REFLECTION

Over the 14 weeks, i've gone so many dramas to finish this course.  Tears and laughters cannot hide my joy and pride finishing this course.  I took this course to venture things that i may not be able to conquer in a day.  As a matter of fact, i like challenges and i think this is one of the ways for me to try new things instead of working with words everyday.  For the first half of the semester, every lesson was a joyful one and i pretty much enjoy doing the animation eventhough it consumed a lot of time and a lot of tutorials from YouTube.  I managed to come up with a proper storyboard along with my group members who were very helpful and keen to answer all my doubts whenever i was lost.  I also managed to finish my animatic storyboard using Toon Boom Harmony 10.0.  How unfortunate that everything was ready except the audio part which was not functioning.  I was in great despair as i had sacrificed a lot of time to finish the animatic storyboard.



Half semester later, we were shocked to be informed to use Adobe Flash which we did not have any skill into.  Just like Toon Boom Harmony, our lecturers Dr. Jamaluddin and Dr. Shaharuddin encouraged us to be positive and keep on learning.  They believed we can make it.  However, i still felt a bit sad and disappointed because my animation production was almost complete but i have to redo using Adobe Flash from scratch.  It was a terrifying moment for me but i kept on trying to apply all the knowledge, technique in animation.  Finally, i managed to complete the project with strong support from the lecturers and my group members.



Last but not least, i feel happy and proud to be an animator for a while.  Learning how to make animation and finishing it proves that knowledge has no boundaries regardless of what age or background we come from.  All the knowledge i got from this course will certainly broaden up my thinking horizon and expecting probabilities from all sides.  This has been an eye opener for me who comes from language background to instill educational technology in part of my teaching and learning life.  Hence, i would likely to recommend this course to other students as well as part of their master journey.

VISUAL EFFECTS ADVANCED TECHNIQUE

Rotoscoping is an animation technique that animators use to trace over motion picture footage, frame by frame, to produce realistic action. ... In the visual effects industry, rotoscoping is the technique of manually creating a matte for an element on a live-action plate so it may be composited over another background.

Chroma keying is a technique used for combining two frames or images by replacing a color or a color range in one frame with that from the another frame.

VISUAL EFFECTS BASIC TECHNIQUE

HOW TO ANIMATE ALONG A PATH IN ADOBE FLASH CS6

1. Create a new Flash document, and create some interesting graphics on the stage.
2. Using the Selection tool, select the graphics you created and press the F8 shortcut key to convert the graphic to a symbol.
3. When the Convert to Symbol dialog box appears, select Graphic from the Type drop-down list and enter a name for the symbol in the Name text box.
4. Create another new layer on the Timeline, select the Pencil tool in the Tools panel, and select a stroke color from the Property inspector on the right.
5. Make sure that Object Drawing mode is turned off. This button appears at the bottom of the Tools panel when the Pencil tool is selected.
6. Draw a path on the stage with the Pencil tool.
7. Switch to the Selection tool and double-click the path you just created.
8. Choose Edit→Cut to remove the path from the stage temporarily.
9. Right-click (Windows) or Control-click (Mac) Frame 1 of the layer that contains your symbol and choose Create Motion Tween from the contextual menu that appears.
10. A new tween span is created for your triangle symbol.
11. Choose Edit→Paste in Place to paste the path you created earlier.
12. Flash automatically converts the path to a motion path, and your symbol snaps to the path.
13. The symbol follows the path you created. Next, you can tweak the tween so that the symbol follows the exact orientation of the path.
14. Select Frame 1 of your tween span; in the Property inspector, locate and select the Orient to Path check box, which is located under the Rotation options.
15. Press Enter or Return again to play your movie.
16. The symbol changes rotation to match the direction of the path.

TEXT EFFECT ANIMATION USING FLASH CS6

INTRODUCTION TO VISUAL EFFECTS

Visual effects (commonly shortened to Visual FX or VFX) is the term used to describe any imagery created, altered, or enhanced for a film or other moving media that cannot be accomplished during live-action shooting.

Top 7 Visual Special Effects Techniques in VFX

• Bullet Time. Bullet time is a visual effect or visual impression of detaching the time and space of a camera from that of its visible subject
• Computer Generated Imagery
• Motion Control Photography
• Digital Compositing
• Virtual Cinematography
• Matte Painting
• Stop Motion Animation

VFX in Filmmaking. Visual effects are the processes by which imagery is created and/or manipulated outside the context of a live action shot. Visual effects make use of graphic design, animation, modeling, etc. using software such as After Effects, Maya, Cinema4D, and NUKE.

AUDIO IN ANIMATION

SOUND ON PICTURE

In 1928, The Jazz Singer, was the first “talking picture.”  Animation studios were quick to embrace the possibilities that synchronized sound on picture held.  That same year, Walt Disney Studios produced Steamboat Willie which introduced the world to animation with a synchronized soundtrack.  It was so widely viewed that the term “mickey mousing” quickly came to be synonymous with closely choreographed on-screen action and sound.  

TWO TAKES ON SOUND EFFECTS: THE WARNER BROS. & DISNEY APPROACHES

In the 1920’s and 1930’s, recording equipment was extremely large and heavy, rendering it impossible to take outside of the studio.  Unable to record sound effects in the real world, the studios were forced to invent new approaches to creating sound for their animated content.  Thus, two different approaches to sound effects were quickly developed.  

In one approach, sound effects were simulated by a musician during a music recording session.  These were largely played with percussion instruments such as timpani, cymbals, or wood blocks.   The second approach involved creating complex sound effect machines that could replicate the sounds of the outside world within the studio walls.  

Prior to “talking pictures,” pit drummer had been employed by movie theaters to accompany films with auxiliary percussion sound effects.  When animated films began to include synchronized sound, the studios hired these same musicians to record their talents inside the studio.  The pit drummers would bring an assortment of items commonly used in the trade with them: slide whistles, jew's harps, bulb horns, and brake drums among other thing.  

Introduction to Toon Boom Harmony

For this week, we learnt the basic techniques for Toon Boom Harmony 10.  However, there are not so many references on the 10.0 version.  Hence, we also refer to 11.0 version because they have quite similar functions. Below are the examples of tutorials,

ANIMATION PRINCIPLES

Squash and Stretch

Adding exaggeration to an object in motion gives it a greater sense of weight and volume. This principle is often demonstrated with a bouncing ball: the ball appears stretched when it is falling and  squashed when it hits the ground. By squashing and stretching the ball, an animator gives a more realistic feel.

This motion design example, “What it takes to be original,” uses squash and stretch to morph objects, such as the rounded corner rectangle seen in (00:02-00:05). The subtle use of squash and stretch adds a sense of weight and volume in the flat tone graphics throughout the motion design.

Staging

Influenced by theatrical principles, staging helps establish mood, create focus and clarify what is happening in the scene.

While this example includes elements of character animation, it’s a perfect example of staging in a motion design. There are no extraneous details in the background, which helps keep the main focus in the center even though the scene is always moving.

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Learn how to create compelling motion design work with these course from HOW Design University:

• Introduction to Web Animation
• Motion Graphics and Animation Design

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Straight Ahead Action & Pose to Pose

Straight ahead action refers to the technique of drawing each pose, one right after another, which can yield a fluid animation style. Pose to pose refers to the animation technique in which key frames are planned ahead of each other and then connected to afterward. Pose to pose usually leads to a more proportional animation that is convincing to the eye.

While not a true animation, the title sequence for the movie Juno uses a form of cut paper and a rotoscoping-like technique to provide a dynamic style with straight ahead action. The creative team used a process of capturing each step of the actor walking and then visually translated all the actions to individual images.

Slow In and Slow Out

In the physical world, objects and humans need to pick up momentum before they can reach full speed. Similarly, it takes time to decrease speed before something can come to a complete stop.

In the motion design of the TEDxTianhe Opening, Slow In and Slow Out can be seen in the circle (00:02-00:04), moving within the oval and falling. Even in objects that do not have a perfect form, such as the odd-shaped cube (00:16-00:20), Slow In and Slow Out is used to ground the motion graphic in reality.

Arc

When someone shoots an arrow, it rarely flies completely straight. Gravity causes objects in motion to arc between the start and end points. Even many of the natural movements in the human body move on arcs, such as the arm, hand, fingers, etc.

In the visual poetry “Happiness,” the creator uses many full and half circle forms to draw lines, move color, shape and reveal some of the letterforms.

Secondary Action

In the physical world, we can observe primary movement in the motion of a person walking or a bird flying. Secondary actions, such as a person swinging their arms as they walk or a birds’ feathers rippling in the wind, help support primary movements. Even smaller actions, such as blinking, are also considered secondary actions. In any secondary animation, it is important that it doesn’t detract from or dominate the main animation movement.

In the Penguin Drop Caps Animation above, the letterforms are beautifully drawn onto the composition, and once the main animation is done, the visual rest is supported by a subtle secondary action. In particular, take a look at the flames around the B (00:07-00:10) and the little bugs on the C (00:14-00:17).

Timing

In a true animation, timing is an essential aspect of the way frames are drawn. Timing also helps in establishing personality of characters and the emotions they express.

The title sequence for Otto Preminger’s Anatomy of a Murder was created long before advance computer motion technology existed. Iconic graphic designer Saul Bass used timing as the main tool to communicate the personality and emotion through flat shapes that represented body parts.

Learn more about Saul Bass’s work in Saul Bass: Anatomy of Film Design.

Solid drawing

Solid drawing takes an enhanced level of realism to the skill of drawing, adding good form and a three-dimensional feel to an animated work. No matter what tool (pencil or computer) is being used to create the drawing, it must work in three-dimensional space.

The Mad Men title sequence shows a silhouette of a man in motion—running and falling from a building. In all poses, the character has a solid form and looks realistic in the three-dimensional space, even when that space changes around him.

Learn about the inspiration for the Mad Men title sequence.

Appeal

A character with appeal isn’t always attractive. He or she can be an ugly or evil character with a certain level of charisma that is makes sense within the story. In motion design, appeal can be established before anything moves by choosing an interesting typeface, creating a visual translation, or juxtaposing images.

HBO’s True Detective – Main Title Sequence

The motion design of the title sequence for HBO’s drama series True Detective is a perfect example of design with appeal. With very little movement, the eye is drawn into the composition by the interesting montage of the character and scenery. Again, the title sequence isn’t appealing in the sense that you want to go on vacation there, but the visual appeal of the show is ever-present.

TOOLS IN ANIMATION DEVELOPMENT PROCESS

Script Writing

Script writing, sometimes called Screenwriting, involves creating an outline of all of the events taking place in an animation. This means detailing all of the audio such as dialogue, sound effects and music score. It also details all of the visual events or features appearing or taking place throughout such as fades, transitions from one scene to another, characters appearing, descriptions of the landscape etc.

In the commercial animation (and movie-making) world the script will be the first opportunity to accurately express the storyline and plot of an animation. A well-written script really helps to 'sell' the idea to prospective directors or studios who may be interested in the idea. This aspect of the pre-production process is really a very specific role which requires particular writing skills to do successfully - a reminder of the collaborative process typical of animation production.

When making a short animation a script may not be so essential to its success but as an exercise the screenwriting process is another way to focus thoughts and details.

What is a storyboard?

A storyboard is a visual representation of your script. It's a document that shows the narrative flow of your video, scene by scene. Most of the time, storyboards are made from hand-drawn sketches and notes scribbled in the margins.

1. It's the easiest way to share your vision

2. That's how you learn whether your idea works

3. Storyboards help to make the most of your budget

4. You'll be able to identify problems at an early stage

5. It makes the production process smoother

ANIMATIC? 

What is an animatic? Simply put, animatic is ananimated storyboard. Boards are brought into an editing program and are cut together with the correct timing and pace of the film. They include basic sound effects, dialogue recordings and scratch soundtrack.

example 

ANIMATION DEVELOPMENT PROCESS

Traditional animation (also called cel animation or hand-drawn animation) was the process used for most animated films of the 20th century. Today, animators' drawings and the backgrounds are either scanned into or drawn directly into a computer system.

Pre-Production

Pre-production is most essential. In this step we work together closely with our clients to make sure our vision for the project aligns with expectations. Going through this process together with you will save a lot of time later on in the project. A good story and a strong style that communicate your ideas to the desired target audience will be the result of a thorough pre-production.

• Briefing/debriefing
• Concept
• Visual development
• Storyboard
• Moving Storyboard

Production

Is the copywriting done and the storyline finalized? Check. All the key moments are there? Check. The visual style has been approved? Double Check. In the production  phase we do the hard work and bring the concept to life. Together with you we plan meetings to show the development of the animation to ensure we are moving in the right direction.

• 2D animation
• Outlines
• Coloring
• Layout
• Backgrounds

Post production

The animation together with the music, audio effects and the final voice over brings the video to life. Combined with a last color correction pass to bring the final layer of polish to your movie the animation is ready for release.

• Editing
• Compositing
• Sound   

Traditional animation vs Computer Animation

Traditional animation (or classical animation, cel animation or hand drawn animation) is an animation technique in which each frame is drawn by hand on a physical medium. The technique was the dominant form of animation in cinema until the advent of computer animation.

HARDWARE AND SOFTWARE FOR ANIMATION

What sort of hardware will I need?

You will need:

a reasonably modern PC or Mac capable of running the latest free student license of Maya
a tablet - they are much kinder on your hands than a mouse. Repetitive Strain Injuries are common in our industry and the mouse should be avoided if possible. We suggest this tablet as a good inexpensive option. Don't buy anything too small. A4 is probably a good size.
Ideally, your desktop should have two screens - one on which to watch the tutorials and a second screen on which to run Maya. Maya has lots of small buttons so a big screen is definitely an advantage.

What sort of software will I need?

Once you have suitable hardware, you should download a copy of the latest free student version of Maya from the Autodesk website. You will need to register with them first. Animation Apprentice is registered with Autodesk as an approved school. The following software will also be useful:

• Premiere or Final Cut, for editing your demo reel.
• Quick Time Pro. Simple, cheap and very useful for basic editing.

However, for this course, we will use Toon Boom Harmony for our animation technology production.