Matakuliah
Tahun
: History of Animation
: 2009
Traditional Era for Cinema
Pertemuan 03
01. GLASS TECHINQUE
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Paint-on-glass animation is a technique for making
animated films by manipulating slow-drying oil paints on
sheets of glass. Gouache mixed with glycerine is sometimes
used instead. The most well-known practitioner of the
technique is Russian animator Aleksandr Petrov; he has
used it in seven films, all of which have won numerous
awards.
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02. CELL TECHINQUE
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03. CUT OUT TECHINQUE
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Cutout animation is a technique for producing animations using
flat characters, props and backgrounds cut from materials such
as paper, card, stiff fabric or even photographs. The world's
earliest known animated feature films were cutout animations
(made in Argentina by Quirino Cristiani); as is the world's
earliest surviving animated feature.
Today, cutout-style animation is frequently produced using
computers, with scanned images or vector graphics taking the
place of physically cut materials. The TV series South Park is a
notable example (though first episodes were made with actual
paper cutouts) as are Angela Anaconda and more recently,
Charlie and Lola. South Park is now made with Maya and Corel
Draw. One of the most famous animators still using traditional
cutout animation today is Yuriy Norshteyn.
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Contoh CUT OUT ANIMATION
•The Adventures of Prince Achmed by Lotte Reiniger (from
1926) was a silhouette animation using armatured cutouts and
backgrounds which were variously painted or composed of
blown sand and even soap.
•Thieves of Baghdad by Noburo Ofuji (from 1926) was also an
early example of cutout animation, by animating chiyogami
(Japanese colored paper) cut-outs.[1]
•No. 12, also known as Heaven and Earth Magic by Harry
Everett Smith, completed in 1962, utilizes cut-out illustrations
culled from 19th century catalogs.
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•The Soviet films Lefty (1964) and Go There, Don't Know Where
(1966).
•René Laloux's early films made use of armatured cutouts, while
his first feature Fantastic Planet is a rare example of unarmatured
cutout animation.
•Twice Upon a Time (1983), an animated movie directed by John
Korty and produced by George Lucas, uses a form of cutout
animation, which the filmmakers called "Lumage," that involved
prefabricated cut-out plastic pieces that the animators moved on
a light table.
•South Park: Bigger, Longer & Uncut uses computer animation to
imitate cutout animation.
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04. STOP MOTION TECHNIQUE
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Stop-motion (also known as stop-action or frame-by-frame)
is an animation technique to make a physically manipulated
object appear to move on its own. The object is moved in
small increments between individually photographed frames,
creating the illusion of movement when the series of frames
is played as a continuous sequence. Clay figures are often
used in stop-motion for their ease of repositioning. Stopmotion animation using clay is described as clay animation or
clay-mation.
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Stop-motion animation has a long history in film. Of the forms
already mentioned, object animation is the oldest, then direct
manipulation animation, followed (roughly) by sequential
drawings on multiple pages, which quickly evolved into cel
animation, with clay animation, pixilation, puppet animation, and
time-lapse being developed concurrently next. The first instance of
the stop-motion technique can be credited to Albert E. Smith and
J. Stuart Blackton for The Humpty Dumpty Circus (1898), in which a
toy circus of acrobats and animals comes to life. In 1902, the film,
Fun in a Bakery Shop used clay for a stop-motion "lightning
sculpting" sequence. French trick film maestro Georges Méliès
used it to produce moving title-card letters for one of his short
films, but never exploited the process for any of his other films.
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The Haunted Hotel (1907) is another stop-motion film by James
Stuart Blackton, and was a resounding success when released.
Segundo de Chomón (1871-1929), from Spain, released El Hotel
eléctrico later that same year, and used similar techniques as the
Blackton film. In 1908, A Sculptor's Welsh Rarebit Nightmare was
released, as was The Sculptor's Nightmare, a film by Billy Bitzer.
French animator Emil Cole impressed audiences with his object
animation tour-de-force, The Automatic Moving Company in 1910.
One of the earliest clay animation films was Modelling
Extraordinary, which dazzled audiences in 1912. December 1916,
brought the first of Willie Hopkin's 54 episodes of "Miracles in
Mud" to the big screen. Also in December 1916, the first woman
animator, Helena Smith Dayton, began experimenting with clay
stop-motion. She would release her first film in 1917, Romeo and
Juliet
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•Gumby, an animated character first seen on TV in 1954
05. ROTOSCOPING TECHNIQUE
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Rotoscoping is an animation technique in which animators
trace over live-action film movement, frame by frame, for
use in animated films.[1] Originally, pre-recorded live-action
film images were projected onto a frosted glass panel and
re-drawn by an animator. This projection equipment is called
a rotoscope, although this device has been replaced by
computers in recent years. In the visual effects industry, the
term rotoscoping refers to the technique of manually
creating a matte for an element on a live-action plate so it
may be composited over another background.
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The technique was invented by Max Fleischer, who used it in his
series Out of the Inkwell starting around 1915, with his brother
Dave Fleischer dressed in a clown outfit as the live-film reference
for the character Koko the Clown. Max patented the method in
1917.[2]
Fleischer used rotoscope in a number of his later cartoons as well,
most notably the Cab Calloway dance routines in three Betty Boop
cartoons from the early 1930s, and the animation of Gulliver in
Gulliver's Travels (1939). The Fleischer studio's most effective use
of rotoscoping was in their series of action-oriented Superman
cartoons, in which Superman and the other animated figures
displayed very realistic movement.
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The Leon Schlesinger animation unit at Warner Brothers,
producing cartoons geared more towards exaggerated comedy,
used rotoscoping only occasionally.
Walt Disney and his animators employed it carefully and very
effectively in Snow White and the Seven Dwarfs in 1937.[3]
Rotoscoping was also used in many of Disney's subsequent
animated feature films with human characters, such as
Cinderella in 1950. From the latter film onwards, the rotoscope
was used mainly for studying human and animal motion, rather
than actual tracing.
Rotoscoping was used extensively in China's first animated
feature film, Princess Iron Fan (1941), which was released
under very difficult conditions during the Second Sino-Japanese
War and World War II.
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