Synopsis
This story about the empty dustbin at the side road . Too much trash that surrounds it. Then dustbin tries to take it but failed. Dustbin felt sad because in the body is empty. Then people throw trash around the dustbin but not in the dustbin. the dustbin is happy and try to catch the trash, but just a little trash into the dustbin. Then, have a fly at the trash and eaten by a frog. Dustbin tried to collect the rubbish use a tongue but failed because the tongue gets stuck at the trash. Dustbin become angry. Suddenly he released trash at the side. The dustbin feel happy. But the dustbin was so surprised, because the trash is more big from the dustbin. The dustbin feel very sad.
Reward
'Silver Krishnaveni Award' for 'Best Short Film' at the Short Film Festival of Vijayawada – 5th & 6th April, 2011
1st Prize, International Film Festival, Nagpur, India. 2009
Nominations
AAROHI Film Festival, Mumbai, India - April 2009
Nominated in the Children's Film Category at the 16th International Children's Film Festival held at Hyderabad in November 2009
Task 1
About Animation
INTRODUCTION
Animation precedes the invention of photography and the cine
camera by several decades. It is an art form in which a world of dynamic image
and sound be synthesized. Animation is synthesis of movement through the
sequential use of small fragments of time, which gives rise illusion open to
manipulation in extraordinary ways.
Animation is the most nimble of mediums that has survived the
mechanical 'persistence of vision' toys popular in the 19th century. Animation
is expression as an art form in cinema. It was the means by which to experiment
with time-based art and cinematic forms to present new visual vocabularies.
Animation is positioned to pioneer the use of computers to create moving images
from numbers. It has demystified complex processes and visualized scientific
phenomena and provided simulation models to help us understand the world.
Animation has become an essential ingredient in multimedia content, for example
in the control interface display of jet fighter and planes. Animation is
integral to the computer games industry, it increasingly underpins all special
effects in motion picture production and it has provided content in an ideal
form to distribute across a bandwidth networked environment.
Animation is an art form which can come from anywhere and
which can go to anywhere - from a large production team working in a highly specialized
studio or a lone individual working out of a bedroom, to an Imax Cinema screen
several meters wide or a mobile phone screen a few centimeters across.
Animation can be as intimate and personal as a stick figure doodle jiggling in
the corner of a dog-eared school exercise book cum flip book, or as expansive
and public as animated laser lights splashed upon a cityscape (see Hong Kong's Harbor
'Symphony Of Lights' project - Lloyd Weir, Art Director, Laser vision NSW and
AIM graduate 1996). Animation is an art form which can come from anywhere
and which can go to anywhere.
Animation is…
animation is an idea through simplification and abstraction.
It a sight gag timed to perfection, a visual poem, a moving painting and
extraordinary sublime moments in the orchestration of moving image and sound.
Animation is an exquisite character synthesized at the end of a pencil or through
sweep and click of a computer mouse.
Animation compares with the thrill of breathing life into
characters that might never existed for
your imagination , it move for a large
audience of strangers to laugh out loud at their antics.
HISTORY
ROOTS
The word 'animation' is derived from anima, the Latin word
for soul or spirit. The verb 'to animate' literally means 'to give life to'.
From his earliest artworks, hunting scenes sketched in ochre
on a cave wall, to highly refined Greek sculptures, mankind has always
attempted to imbue his art with expressions of life by depicting his subjects
as if caught in a frozen moment in time suggestive of broader preceding and
following actions.
Egotistical man placed himself at the centre of the universe.
He has always believed in the possibility of creating life - of playing god.
Man has used his technology as an agent to help realise this desire in order to
become ruler of all nature.
AUTOMATA
History is rich with descriptions of attempts to imitate life
by mechanical means in the form of hydraulic, pneumatic, or clockwork operated
biological automata. Automata (or automatons - a machine which is relatively
self-operating and capable of performing multiple complex movements on its own
without the need for human control) had its greatest period of development
following the rise of mechanicism with the revival of Greek culture during the
Renaissance. There were, for example, isolated descriptions of talking heads
claimed to have been constructed by Albertus Magnus, Roger Bacon, Gerbert, and
Robert Grosseteste. Perhaps of greater significance was the mechanical lion of
da Vinci and the two automata created by Johannes Muller, called Regiomontanus
(1436-1476). One of these was the fabled eagle which was claimed to have
escorted the Emperor Maximilian to the city gates of Nuremberg.
The first android, a completely mechanical figure which
simulated a living human or animal, operating with apparently responsive
action, is believed to have been constructed by Hans Bullmann of Nuremberg
(?-1535). Bullmann reportedly produced a number of extremely ingenious figures
of men and women that moved and played musical instruments.
These early automata were mechanical devices that seemed to
demonstrate lifelike behaviour. They took advantage not only of gears, but also
of gravity, hydraulics, pulleys and sunlight - the effect could be dazzling, as
with the extraordinary clock of Berne created in 1530. This massive timepiece
hourly disgorged a dazzling pageantry of automata figures.
One of the most famous waterworks of the seventeenth century
was that constructed at the chateau at Heilbrunn in about 1646. It featured
various animated hydromechanical devices. A mechanical theatre was installed
here in 1725 by Lorenz Rosenegge, a craftsman of Nuremberg. It featured 256
figures, 119 of which were animated by means of a single water turbine. A
horizontal axis operating a series of cams regulated the movements of the
figures by means of copper wires. The wheelwork consists of wooden wheels with
iron teeth and pinions. A powerful hydraulic organ provides background music
and covers the noise of the mechanism.
Just as the waterworks and grottoes of the Renaissance
gardens were tangible revivals of the hydraulic and pneumatic devices of the
ancient Greek culture, some of the same influence filtered into the field of
clockmaking. The first conversion from the hydraulic and pneumatic to the
purely mechanical automata, occurred in Europe with the advent of the
clockmaker who made public and astronomical clocks with moving figurines.
It was a short step to a combination of the pinned cylinder
and the spring-driven clockwork to provide the sound of living things and of
musical instruments in automata. This combination made possible a great variety
of developments in the late seventeenth and during the eighteenth centuries.
The most notable of these were the androids constructed in the mid-eighteenth
century by Jacques Vaucanson (1709-1782), who brought the production of
automata to its highest point of development. Vaucanson is unquestionably the
most import inventor in the history of automata, as well as one of the most
important figures in the history of machine technology. Although he was
responsible for pioneering in the development of machine tools and later
inspired the work of Sir Henry Maudslay and others, it was, ironically enough,
his automata -- which occupied the briefest interlude in his life -- which
brought him permanent fame and fortune.
Born in 1709 in Grenoble, France, Vaucanson exhibited great
mechanical ability at a very early age. After having attended the oratory
college at Juilly he studied with the Jesuits at Grenoble, and in 1725 joined
the order of Minims of Lyon. During his training period, however, Vaucanson
indulged his mechanical interests by creating automatically flying angels. This
impelled the provincial of the order to destroy his makeshift workshop, and
Vaucanson used the incident as an excuse to to be relieved of his clerical
vows.
Vaucanson moved to Paris and, in direct contrast with his
recent religious life, gave himself up to a life of debauchery while he
undertook the studies of mechanics, music, and anatomy. He developed an
interest in the study of medicine and attempted to construct a "moving
anatomy" which reproduced the principal organic functions. Debts, illness,
and eventually boredom caused him to abandon the project. He went on to the
construct his famous androids, which made him wealthy and famous throughout
Europe.
In 1735 Vaucanson began to formulate plans for the
construction of the first android, which was to be a life-sized figure of a
musician, dressed in a rustic fashion and playing eleven melodies on its flute,
moving the levers realistically by its fingers and blowing into the instrument
with its mouth. In October 1737 the automaton was completed and exhibited first
at the fair of Saint-Germain and later at Longueville. All Paris flocked to see
the mechanical masterpiece with the human spirit; the press was extremely
favorable, and Vaucanson was launched upon his career.
Vaucanson's third and most famous automaton was "an
artificial duck of gilt brass which drinks, eats, flounders in water, digests
and excretes like a live duck" (see figure top right). It was Vaucanson's
intention to create in this duck the "moving anatomy" that he had
visualized once before. Accordingly, the figure of the duck was produced full
size of gilt brass in a simplified form, the body pierced with openings to
permit the public to observe the process of digestion. The complexity of this
duck was enormous - there were over four hundred moving pieces in a single
wing.
12
principal animation
The following 12 basic principles of animation were
developed by the 'old men' of Walt Disney Studios, amongst them Frank Thomas
and Ollie Johnston, during the 1930s. Of course they weren't old men at the
time, but young men who were at the forefront of exciting discoveries that were
contributing to the development of a new art form. These principles came as a
result o
f reflection about their practice and through Disney's desire to devise
a way of animating that seemed more 'real' in terms of how things moved, and
how that movement might be used to express character and personality.
It needs to be said that many brilliant moments of animation
have been created without reference to, or knowledge of, these principles.
However they are appropriate for a particular style of cartoon animation and
provide the means to discuss and critique the craft in a language that
animators have come to understand - "you need to anticipate that action to
give it more punch" - "why don't you put more follow through on the
coat tail?"
The following has been paraphrased from the "Illusion
Of Life" by Frank Thomas & Ollie Johnston (pp.47-69). For a more
extensive explanation of these principles, refer to this seminal text.
SQUASH AND STRETCH
This action gives the illusion of weight and volume to a
character as it moves. Also squash and stretch is useful in animating dialogue
and doing facial expressions. How extreme the use of squash and stretch is,
depends on what is required in animating the scene. Usually it's broader in a
short style of picture and subtler in a feature. It is used in all forms of
character animation from a bouncing ball to the body weight of a person
walking. This is the most important element you will be required to master and will
be used often.
2.
ANTICIPATION
This movement prepares the audience for a major action the
character is about to perform, such as, starting to run, jump or change
expression. A dancer does not just leap off the floor. A backwards motion
occurs before the forward action is executed. The backward motion is the
anticipation. A comic effect can be done by not using anticipation after a
series of gags that used anticipation. Almost all real action has major or
minor anticipation such as a pitcher's wind-up or a golfers' back swing.
Feature animation is often less broad than short animation unless a scene
requires it to develop a characters personality.
3. STAGING
A pose or action should clearly communicate to the audience
the attitude, mood, reaction or idea of the character as it relates to the
story and continuity of the story line. The effective use of long, medium, or
close up shots, as well as camera angles also helps in telling the story. There
is a limited amount of time in a film, so each sequence, scene and frame of
film must relate to the overall story. Do not confuse the audience with too
many actions at once. Use one action clearly stated to get the idea across,
unless you are animating a scene that is to depict clutter and confusion.
Staging directs the audience's attention to the story or idea being told. Care
must be taken in background design so it isn't obscuring the animation or
competing with it due to excess detail behind the animation. Background and
animation should work together as a pictorial unit in a scene.
4. STRAIGHT AHEAD AND POSE TO POSE ANIMATION
Straight ahead animation starts at the first drawing and
works drawing to drawing to the end of a scene. You can lose size, volume, and
proportions with this method, but it does have spontaneity and freshness. Fast,
wild action scenes are done this way. Pose to Pose is more planned out and
charted with key drawings done at intervals throughout the scene. Size,
volumes, and proportions are controlled better this way, as is the action. The
lead animator will turn charting and keys over to his assistant. An assistant
can be better used with this method so that the animator doesn't have to draw
every drawing in a scene. An animator can do more scenes this way and concentrate
on the planning of the animation. Many scenes use a bit of both methods of
animation.
5. FOLLOW THROUGH AND OVERLAPPING ACTION
When the main body of the character stops all other parts
continue to catch up to the main mass of the character, such as arms, long
hair, clothing, coat tails or a dress, floppy ears or a long tail (these follow
the path of action). Nothing stops all at once. This is follow through.
Overlapping action is when the character changes direction while his clothes or
hair continues forward. The character is going in a new direction, to be
followed, a number of frames later, by his clothes in the new direction.
"DRAG," in animation, for example, would be when Goofy starts to run,
but his head, ears, upper body, and clothes do not keep up with his legs. In
features, this type of action is done more subtly. Example: When Snow White
starts to dance, her dress does not begin to move with her immediately but
catches up a few frames later. Long hair and animal tail will also be handled
in the same manner. Timing becomes critical to the effectiveness of drag and
the overlapping action.
6. SLOW-OUT AND SLOW-IN
As action starts, we have more drawings near the starting
pose, one or two in the middle, and more drawings near the next pose. Fewer
drawings make the action faster and more drawings make the action slower.
Slow-ins and slow-outs soften the action, making it more life-like. For a gag
action, we may omit some slow-out or slow-ins for shock appeal or the surprise element.
This will give more snap to the scene.
7. ARCS
All actions, with few exceptions (such as the animation of a
mechanical device), follow an arc or slightly circular path. This is especially
true of the human figure and the action of animals. Arcs give animation a more
natural action and better flow. Think of natural movements in the terms of a
pendulum swinging. All arm movement, head turns and even eye movements are
executed on an arcs.
8. SECONDARY ACTION
This action adds to and enriches the main action and adds
more dimension to the character animation, supplementing and/or re-enforcing
the main action. Example: A character is angrily walking toward another
character. The walk is forceful, aggressive, and forward leaning. The leg
action is just short of a stomping walk. The secondary action is a few strong
gestures of the arms working with the walk. Also, the possibility of dialogue
being delivered at the same time with tilts and turns of the head to accentuate
the walk and dialogue, but not so much as to distract from the walk action. All
of these actions should work together in support of one another. Think of the
walk as the primary action and arm swings, head bounce and all other actions of
the body as secondary or supporting action.
9. TIMING
Expertise in timing comes best with experience and personal
experimentation, using the trial and error method in refining technique. The
basics are: more drawings between poses slow and smooth the action. Fewer drawings
make the action faster and crisper. A variety of slow and fast timing within a
scene adds texture and interest to the movement. Most animation is done on twos
(one drawing photographed on two frames of film) or on ones (one drawing
photographed on each frame of film). Twos are used most of the time, and ones
are used during camera moves such as trucks, pans and occasionally for subtle
and quick dialogue animation. Also, there is timing in the acting of a
character to establish mood, emotion, and reaction to another character or to a
situation. Studying movement of actors and performers on stage and in films is
useful when animating human or animal characters. This frame by frame
examination of film footage will aid you in understanding timing for animation.
This is a great way to learn from the others.
10. EXAGGERATION
Exaggeration is not extreme distortion of a drawing or
extremely broad, violent action all the time. Its like a caricature of facial
features, expressions, poses, attitudes and actions. Action traced from live
action film can be accurate, but stiff and mechanical. In feature animation, a
character must move more broadly to look natural. The same is true of facial
expressions, but the action should not be as broad as in a short cartoon style.
Exaggeration in a walk or an eye movement or even a head turn will give your
film more appeal. Use good taste and common sense to keep from becoming too
theatrical and excessively animated.
11. SOLID DRAWING
The basic principles of drawing form, weight, volume
solidity and the illusion of three dimension apply to animation as it does to
academic drawing. The way you draw cartoons, you draw in the classical sense,
using pencil sketches and drawings for reproduction of life. You transform
these into color and movement giving the characters the illusion of three-and
four-dimensional life. Three dimensional is movement in space. The fourth
dimension is movement in time.
12. APPEAL
A live performer has charisma. An animated character has
appeal. Appealing animation does not mean just being cute and cuddly. All
characters have to have appeal whether they are heroic, villainous, comic or
cute. Appeal, as you will use it, includes an easy to read design, clear
drawing, and personality development that will capture and involve the
audience's interest. Early cartoons were basically a series of gags strung
together on a main theme. Over the years, the artists have learned that to
produce a feature there was a need for story continuity, character development
and a higher quality of artwork throughout the entire production. Like all
forms of story telling, the feature has to appeal to the mind as well as to the
eye.
Type of animation
Animation has certainly come a long way in the decades since
its debut in the early 1900s. The techniques used by animators to bring
characters and stories to life have improved immeasurably over the years, yet
there remains only three primary types of animation: traditional, stop-motion,
and computer.
Traditional Animation
Arriving
on the scene at roughly the same time as its live-action counterparts,
traditionally animated films have certainly come a long way since the early
days of crude drawings and experimental narratives. Traditional animation made
its debut in 1906 with a short film featuring different facial expressions. The
genre allows for the illusion of animated movement due to the frame-by-frame
manipulation of drawings and illustrations. Although computer technology has
assisted animators in their efforts over the years, the basic means by which an
animated film comes to life has essentially remained the same.The
popularization of the cel-animation process in the early ‘20s proved
instrumental in the genre’s meteoric rise to infamy, with the technique
ensuring that animators no longer had to draw the same image over and over
again – as see-through “cels” containing a character or object in motion could
be laid on top of a stationary background. The release of Snow White and the
Seven Dwarfsin
1937 marked the first time that traditionally animated films began to be taken
seriously by the Hollywood community and audiences alike.
In the years since, traditionally animated films have remained
popular at cinemas the world over – with the wild success of the genre affording
filmmakers the opportunity to break out of the mold from time to time (ie
1972’s Fritz the Cat became the first animated feature to
land an “X” rating). Disney’s domination over the 2D animated realm has ensured
that their name has become synonymous with animated films, although it’s
certainly worth noting that some of the most popular cartoons from the last
couple of decades have come from other studios (including The
Rugrats Movie, Beavis and Butt-head Do America,
and the Land Before Time series).
Stop-Motion Animation
Far less prevalent, on the other hand, is stop-motion
animation. Stop-motion actually predates traditional, hand-drawn animation: The
first attempt, The Humpty Dumpty Circus, was released in 1898. But stop-motion
animated features have never quite managed to garner the acclaim and widespread
appeal of their 2D counterparts. There’s little doubt that the biggest
hindrance to stop-motion animation’s success is its time consuming nature, as
animators must move an object one frame at a time to mimic movement.
Considering movies generally contain 24 frames per second, it can take hours to
capture just a few seconds worth of footage.Although the first full-length
stop-motion cartoon was released in 1926 (Germany’s The Adventures of Prince Achmed),
the genre’s widest exposure came in the 1950s with the release of the Gumby
television series. After that point, stop-motion animation started to be seen
less as a gimmicky fad and more as a viable alternative to hand-drawn animation
– with 1965’s Willy McBean and his Magic Machine, produced by legendary
stop-motion duo Arthur Rankin and Jules Bass, the first full-length stop-motion
film to be produced within the United States.The prominence of Rankin/Bass
Christmas specials in the ‘60s and ‘70s only added to stop-motion animation’s
growing popularity, yet it was the increased use of stop-motion within special
effects field that cemented its place as an invaluable resource – with George
Lucas’ pioneering work in both the Star Wars films and in his effects company
Industrial Light and Magic setting a standard that the rest of the industry
struggled to match.Stop-motion has, as of late, lost a lot of its luster in the
wake of computer animation’s meteoric rise, yet the genre has seen something of
a resurgence in the past few years – with the popularity of movies like
Coraline and Fantastic Mr. Fox ensuring that stop-motion will likely continue
to endure in the years to come.
Computer Animation
Before it became a pervasive, all-encompassing force within
the cinematic community, computer animation was primarily used as a tool by
filmmakers to enhance their traditionally-conceived special effects work. As
such, computer-generated imagery was used sparingly in the ‘70s and ‘80s – with
1982’s Tron marking the first time it was used on an extensive basis within a
full-length feature.Computer animation received a substantial boost in 1986
with the release of Pixar’s first short, Luxo Jr. – which went on to receive a
nomination for Best Animated Short Film and proved that computers could provide
more than just behind-the-scenes special effects support. The increased
sophistication of both hardware and software was reflected in the progressively
eye-popping nature of computer-generated imagery, with 1991’s Terminator 2:
Judgment Day and 1993’s Jurassic Park standing as landmark examples of what
computers were capable of.It wasn’t until Pixar released the world’s first
computer-animated feature in 1995, Toy Story, that audiences and executives
alike first began to see the possibilities offered by the technology, and it
wasn’t long before other studios began clamoring to get into the CGI game. The
three dimensional appearance of computer-generated cartoons instantly assured
their success over their 2-D counterparts, as viewers found themselves
transfixed by the novelty of the lifelike images and jaw-dropping visuals.And
although Pixar remains the undisputed champion of the computer-generated
landscape, there have certainly been plenty of equally successful examples of
the genre in recent years – with, for instance, the Shrek series raking in well
over two billion dollars worldwide. It's also impossible to downplay the
significance of Avatar's incredible, chart-topping success. The movie - which
boasts some of the most impressive computer-animated visuals to date - will
likely set a new standard that future CGI-heavy films will struggle to match.
5 SOFTWARE
1.AUTODESK MAYA
Autodesk software first developed by Alias systems
(operation, the formerly Alias/wave font).And now the software developed by Autodesk.
Inc., used to make interactive 3D applications, including video games, movies,
animation, TV series or visual effects. Products named after the MAYA Word
Sanskrit, the concept of life illusion.
3d
Animation, 5, simulation result and compositing software offers a comprehensive
set of creative production platform that can be added .Maya provide
sophisticated and character toolsets along with improved productivity for
displays, texture and tasks the creation of shatter.
2. AUTODESK 3D MAX
Advantages of 3d max modeling with tools and animation, the
latest version of 3ds max also has shade dynamic simulation (such as ambient
oklusi and subsurface movement), system time, in turn, the creation of a map
and result in global lighting the user interface, customizable, and provides
language itself. 3d modeling animation perrisian 3d exploration. 3dsR display
software provides comprehensive modeling, simulation, animation and causes the
solution to games, movies and graphic artist. 3ds max send new equipment that
are efficient, accelerating performance and streamline workflow helps overall
productivity for working with complex resolution high.
2. For Utility
Toon Boom pencil check Pro-test line software products.
Toon Boom story-this software is used to create storyboards
that can be printed.
Toon Boom story Pro-like Storyboard, the software used to
create storyboards. In addition to the characteristics of the storyboard, the
Pro version has a tool to create animatic and can be integrated into a pipeline
using Opus, harmony or Animate Pro. You can export to the leading NLE as well.
Release 2.1 storyboard Pro is compatible with final draft 8 (using Tagger export
XML script)
3.ADOBE AFTER EFFECT
Adobe after effects is a digital visual effects, motion
graphics and compositing application developed by Adobe Systems and is used in
the process of post-production filmmaking and television production. Among
other things, after effects can be used to type, tracking, root, compositing
and animation scoping. It also serves as the editor of the linear-very basic,
audio editor and Trans media coder.
3.1 VISUAL EFFECT
In filmmaking, visual effects (VFX abbreviation) is the
process in which the image is created and/or manipulated outside the context of
live action shots. Visual effects involving a integration acting recording and
image generated to create an environment that looks realistic, but it's going
to be dangerous, expensive, impractical, or simply impossible to catch the
film. Visual effects using computer generated images have become accessible to
independent filmmakers with the introduction of software. deamination and
compositing an affordable and easy to use.
3.2 TIMMING
Frequent visual
effects that are often important to a movie stories and appeal .Although most
of the visual effects work is completed during post-production, it usually must
be carefully planned and steps in pre-production and production. Visualeffects
post-production, implemented primarily by using various tools and technologies
such as graphic design, animation, models and the same software, while special
effects such as explosions and car chases that made on the set. A visual
effects supervisor is usually involved with the production from the initial
stage to work closely with the production designer and film director, guide and
lead the teams needed to achieve the desired effect.
5.3 FLMMAKING
Filmmaking (or in the context of academic, film production)
is the process of making a film. Filmmaking involving several stages which
included initial discrete story, idea, or Instruction jaya, through script
writing, casting, shooting, sound recording and reproduction, editing, and
inspection of the product before the audience which may result in release of
the film and exhibitions. Film making takes place in many places around the
world in a context of economic, social, and political, and uses a variety of
technology and create filming techniques. Typically, it involves a large number
of people, and can take from several months to several years to complete.
CONCLUSION
From the making of
this animation from there we can see how the movement or speech that would like
to show a behavior. From there also we shall know the message to be forwarded
by the way. Therefore, each character of the animation will play its own role for
understanding audient. Computer animation encompasses a variety of techniques,
the unifying factor being that the animation is created digitally on a
computer. 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.
REFERENCE
Task 2
Info graphic
Thumbnails animation
Eye
Nose
Mouth
Hijab
Character
Emotion and movement Character
Storyboard
Tracing In Ai my character
Tracing my background
My templete
Adobe After Effect
Adobe Premiere Pro
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