniques tend to focus on image manipulation while 3D techniques usually build virtual worlds in which characters and objects move and interact. 3D animation can create images that seem real to the viewer.
Other animation techniques
Drawn on film animation: a technique where footage is produced by creating the images directly on film stock, for example by Norman McLaren, Len Lye and Stan Brakhage.
Paint-on-glass animation: a technique for making animated films by manipulating slow drying oil paints on sheets of glass, for example by Aleksandr Petrov.
Erasure animation: a technique using tradition 2D medium, photographed over time as the artist manipulates the image. For example, William Kentridge is famous for his charcoal erasure films, and Piotr Duma?a for his auteur technique of animating scratches on plaster.
Pinscreen animation: makes use of a screen filled with movable pins, which can be moved in or out by pressing an object onto the screen. The screen is lit from the side so that the pins cast shadows. The technique has been used to create animated films with a range of textural effects difficult to achieve with traditional cel animation.
Sand animation: sand is moved around on a back- or front-lighted piece of glass to create each frame for an animated film. This creates an interesting effect when animated because of the light contrast.
Flip book : A flip book (sometimes, especially in British English, called a flick book) is a
book with a series of pictures that vary gradually from one page to the next, so that when the pages are turned rapidly, the pictures appear to animate by simulating motion or some other change. Flip books are often illustrated books for children, but may also be geared towards adults and employ a series of photographs rather than drawings. Flip books are not always separate books, but may appear as an added feature in ordinary books or magazines, often in the page corners. Software packages and websites are also available that convert digital video files into custom-made flip books.
中文翻译
动画
动画是2-D 或3-D 的艺术品或职位建模的一系列的想象的快速的表现来创造
一种运动的幻觉。
这个影响是移动上的一种视觉上的错觉由于视觉持续的现象，并且能够在几
种方式上被创造和被展示。最常见的方法当前动画是作为一幅移动的图片或是视频节目，尽管有其他的方法。
1.早期的例子
一位埃及人埋葬在秘密的壁画中，近似于4000年，在行动上展示了摔跤选
手。甚至尽管这个可能出现相似于一系列的动画的图案，没有视觉上的方式在运转中的想象。它的确是，然而，在描写运动中表明了艺术家的意图。
在伊朗从一只花瓶上发现了5种图像次序 早些尝试的的例子去捕获
移动的图片，它能够在旧石器时
代的洞穴壁画被发现，在重叠的
位置上带有多条腿的动物们被
描绘，清晰的尝试去表达动画的感觉。
一位埃及人埋葬在秘密的壁画中，近似于4000年，在行动上展示了摔跤选手。甚至尽管这个可能出现相似于一系列的动画的图案，没有视觉上的方式在运转中的想象。它的确是，然而，在描写运动中表明了艺术家的意图。
5000岁的制钵机在伊朗被发现，沿着这边一只山羊被描绘成五种图像。这已经被声称是早期动画的一个例子。然而，后来没有设备存在来展示在运转中的想象，像一系列的想象不能被称作动画在一个真实的世界里。 一面中国的西洋镜类型的设备已经在180 AD 中被发明。转盘活动影像镜，教学用喉动态镜，和常见的手翻书是早些流行的动画设备在19世纪被发明。 这些设备生产移动的外观从连续的图片中用技术的手段，但是动画没有真正的发展更长久直到电影艺术的到来。
没有单一的人能够被考虑成电影动画的“创造者”，像有几个人工作在项目
中，它能够同时被考虑成动画。
乔治斯是一名特殊效果电影的创造者；一般来说他是使用他的机器制作动画
的第一人。他偶然的发现了一种技术这即将去停止照相机旋转在场面中改变一些
事情，然后继续旋转胶卷。这个思想后来被称作单格拍制动画。当摄影一辆公共
汽车驱动时乔治斯偶然的发现这项技术，当时他的照相机就出现了故障。当他已
经修好照相机时，一辆灵车碰巧通过时刚巧乔治斯重启旋转胶卷，他的最后结果
他设法使一辆公共汽车转变成一辆灵车。在早些年对于动画他是一位伟大的创造
者。
最早期继续存在的单格拍摄广告电影是一种英语的缺乏被阿瑟墨尔本库珀
称作火柴：一种呼吁（1899）。开发的布赖恩特和五月火柴梗公司，它涉及到接
有点电线的火柴的单格拍制动画在一个黑板上写爱国的行动呼吁。
J.斯图尔特布莱克顿可能是美国第一电影制作人用来使用单格拍制技术和
手绘的动画。被爱迪生发明电影制作，他倡导这些概念在20世纪的转变，随着
他的第一个受版权保护的注有日期1900。几个他的电影，在他们之中被施魔法
的图画（1900）和风趣的脸的幽默阶段（1906）是布莱克顿的“作家快手”路线
的版本，并且修改乔治斯早期的单格拍制技术的版本用来制作一系列的黑板上的
图画出现移动并且改造他们自己。‘风趣的脸的幽默阶段’有规律的被引用作为
第一个真实的动画电影，布莱克顿被称为第一位真实的动画家。
另一个法国艺术家，埃米尔开始绘画
卡通脚本并且创作一部电影在1908年叫
做幻影集。这部电影大部分考虑了一个粗
线条刻画人物走来走去并且遇到了变形
目标的所有方式，例如一个酒瓶转变成一
朵花。也有实景真人卡通绘制者的手将会
进入场景中。这部电影在纸上描绘每一个
框架被制作然后在底片上射击每一个框
架，这会给如片一个平台观看。这使幻影
集被制作成第一部动画片，后来被称为传
统的（手绘制）动画。1908年被埃米尔制作的幻影集
随着布莱克顿和埃米尔的成功，许多其他的艺术家开始用动画进行试验。一
位这样的艺术家名叫温瑟，一位成功的报纸漫画家，他创作了详细的动画片这需
要一组艺术家并且对于细节艰苦的注意。每一个框架在纸上被描述，这总是需要
背景图片和人物特征来被重画和有生气的，在莫卡的大多数显著的电影中有小尼
莫（1911），恐龙葛蒂（1914）和尼西塔尼亚号的沉没（1918）。
动画短片的作品，尤其被称作“卡通动画”，在1910s期间变成了它自己的
一个工业，卡通动画短片在电影院制作被放映。最成功的早期动画生产者是布雷，他，跟随制片家贺德一起，取得赛璐珞动画处理的专利这支配着动画工业对于其
他的十年。
E1 导师（西班牙语：“信徒”）是1917年阿根廷动画电影利用挖剪图片动
画，并且是世界上第一部最佳动画长片电影。
2.传统的动画
传统的动画（也被称作赛璐珞动画或是手绘动画）是个过程在20世纪用于大多数动画电影。一部传统的动画电影的单一框架是图纸的照片，这是第一个在纸上被描绘。对于制作运动的错觉，每一张图画稍微不同于在它前面的那张。动画家的图纸在透明醋酸表上被测量或是被影印，这是用指定的绘画颜料或是基本音色另外在对面的线图中填补进去。
传统动画的一个例子，来自于埃德沃德·迈布里奇的19世纪的照片被转描机技术描绘的一匹马
这个完整品质的摄制一个接一个的被拍照在电影被一台活动照相机倚靠一个被描画的背景。
赛璐珞动画推移在21世纪的开端变得淘汰了。今天，动画家的图纸和背景图片或者是已扫描的或者是直接绘图在一个电脑系统中的。各种各样的软件程序被用于给图纸图颜料、模仿照相机运动和效果。最后的动画块输出是几个交付媒体中的一个，包括传统的35mm电影和更新的媒体例如数字视频。传统的赛璐珞动画的样子仍旧是保留的，特征动画的工作已经从本质上保留了过去的70年。一些动画的生产者已经用“传统数字”术语来表述赛璐珞动画这使得计算机技术广泛的使用。
传统的最佳动画长片电影的例子包括木偶奇遇记（美国，1940），动物庄园（英国，1954），和阿基拉（日本，1988）.传统的最佳动画长片在电脑技术的帮助下被制作包括（狮子王，1994）千与千寻（日本，2001），美丽城三重唱（法国，2003）。
完全动画涉及到制作高质量传统的动画电影过程，这有规律地使用详图和貌似真实的运动。完全动画电影能够用各种各样的模式来制作，从更多显示的动画作品例如由迪士尼工作室（美女与野兽，阿拉丁，狮子王）被制作到由迪士尼被制作的更多的“卡通化”风格。许多迪士尼经典动画长片是完全动画片的例子，正如非迪士尼例如勇敢鼠妈妈（美国，1982），钢铁巨人（美国，1999），和星星大作战（西班牙，2007）。
有限的动画涉及到更少详细的和/或更多风格的详细描绘和运动的方法。在美国的美国工作室联合制作有艺术家作为先驱，有限的动画能够被用于程式化的一种表现方法，像在杰拉尔德McBoing定票（美国，1951），黄色潜水艇（英国，1968）和许多在日本制作的日本动漫。它的基本使用，然而，已经为媒介制作为最有成本效益的动画内容例如电视（芭拉拉的工作，美国飞美逊，和其他的电视
动画工作室）和后来因特网（网络漫画）。
转描机技术是一种技术，在1917年被弗莱李兄弟得到专利，动画家追踪实景运动，逐帧动画。源电影等够直接从演员的轮廓复制进入卡通片，像在指环王（美国，1978）或用一个程式化和富有表现力的方式，像在梦醒人生（美国，2001）和心机扫描（美国，2006）。一些其他的例子：火与冰（美国，1983）和重金属（1981）。
一个短的可交换的地球动画图像
3.电脑动画
电脑动画包含大量的技术，统一的因素由于动画在电脑上数字化的被创建。这个动画比前面的传统动画会花更少的时间。
2D动画
2D动画人物摄影被创作并且/或者被编辑在电脑上用2D位图制图法或用2D 向量图形制图法被创作和编辑。这包括了传统的动画技术的自动化的电脑版本例如，插补变形，单项中继线和绘画制转瞄技术。
3D动画
3D动画是被一位卡通绘制者的数字化建模和操作。为了操作一个网丝，它被赋予一个数字骨骼结构这能够被用来控制网眼。这个过程被称作绳索。各种各样其他的技术被应用，例如数学运算函数库（例重力，粒子模拟），模拟羽毛或头发，效果像火和水并且用动作捕捉来命名除了个别的，这些技术受到3D动力学的分类的影响，匀称的3D动画很难能够从生动的情节中区别并且对于最近的电影常被用于视觉效果。玩具总动员（1995，美国）是用3D图像的第一部长篇电影来完全的被创造和描述。
4.地位
色彩较暗的动画，用CG软件被用来模仿传统的动画。阴影看起来鲜明，带有更少的混合颜色。
例子包括，苍穹（2007，法国），苹果核战记（2007，日本），塞尔达传说：风之杖（2002，日本）。
引擎电影，在电子游戏和虚拟世界里被屏幕捕获被创作。
动作捕捉，当实景真人穿着特殊的套装被使用这允许电脑在CG中复制他们的运动。例子包括极地快车（2004，美国），贝奥武夫（2007，美国），圣诞颂歌（2009，美国），丁丁历险记（2011，美国）。
照片真实度的动画，普遍被动画所使用这相似于真实的生活。使用高级渲染这制作了详细的外皮，植物，水，火，白云，等等来模仿真实的生活。例子包括飞屋环游记（2009，美国），迷幻山区摇滚（2008，美国），冰河世纪（2002，美国）。
2D动画技术倾向于集中于图像处理当3D技术通常建造虚拟世界的特性和物体移动及幕间剧。3D动画能够创造想象这对于观看者似乎是真实的。
5.其他的动画技术
在电影动画上描述：这项技术连续镜头被制作由图像直接创建在库存胶片上，例如被麦克拉伦，列恩·雷和斯坦·布拉哈德。
描绘在玻璃上的动画：一项技术用来制作动画片由操纵慢甘油涂在玻璃的版面，例如由亚历山大·彼得洛夫。
擦除动画：这项技术应用于传统的2D技术，随着时间的流逝拍照正如艺术家巧妙的处理图片。例如，威廉·肯特里奇以他的木炭擦除电影而得名，彼得以在石膏上他的动画划痕导演技术而出名。
沙动画：沙子在一片后面或者是前面发光的玻璃上走来走去对每一部动画片创建每一个画面。由于灯的对比生动的创建了一个有趣的效果。
手翻书：手翻书（有时，尤其是在英式英语中，被称作手翻书）是一本书，它带有一系列的图片从一页到下一页渐渐的变化，所以当书页快速的翻转时，图片由模拟运动或一些其他的变化好像动起来。手翻书经常对孩子们是有插图的书，而且可能更大的朝向成年人和使用一系列逼真的照片而不是图纸。手翻书不总是单独的书，而当在普通书籍或杂志上增加一个特征时可能出现，经常在页脚上。软件包和网站也是有效的这转变数字视频文件到定制的手翻书里。