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The History of Animation — Types of Animation Styles Explained [Shot List Ep. 14] — Transcript

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0:00[Music]
0:01films are made up of sequences
0:04sequences are made up of seams and
0:07scenes are made up of shots
0:10in previous episodes we covered
0:12close-ups all right Mr DeMille I'm ready
0:14for my close-ups lighting
0:18and composition
0:21in this episode we'll be examining
0:24animation
0:25this is gonna be good
0:32this is episode 14 of the shot list
0:38animation
0:43before we get started make sure to
0:45subscribe and click the Bell to stay in
0:48the know on all things filmmaking
0:51let's begin
0:53the word animation comes from the Latin
0:56word animatio which means a bestowing of
1:00life
1:02animation is a type of filmmaking in
1:04which a still object is captured in
1:07multiple positions and these images are
1:09projected in Rapid succession to create
1:12the illusion of movement
1:14this still object can be anything from a
1:17drawing
1:18a puppet
1:19or a computer-generated image
1:23just like the time
1:25[Music]
1:28animation has been a part of filmmaking
1:30from the very beginning
1:33in many ways its roots predate
1:35filmmaking
1:37for centuries artists have been trying
1:40to convince Their audience their
1:41drawings are moving
1:43with magic lanterns which arose in the
1:4517th century artists could simulate
1:48Movement by moving two slides in front
1:50of each other
1:53format tropes would use the rapid
1:55movement of two pictures to create the
1:57illusion of one cohesive image
2:00with kineographs or flip books a viewer
2:04could flip through drawings rapidly to
2:06simulate one fluid movement
2:09Edward mybridge pioneered the moving
2:12image with his rapid photography system
2:14called krona photography
2:16his horse in motion is considered one of
2:19the earliest Motion Pictures
2:21and my bridge went on to make animations
2:23of his photographs like this couple
2:26dancing which was made on Athena
2:28kistoscope a rotating disc with various
2:31images
2:32my bridge and others were employing what
2:35is called Persistence of vision to
2:38convince the audience their images were
2:39moving
2:41the Persistence of vision refers to when
2:44a person continues to see an object for
2:46a moment after the light has entered the
2:48eye
2:49this phenomena means that a succession
2:52of images can be interpreted as one
2:54fluid motion
2:57all of these pre-cinema Revelations and
2:59techniques meant that when film came
3:01along animation was quick to follow
3:05there are many forms of animation and
3:08today we are going to cover some common
3:10types starting with traditional
3:13animation
3:14can you paint with all the colors
3:19[Music]
3:24traditional animation also known as cell
3:27animation was the dominant type of
3:29animation of the 20th century
3:32in traditional animation animators Drew
3:35each frame by hand onto translucent
3:38paper
3:39J Stuart blackton's the enchanted
3:42drawing from 1900 is regarded as the
3:45first film with elements of hand-drawn
3:47animation
3:48in 1908 Emile Cole took a massive step
3:53forward with phantasma Gorey considered
3:56the earliest animated film using
3:58traditional animation methods Cole Drew
4:01each frame by hand and captured them
4:03with negative film inverting its colors
4:08animation continued to evolve in the
4:111910s with more complicated imagery
4:14animators were faced with a problem
4:17they had to redraw entire frames
4:19including the background over and over
4:22again
4:23creating inadvertent movement in the
4:26background and wasting a lot of time
4:29so in 1915 Earl Hurd and John Bray came
4:33up with the cell animation process where
4:36moving subjects would be drawn onto
4:38transparent sheets and placed on a
4:40static background
4:42the result was more efficient and
4:45effective animation
4:47one of the most popular styles of early
4:50animation was the rubber hose which
4:52featured characters with bendy and
4:54bouncy Limbs and which often used
4:57looping reusing frames to create a
5:00looped action
5:02entrepreneurial animators of the 1910s
5:05and 20s began to create Studios moving
5:08away from the solo animator method to
5:10churn out animation quickly
5:12one of these animators was Walt Disney
5:15Disney streamlined the animation process
5:18borrowing techniques from various
5:20Animation Studios to create an assembly
5:22line production style that quickly
5:25became the industry Norm
5:27by the release of the first traditional
5:30animation feature Disney's 1937 film
5:33Snow White and the Seven Dwarves
5:35Animation Studios had developed a
5:38relatively consistent process
5:41like with live action everything started
5:43with a script
5:45then artists would develop a detailed
5:48storyboard for the entire film
5:50voice recording would then begin and
5:53sound Engineers would put together a
5:55soundtrack that would be near finished
5:58at Disney the next step is the creation
6:01of an animatic when the pre-existing
6:03storyboard is cut to the soundtrack
6:15then artists would paint backgrounds and
6:19key animators drew the most important
6:21frames of characters movements in each
6:23scene
6:24these frames are called keyframes
6:28and assistant animator would then add
6:30details and missing frames to the key
6:32animator's work to smooth out movements
6:35the animated elements would be handed
6:37over to clean up animators who would
6:40Trace all of the drawings onto new
6:42sheets so that there would be
6:43consistency from frame to frame
6:46with the animated images complete the
6:49ink and paint process would begin
6:52the drawings will be transferred onto
6:54the backside of transparent sheets of
6:55plastic called cells
6:58this is also where color would be added
7:02the Sheets Were then placed on the
7:04background paintings and would be
7:06photographed using special animation
7:08cameras also called Rostrum cameras
7:14as Disney's animators owned their skills
7:16a specific style emerged which would
7:20become known as the 12 principles of
7:22Animation a list codified by Disney
7:25animators Ollie Johnston and Frank
7:28Thomas
7:30the 12 principles are aimed at making
7:32animation realistic and fluid such as
7:36squash and stretch
7:38follow through and overlapping action
7:42and anticipation
7:45these principles spread far beyond
7:47Disney and became guiding rules for many
7:50animators across the world
7:52in the 1960s United Productions of
7:56America or UPA took Disney's approach
7:59and pushed animation towards more
8:01abstract styles
8:02which allowed for experimentation and
8:05smaller budgets
8:07animators continue to use the 12
8:09principles to push boundaries today even
8:12though the animation process itself is
8:14much different
8:16since Disney's Little Mermaid in 1989
8:19traditional animation has shifted onto
8:22computers for most of the industry
8:25this is replaced the expensive inking
8:27and coloring process as well as the
8:30photography process
8:32but depending on where you look the
8:35foundations of traditional animation
8:36remains
8:39the traditional animation style has
8:41resulted in some of the most beloved
8:43movies and characters of all time and
8:46has many offshoots like the following
8:49technique
8:50rotoscoping
8:53rotoscoping is one of the most crucial
8:55Technologies in animation's evolution
8:58the term refers to drawing over live
9:00action footage frame by frame
9:03before rotoscoping animation artists had
9:07difficulty creating realistic movement
9:09in their characters
9:11animator Max Fleischer presented a
9:14solution with a technique he quickly
9:16patented
9:17he would project live action footage
9:19onto a translucent easel and draw a
9:23silhouette of the subject otherwise
9:24called a mat
9:26[Music]
9:27this allowed him to mimic realistic
9:29movement while still being able to put
9:31the subject in any context
9:34he called the process rotoscoping and he
9:37employed it throughout his
9:39groundbreaking out of The Inkwell series
9:42Fleischer went on to create famous
9:44cartoons like Popeye Betty Boop
9:48and would use rotoscoping to create
9:51complex dance sequences
9:59ever the adapter Walt Disney quickly
10:01brought the tool to his Studio
10:03[Music]
10:08rotoscoping continued to be used
10:10throughout the 20th century
10:13the technique was employed in Star Wars
10:15to create lightsabers
10:18the tool is still used today albeit with
10:21the help of a computer on films like
10:23Richard linklater's A Scanner Darkly
10:26link later and his team use a program
10:28called Roto shop which vectorized the
10:32drawings and interpolated in between
10:34frames
10:36gentlemen you are about to witness for
10:38approximately 61 cents of ordinary
10:40household materials the perfect homemade
10:44silencer
10:49tourism silencer
10:51rotoscoping can also be seen as a
10:54precursor to motion tracking which uses
10:57its same principles but with more
10:59control afforded by new technology
11:02therefore rotoscoping has made an
11:04indelible mark on filmmaking in
11:06animation and Beyond
11:08[Music]
11:10Japan is another animation Powerhouse
11:14which leads us to our next topic
11:16anime
11:19anime simply refers to any type of
11:22Animation coming out of Japan so there
11:25is a wide variety of material which fits
11:27under the term
11:29but there are several qualities that
11:30recur in a majority of anime which
11:33differentiates itself from U.S animation
11:37the most significant difference between
11:39anime and US animation is that anime
11:42emphasizes detailed visuals
11:46while the US and Disney in particular
11:48focuses often more so on movement
11:52most traditional animation in America is
11:55animated on ones or twos meaning that
11:58there is a new image every one or two
12:01frames accordingly
12:03in anime movement is on threes with a
12:07new image every three frames
12:10in both cases this can vary but less
12:13drawings allow for more detail in each
12:15image
12:18the 1988 anime film Akira for example
12:21boasted background detail and glowing
12:24lights that were groundbreaking for the
12:26time
12:27yeah yeah
12:33[Applause]
12:41famed anime director Hayao Miyazaki
12:44often will animate on ones
12:47twos
12:48and threes depending on the detail and
12:52importance of the action in a scene
12:54as Miyazaki producer irukatsu kihara
12:58explains
12:59before CGI Studio Ghibli films contained
13:03eight cells and 24 frames per second but
13:07those cells are not always distributed
13:09evenly
13:10put simply hold a single cell for a
13:13number of frames and use the remaining
13:15seven cells to glide through a specific
13:17motion
13:19anime often has a slightly altered
13:22production process than traditional
13:24animation in the US
13:26the voice recording process typically
13:29happens after the animation is produced
13:35[Music]
13:38Souls
13:40usually the camera in anime is more
13:43active than in the US
13:45with pans
13:47Dutch tilts and zooms creating motion
13:51outside of its character animations
13:54anime's distinctive style has had a
13:56wide-ranging influence and is often
13:59credited with being on the Forefront of
14:01creating animation with adult themes
14:04growing the audience for animation
14:06exponentially
14:08not all animation however is rooted in
14:11drawing
14:12there is also stop motion
14:17stop motion refers to animating any
14:21object by taking pictures of them in
14:23slightly altered positions
14:25including puppet work
14:27and claymation
14:29stop motion has its roots in the very
14:32earliest days of Cinema
14:34when filmmakers like George melier were
14:36trying to find new ways to shock Their
14:38audience Melia and others discovered
14:41that they could make inanimate objects
14:43move by using stop motion and started to
14:47employ the technique in their
14:48live-action settings
14:50as stop-motion evolved it remained
14:53intertwined with live action used to
14:56create a variety of special effects
14:59in 1925's a lost world entire scenes of
15:04dinosaurs would use stop-motion
15:06animation
15:08eventually stop-motion films independent
15:11of live action began to proliferate
15:13resulting in iconic films which are
15:16still beloved to this day
15:19in the 1970s animator Will Vinton coined
15:23the term claymation for stop-motion work
15:26that employed plasticine clay or other
15:28malleable substances which allows for
15:31characters to be more freely shaped
15:34the process is laborious and expensive
15:37and so a claymation feature didn't
15:39appear until vinton's the Adventures of
15:42Mark Twain in 1985.
15:45today stop motion continues to be seen
15:48in work from directors like Henry
15:50Selleck
15:51Tim Burton
15:53and Wes Anderson
15:57puppets are generally made with pliable
16:00and metal skeletons underneath silicon
16:03layers
16:05it is now done with the assistance of
16:07computers which can erase elements that
16:10are holding characters in place and
16:12smooth out movement
16:15stop motion remains a tool which is
16:18still going strong today
16:20its aesthetic is instantly recognizable
16:22and sometimes even replicated in films
16:26which aren't in fact stop-motion
16:29let's look at a style that uses
16:31stop-motions approach
16:33cut out animation
16:36cutout is one of the earliest forms of
16:38animation
16:39the technique refers to two-dimensional
16:42stop-motion capturing objects like paper
16:44or Fabric and adjusting them from frame
16:47to frame in order to create the illusion
16:49of movement
16:50because the subjects in cut out
16:52animation are reusable from shot to shot
16:55the technique proved to be cheaper and
16:57less time intensive than traditional
16:59animation
17:01Argentinian artist kierina christiani
17:03pioneered cutout techniques and made the
17:06feature El apostol in 1917 but the film
17:10unfortunately was destroyed
17:13but the earlier surviving animated
17:15feature also used the cutout Style
17:19in 1926 lot reiniger created The
17:22Adventures of Prince Ahmed
17:25she borrowed practices from Shadow play
17:27a pre-film form of entertainment where
17:30puppets would be moved around in front
17:32of a light
17:34cut out waned in popularity as cell
17:37animation became dominant but the
17:39technique still found life in smaller
17:41budget formats
17:43Terry Gilliam for example used cutouts
17:46in much of Monty Python's work
17:57oh
18:02one of the most popular animated
18:04television programs initially used the
18:07cutout technique
18:08[Music]
18:10I sure am hungry how can you eat when
18:13you're farting fire shut up dude you're
18:15being totally immature
18:17you see this was the pilot episode done
18:20before we had a series so Matt and I had
18:22to do the whole thing by ourselves for
18:24several months we were locked into a
18:26cold dark little room for long periods
18:30of time
18:33today South Park has kept its cut out
18:36style but it's all computer generated
18:39using the program Maya
18:42while cut out animation may seem like a
18:44dated style its techniques are crucial
18:47to much of the computer animated 2D
18:49projects we see today
18:52using software like Adobe animate after
18:55effects or tomb boom Harmony computer
18:58animators will create individual
19:00elements within parts of characters and
19:03move them just as lot reiniger would
19:06have by hand
19:07this technique is called puppet
19:10animation
19:11just like in the 1920s this method saves
19:15time since animators don't need to
19:17redraw characters from frame to frame
19:20the cutout animation style is linked to
19:23our next technique
19:253D computer animation
19:28while traditional cell animation was the
19:30dominant technique of the 20th century
19:333D computer animation is the dominant
19:36form of Animation today
19:38the practice refers to any animation
19:41which is created digitally and which has
19:43a sense of depth that is not usually
19:45achieved by traditional animation
19:49scientists began developing computer
19:51animation technology as early as the
19:531960s
19:55in 1972 Edwin catmore and Fred Park
19:59developed a computer animated hand and
20:02face at the University of Utah
20:05just like with stop-motion computer
20:07animation first started as a way to
20:10create special effects in live-action
20:12films
20:13the 1982 film Tron Everly relied on
20:17computer animation to create its virtual
20:20world ready
20:22[Music]
20:27technology had finally Advanced enough
20:30to create entirely computer-generated
20:33animations
20:35VeggieTales which premiered in 1993
20:38became the first TV show completely made
20:41of 3D computer animation
20:46in 1995 Pixar released Toy Story the
20:51first feature with 3D computer animation
20:53and changed the industry forever
20:56through Infinity
21:01creation of 3D computer animation varies
21:03by Studio
21:05usually the animation team begins with
21:08modeling where the characters shape and
21:10size is sculpted on geometric planes
21:14then an animator will create a skeletal
21:17version of a character
21:19this skeleton contains avars points
21:22which can be moved from frame to frame
21:26later then moves the avars into their
21:28desired positions for each keyframe in a
21:31process ingeniously called keyframing
21:34and the computer does the tweening
21:36animating the in-between frames
21:39do these words sound familiar
21:41that's because it's a similar process to
21:44traditional animation just this time the
21:47computer has automated some of the roles
21:51some 3D animation objects will use
21:53motion capture to make movement more
21:56realistic hardening back to Fleischer
21:58and his rotoscoping
22:01since Toy Story's release 3D computer
22:04animation has advanced rapidly
22:07in 1995 Woody had 700 controls
22:11Joe Gardner in Seoul has 1266
22:16due to advances in textures and hair
22:19movement some animation today can be
22:22nearly indistinguishable from live
22:24action
22:25[Music]
22:34animation is a testament to
22:36experimentation
22:38for over a century animators have been
22:40pushing their medium forward inventing
22:43new technologies and combining Styles
22:45creating Unforgettable movies along the
22:48way
22:49and no matter the form of Animation
22:52storyboards are almost always present
22:55don't get lost at your keyframes and
22:58click the link below to use Studio
23:00binders storyboard software
23:03some of your favorite animated films let
23:05us know in the comments
23:07until next time keep moving one frame at
23:11a time just keep swimming just keep
23:14swimming just keep swimming swimming
23:16swimming what do we do we swim swim
23:25[Music]

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