Traditional animation (or classical animation , cel animation , or hand-drawn animation ) is an animation technique in which each frame is drawn by hand. The technique was the dominant form of animation of the 20th century, until there was a shift to computer animation in the industry, such as digital ink and paint and 3D computer animation .
131-404: Toonz is a 2D animation software program. The base application is currently managed by Dwango as open-source software under the name OpenToonz . An extended commercial variant for professional individuals and studios, Toonz Premium , is being developed and marketed by Digital Video S.p.A. Toonz has been used by studios such as Studio Ghibli and Rough Draft Studios . Developed in 1993 for
262-425: A soundtrack . In the late 1980s, cognitive psychology and psychology of music started an investigation on the impact that the soundtrack exerts on the interpretation of audiovisual stimuli. Canadian psychologist Annabel J. Cohen is one of the first scholars who systematically studied the relationship between music and moving image within the interpretation process of brief animated videos. Her studies converged in
393-410: A 1957 recording, Walt Disney explained why motion tracking was an issue for animators, as well as what multiplane animation could do to solve it. Using a two-dimensional still of an animated farmhouse at night, Disney demonstrated that zooming in on the scene, using traditional animation techniques of the time, increased the size of the moon. In real-life experience, the moon would not increase in size as
524-549: A 2D particle engine; and batch rendering with render farms. Toonz Harlequin 6.3 ML also allowed paper drawings to be scanned, colorized, and refined within it. Version 6.4 was still available as Toonz Harlequin and Toonz 6.4 Bravo!, with improvements on the Cleanup module and previewing, the new Black & White mode of scanning, editable DPI parameters, a new algorithm for the Raster-to-Vector Converter,
655-416: A black background, with the resulting film superimposed over the animation. Once the clean-ups and in-between drawings for a sequence are completed, they are prepared for a process known as ink and paint. Each drawing is transferred from paper to a thin, clear sheet of plastic called a cel , a contraction of the material name celluloid . (The original flammable cellulose nitrate was later replaced with
786-515: A blockbuster film is released, or during and after a television series airs, an album in the form of a soundtrack is typically released alongside that. A soundtrack typically contains instrumentation or alternatively a film score . But it can also feature songs that were sung or performed by characters in a scene (or a cover version of a song in the media, rerecorded by a popular artist), songs that were used as intentional or unintentional background music in important scenes, songs that were heard in
917-475: A book. 'Kaladin', a book soundtrack to popular fantasy novelist Brandon Sanderson's book, 'The Way of Kings', was written by The Black Piper. The Black Piper, hailing from Provo, Utah, is a combined group of composers who share a love for fantasy literature. 'Kaladin' was funded through Kickstarter and raised over $ 112,000. It was released December 2017. A New York Times Bestselling series, Green Rider by Kristen Britain , celebrated its 25th anniversary with
1048-602: A box set with an audiocassette entitled Music and Poetry of the Kesh , featuring three performances of poetry, and ten musical compositions by Todd Barton. In comics, Daniel Clowes' graphic novel Like a Velvet Glove Cast in Iron had an official soundtrack album. The original black-and-white Nexus #3 from Capitol comics included the Flexi-Nexi which was a soundtrack flexi-disc for the issue. Trosper by Jim Woodring included
1179-420: A cel with detailed black lines was laid directly over it, each line is drawn to add more information to the underlying shape or figure and give the background the complexity it needed. In this way, the visual style of the background will match that of the xeroxed character cels. As the xerographic process evolved, line overlay was left behind. In very early cartoons made before the use of the cel, such as Gertie
1310-470: A commercially issued soundtrack album was MGM 's 1946 film biography of Show Boat composer Jerome Kern , Till the Clouds Roll By . The album was originally issued as a set of four 10-inch 78-rpm records. Only eight selections from the film were included in this first edition of the album. In order to fit the songs onto the record sides the musical material needed editing and manipulation. This
1441-491: A computer animation system for digital ink-and-paint usage. Following a commitment to the technology in 1979, computer scientist Marc Levoy led the Hanna-Barbera Animation Laboratory from 1980 to 1983, developing an ink-and-paint system that was used in roughly a third of Hanna-Barbera's domestic production, starting in 1984 and continuing until replaced with third-party software in 1996. It
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#17327875320581572-535: A computer program on many transparent "layers" much the same way as they are with cels, and made into a sequence of images which may then be transferred onto film or converted to a digital video format. It is now also possible for animators to draw directly into a computer using a graphics tablet such as a Cintiq or a similar device, where the outline drawings are done in a similar manner as they would be on paper. The Goofy short How To Hook Up Your Home Theater (2007) represented Disney's first project based on
1703-629: A drawing to indicate each pose. For short films, character layouts are often the responsibility of the director. The layout drawings and storyboards are then spliced, along with the audio and an animatic is formed (not to be confused with its predecessor, the leica reel ). While the animation is being done, the background artists will paint the sets over which the action of each animated sequence will take place. These backgrounds are generally done in gouache or acrylic paint , although some animated productions have used backgrounds done in watercolor or oil paint . Background artists follow very closely
1834-480: A fairy sequence where stippled cels are used, creating a soft pastel look. The methods mentioned above describe the techniques of an animation process that originally depended on cels in its final stages, but painted cels are rare today as the computer moves into the animation studio, and the outline drawings are usually scanned into the computer and filled with digital paint instead of being transferred to cels and then colored by hand. The drawings are composited in
1965-420: A figment of Remy's imagination; this scene is also considered an example of cel-shading in an animated feature. More recently, animated shorts such as Paperman , Feast , and The Dam Keeper have used a more distinctive style of cel-shaded 3D animation, capturing a look and feel similar to a 'moving painting'. Soundtrack A soundtrack is a recorded audio signal accompanying and synchronised to
2096-424: A film's music track, because they usually consist of isolated music from a film, not the composite (sound) track with dialogue and sound effects. The term original soundtrack (OST) , often used for titles of albums of soundtrack music, is sometimes also used to differentiate the original music heard and recorded versus a rerecording or cover version . Types of soundtrack recordings include: The soundtrack to
2227-437: A foreground when laid on top of a ready frame. This creates the illusion of depth, but not as much as a multiplane camera would. A special version of cel overlay is called line overlay , made to complete the background instead of making the foreground, and was invented to deal with the sketchy appearance of xeroxed drawings. The background was first painted as shapes and figures in flat colors, containing rather few details. Next,
2358-510: A larger group of assistant animators. Effects animators animate anything that moves and are not a character, including props, vehicles, machinery and phenomena such as fire , rain , and explosions . Sometimes, instead of drawings, a number of special processes are used to produce special effects in animated films; rain, for example, has been created in Disney animated films since the late 1930s by filming slow-motion footage of water in front of
2489-404: A more dark thriller would compose of hard rock or urban music . In 1908, Camille Saint-Saëns composed the first music specifically for use in a motion picture (L'assasinat du duc de Guise), and releasing recordings of songs used in films became prevalent in the 1930s. Henry Mancini , who won an Emmy Award and two Grammys for his soundtrack to Peter Gunn , was the first composer to have
2620-412: A motion picture or television soundtrack. Majority of top charting songs were those featured or released on a film or television soundtrack album. In recent years the term soundtrack sort of subsided. It now mostly commonly refers to instrumental background music used in that media. Popular songs featured in a film or television series are instead highlighted and referenced in the credits, not as part of
2751-466: A new sheet of paper, making sure to include all of the details present on the original model sheets, so that the film maintains a cohesiveness and consistency in art style. The inbetweeners will draw in whatever frames are still missing in-between the other animators' drawings. This procedure is called tweening . The resulting drawings are again pencil-tested and sweatboxed until they meet approval. At each stage during pencil animation, approved artwork
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#17327875320582882-439: A production will combine both live-action and animated footage. The live-action parts of these productions are usually filmed first, the actors pretending that they are interacting with the animated characters, props, or scenery; animation will then be added into the footage later to make it appear as if it has always been there. Like rotoscoping, this method is rarely used, but when it is, it can be done to terrific effect, immersing
3013-537: A promotional music video from Cartoon Network 's Groovies featuring the Soul Coughing song "Circles" poked fun at animation loops as they are often seen in The Flintstones , in which Fred and Barney (along with various Hanna-Barbera characters that aired on Cartoon Network), supposedly walking in a house, wonder why they keep passing the same table and vase over and over again. The multiplane process
3144-481: A scene in which a person is sitting in a chair and talking, the chair and the body of the person may be the same in every frame; only their head is redrawn, or perhaps even their head stays the same while only their mouth moves. This is known as limited animation . The process was popularized in theatrical cartoons by United Productions of America and used in most television animation, especially that of Hanna-Barbera . The end result does not look very lifelike, but
3275-486: A soundtrack album composed and performed by Bill Frisell , and the Absolute Edition of The League of Extraordinary Gentlemen: Black Dossier is planned to include an original vinyl record . The Crow released a soundtrack album called Fear and Bullets to coincide with the limited edition hardcover copy of the graphic novel. The comic book Hellblazer released an annual with a song called Venus of
3406-461: A soundtrack album to his novel Battlefield Earth entitled Space Jazz . He marketed the concept album as "the only original sound track ever produced for a book before it becomes a movie". There are two other soundtracks to Hubbard novels, being Mission Earth by Edgar Winter and To the Stars by Chick Corea . The 1985 novel Always Coming Home by Ursula K. Le Guin originally came in
3537-426: A story is converted into an animation film script, from which a storyboard is derived. A storyboard has an appearance somewhat similar to comic book panels, and is a shot by shot breakdown of the staging, acting and any camera moves that will be present in the film. The images allow the animation team to plan the flow of the plot and the composition of the imagery. Storyboard artists will have regular meetings with
3668-409: A viewer approached a farmhouse. Multiplane animation solved this problem by separating the moon, farmhouse, and farmland into separate planes, with the moon being farthest away from the camera. To create the zoom effect, the first two planes were moved closer to the camera during filming, while the plane with the moon remained at its original distance. This provided a depth and fullness to the scene that
3799-434: A widespread hit with a song from a soundtrack. Before the 1970s, soundtracks (with a few exceptions), accompanied towards musicals , and was an album that featured vocal and instrumental, (and instrumental versions of vocal songs) musical selections performed by cast members. Or cover versions of songs sung by another artist. After the 1970s, soundtracks started to include more diversity, and music consumers would anticipate
3930-469: Is "traced" over actual film footage of actors and scenery. Traditionally, the live-action will be printed out frame by frame and registered. Another piece of paper is then placed over the live-action printouts and the action is traced frame by frame using a lightbox. The end result still looks hand-drawn but the motion will be remarkably lifelike. The films Waking Life and American Pop are full-length rotoscoped films. Rotoscoped animation also appears in
4061-551: Is a labor-saving technique for animating repetitive motions, such as a character walking or a breeze blowing through the trees. In the case of walking, the character is animated taking a step with its right foot, then a step with its left foot. The loop is created so that, when the sequence repeats, the motion is seamless. In general, they are used only sparingly by productions with moderate or high budgets. Ryan Larkin 's 1969 Academy Award -nominated National Film Board of Canada short Walking makes creative use of loops. In addition,
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4192-421: Is a technique primarily used to give a sense of depth or parallax to two-dimensional animated films. To use this technique in traditional animation, the artwork is painted or placed onto separate layers called planes. These planes, typically constructed of planes of transparent glass or plexiglass, are then aligned and placed with specific distances between each plane. The order in which the planes are placed, and
4323-554: Is also common in anime , where fluidity is sacrificed in lieu of a shift towards complexity in the designs and shading (in contrast with the more functional and optimized designs in the Western tradition); even high-budget theatrical features such as Studio Ghibli 's employ the full range: from smooth animation "on ones" in selected shots (usually quick action accents) to common animation "on threes" for regular dialogue and slow-paced shots. Creating animation loops or animation cycles
4454-402: Is also sometimes used for Broadway cast recordings. Contributing to the vagueness of the term are projects such as The Sound of Music Live! , which was filmed live on the set for an NBC holiday season special first broadcast in 2013. The album , released three days before the broadcast, contained studio pre-recordings by the original cast of all the songs used in the special, but because only
4585-401: Is an animation tool used in traditional animation to keep the drawings in place. A key animator or lead animator will draw the key frames or key drawings in a scene, using the character layouts as a guide. The key animator draws enough of the frames to get across the major poses within a character performance. While working on a scene, a key animator will usually prepare a pencil test of
4716-402: Is inexpensive to produce, and therefore allows cartoons to be made on small television budgets. Moving characters are often shot "on twos". One drawing is shown for every two frames of film (which usually runs at 24 frames per second), meaning there are only 12 drawings per second. Even though the image update rate is low, the fluidity is satisfactory for most subjects. However, when a character
4847-442: Is required to perform a quick movement, it is usually necessary to revert to animating "on ones", as "twos" are too slow to convey the motion adequately. A blend of the two techniques keeps the eye fooled without unnecessary production costs. Academy Award –nominated animator Bill Plympton is noted for his style of animation that uses very few in-betweens and sequences that are done "on threes" or "on fours", holding each drawing on
4978-410: Is simply used for promotional purposes for well known artists, or new or unknown artists. These soundtracks contain music not at all heard in the film/television series, and any artistic or lyrical connection is purely coincidental. However depending on the genre of the media the soundtrack of popular songs would have a set pattern; a lighthearted romance might feature easy listening love songs, whilst
5109-406: Is spliced into the leica reel. This process is the same for both character animation and special effects animation , which on most high-budget productions are done in separate departments. Often, each major character will have an animator or group of animators solely dedicated to drawing that character. The group will be made up of one supervising animator, a small group of key animators, and
5240-403: Is to synchronize a soundtrack to pre-existing animation. A completed cartoon soundtrack will feature music , sound effects , and dialogue performed by voice actors . The scratch track used during animation typically contains only the voices, any songs to which characters must sing-along, and temporary musical score tracks; the final score and sound effects are added during post-production . In
5371-414: Is typically integrated with cel animation in Disney films and in many television shows, such as Fox 's Futurama , Family Guy , and American Dad! and both Nickelodeon animated series Invader Zim and The Fairly OddParents . In one scene of the 2007 Pixar movie Ratatouille , an illustration of Gusteau (in his cookbook), speaks to Remy (who, in that scene, was lost in the sewers of Paris) as
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5502-531: The Congruence-Association Model of music and multimedia . More recent empirical studies proved that the film music goes far beyond the role of an emotionalizing accessory in film contexts; contrarily, it can radically alter the empathy experienced by the viewers toward the characters on screen, attributed emotions (e.g., whether a character is happy or sad), evaluation of the scenic environments, plot anticipations, and moral judgement of
5633-491: The IRIX operating system, Toonz was created and registered as a trademark. An exclusive distribution agreement was signed with Softimage , which distributed it as Creative Toonz . One year later, the product was used in some productions such as Amblimation 's Balto . After Microsoft acquired Softimage, Toonz was optimized to run on Windows so that it could be marketed as Microsoft Toonz. Toonz underwent improvements on
5764-488: The Philippines ). As the cost of both inking and painting new cels for animated films and TV programs and the repeated usage of older cels for newer animated TV programs and films went up and the cost of doing the same thing digitally went down , eventually, the digital ink-and-paint process became the standard for future animated movies and TV programs. Hanna-Barbera was the first American animation studio to implement
5895-529: The Troféu HQ Mix (Brazilian most important comic book award) in the category "Special Homage". As Internet access became more widespread, a similar practice developed of accompanying a printed work with a downloadable theme song , rather than a complete and physically published album. The theme songs for Nextwave , Runaways , Achewood , and Dinosaur Comics are examples of this. The novella Chasing Homer (2019) by László Krasznahorkai
6026-471: The closing credits , or songs for no apparent reason related to the media other than for promotion, that were included in a soundtrack. Soundtracks are usually released on major record labels (just as if they were released by a musical artist), and the songs and the soundtrack itself can also be on music charts, and win musical awards. By convention, a soundtrack record can contain all kinds of music including music inspired by but not actually appearing in
6157-414: The director and may redraw or "re-board" a sequence many times before it meets final approval. Before animation begins, a preliminary soundtrack or scratch track is recorded so that the animation may be more precisely synchronized to the soundtrack. Given the slow manner in which traditional animation is produced, it is almost always easier to synchronize animation to a preexisting soundtrack than it
6288-545: The "muttered ad-libs" present in many Popeye the Sailor and Betty Boop cartoons. When storyboards are sent to the design departments, character designers prepare model sheets for any characters and props that appear in the film; and these are used to help standardize appearance, poses, and gestures. The model sheets will often include "turnarounds" which show how a character or object looks in three-dimensions along with standardized special poses and expressions so that
6419-671: The 1937 Walt Disney animated film Snow White and the Seven Dwarfs was the first commercially issued film soundtrack. It was released by RCA Victor Records on multiple 78 RPM discs in January 1938 as Songs from Walt Disney's Snow White and the Seven Dwarfs (with the Same Characters and Sound Effects as in the Film of That Title) and has since seen numerous expansions and reissues. The first live-action musical film to have
6550-480: The 1951 film version of A Streetcar Named Desire was released on a 10-inch LP by Capitol Records and sold so well that the label rereleased it on one side of a 12-inch LP with some of Max Steiner 's film music on the reverse. Steiner's score for Gone with the Wind has been recorded many times, but when the film was reissued in 1967, MGM Records finally released an album of the famous score recorded directly from
6681-497: The 1980s Commodore 64 computer. Koji Kondo was an early and important composer for Nintendo games. As the technology improved, polyphonic and often orchestral soundtracks replaced simple monophonic melodies starting in the late 1980s and the soundtracks to popular games such as the Dragon Quest and Final Fantasy series began to be released separately. In addition to compositions written specifically for video games,
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#17327875320586812-723: The 1996 Star Wars novel Shadows of the Empire (written by author Steve Perry ), Lucasfilm chose Joel McNeely to write a score. This was an eccentric, experimental project, in contrast to all other soundtracks, as the composer was allowed to convey general moods and themes, rather than having to write music to flow for specific scenes. A project called "Sine Fiction" has made some soundtracks to novels by science fiction writers like Isaac Asimov and Arthur C. Clarke , and has thus far released 19 soundtracks to science-fiction novels or short stories. All of them are available for free download. Author L. Ron Hubbard composed and recorded
6943-523: The 200th Anniversary Celebration of the U.S. Constitution in Philadelphia, The MUSE Concerts or the various Greenpeace events (i.e. The First International Greenpeace Record Project , Rainbow Warriors and Alternative NRG ) all had special music, effects and dialogue written especially for the event which later went on sale to the record and later video-buying public. Only a few cases exist of an entire soundtrack being written specifically for
7074-597: The APT process. This technique was used in Disney films such as Oliver and Company (1988) and The Little Mermaid (1989). This process has more or less been superseded by the use of cel-shading. Related to rotoscoping are the methods of vectorizing live-action footage, in order to achieve a very graphical look, like in Richard Linklater 's film A Scanner Darkly . Similar to the computer animation and traditional animation hybrids described above, occasionally
7205-655: The DVD, erasing the alternate vocal masters from the CD and combining the two). Among MGM's most notable soundtrack albums were those of the films Good News , Easter Parade , Annie Get Your Gun , Singin' in the Rain , Show Boat , The Band Wagon , Seven Brides for Seven Brothers , and Gigi . Film score albums did not really become popular until the LP era , although a few were issued in 78-rpm albums. Alex North 's score for
7336-485: The Dinosaur (1914), the entire frame, including the background and all characters and items, were drawn on a single sheet of paper, then photographed. Everything had to be redrawn for each frame containing movements. This led to a "jittery" appearance; imagine seeing a sequence of drawings of a mountain, each one slightly different from the one preceding it. The pre-cel animation was later improved by using techniques like
7467-646: The Disney artists to make use of colored ink-line techniques mostly lost during the xerography era, as well as multiplane effects, blended shading, and easier integration with 3D CGI backgrounds (as in the ballroom sequence in the 1991 film Beauty and the Beast ), props, and characters. Rival studios in the 1990s also adapted to digipaint processes, using softwares like Animo , USAnimation , Toonz , and Pixibox . Over time, many studios switched over to digital ink and paint, though many television projects took longer. Many filmmakers and studios did not want to shift to
7598-497: The Hardsell , which was then recorded and a music video to accompany with. The Brazilian graphic novel Achados e Perdidos ( Lost and Found ), by Eduardo Damasceno and Luís Felipe Garrocho , had an original soundtrack composed by musician Bruno Ito . The book was self-published in 2011 after a crowdfunding campaign and was accompanied by a CD with eight songs (one for each chapter of the story). In 2012, this graphic novel won
7729-641: The Interactive Color Editing and the Smart FX Schematic Editing. Version 7.0 introduced new features such as mesh deformation with bones, the ECMAScripts support for automation, new effects, drawing cleanup, symmetric backgrounds, 3D stereoscopic rendering among others. On March 19, 2016, it was announced that Toonz would be released as free and open-source software as OpenToonz . The source code of OpenToonz
7860-460: The Seven Seas . Many video games such as Viewtiful Joe , The Legend of Zelda: The Wind Waker , Ico , Ōkami , Mirror's Edge , and others use " cel-shading " animation filters or lighting systems to make their full 3D animation appear as though it were drawn in a traditional cel-style. This technique was also used in the animated movie Appleseed , and cel-shaded 3D animation
7991-516: The Shell , Neon Genesis Evangelion , and Cowboy Bebop , have applied both animation techniques. DreamWorks executive Jeffrey Katzenberg coined the term "tradigital animation" to describe animated films produced by his studio which incorporated elements of traditional and computer animation equally, such as The Road to El Dorado , Spirit: Stallion of the Cimarron , and Sinbad: Legend of
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#17327875320588122-567: The advent of CD technology allowed developers to incorporate licensed songs into their soundtrack (the Grand Theft Auto series is a good example of this). Furthermore, when Microsoft released the Xbox in 2001, it featured an option allowing users to customize the soundtrack for certain games by ripping a CD to the hard-drive. As in Sound of Music Live! the music or dialogue in question
8253-444: The advent of so-called soundtrack albums in the late 1940s. First conceived by movie companies as a promotional gimmick for new films, these commercially available recordings were labeled and advertised as "music from the original motion picture soundtrack ", or "music from and inspired by the motion picture." These phrases were soon shortened to just "original motion picture soundtrack ." More accurately, such recordings are made from
8384-441: The animatic or leica reel, taking the place of the pencil animation. Once every sequence in the production has been photographed, the final film is sent for development and processing, while the final music and sound effects are added to the soundtrack. The current process, termed "digital ink and paint", is the same as traditional ink and paint until after the animation drawings are completed; instead of being transferred to cels,
8515-399: The animation of scenes that would be edited out of the film. Creating scenes that will eventually be edited out of the completed cartoon is avoided. In the traditional animation process, animators will begin by drawing sequences of animation on sheets of transparent paper perforated to fit the peg bars in their desks, often using colored pencils , one picture or "frame" at a time. A peg bar
8646-524: The animation, in general, a distinct visual appearance. Today special effects are mostly done with computers, but earlier they had to be done by hand. To produce these effects, the animators used different techniques, such as drybrush , airbrush , charcoal, grease pencil , backlit animation, diffusing screens, filters , or gels . For instance, the Nutcracker Suite segment in Fantasia has
8777-407: The animators' drawings are either scanned into a computer or drawn directly onto a computer monitor via graphics tablets , where they are colored and processed using one or more of a variety of software packages. The resulting drawings are composited in the computer over their respective backgrounds, which have also been scanned into the computer (if not digitally painted), and the computer outputs
8908-423: The artists have a guide to refer to. Small statues known as maquettes may be produced so that an animator can see what a character looks like in three dimensions. Background stylists will do similar work for any settings and locations present in the storyboard, and the art directors and color stylists will determine the art style and color schemes to be used. A timing director (who in many cases will be
9039-1097: The audience in a fantasy world where humans and cartoons co-exist. Early examples include the silent Out of the Inkwell (begun in 1919) cartoons by Max Fleischer and Walt Disney 's Alice Comedies (begun in 1923). Live-action and animation were later combined in features such as Song of the South (1946), The Incredible Mr. Limpet , Mary Poppins (both in 1964), Who Framed Roger Rabbit (1988), Cool World (1992), Space Jam (1996), Looney Tunes: Back in Action (2003), The SpongeBob SquarePants Movie (2004), and Enchanted (2007), among many others. The technique has also seen significant use in television commercials, especially for breakfast cereals marketed to children to interest them and boost sales. Besides traditionally animated characters, objects, and backgrounds, many other techniques are used to create special elements such as smoke, lightning and "magic", and to give
9170-404: The case of Japanese animation and most pre-1930 sound animated cartoons, the sound was post-synched ; the soundtrack was recorded after the film elements were finished by watching the film and performing the dialogue, music, and sound effects required. Some studios, most notably Fleischer Studios , continued to post-synch their cartoons through most of the 1930s, which allowed for the presence of
9301-402: The cel of another; and the opaque background will be seen beneath all of the cels. Disney experienced a setback to its ink-and-paint department due to World War II . When peacetime resumed, much of the original equipment went to waste as more economic solutions were sought, leading to the xerography process pioneered by Ub Iwerks . When an entire sequence has been transferred to cels,
9432-430: The cels or backgrounds 1 step at a time over a succession of frames (the camera does not pan; it only zooms in and out). Dope sheets are created by the animators and used by the camera operator to transfer each animation drawing into the number of film frames specified by the animators, typically 1 (1s, ones) or 2 (2s, twos) and sometimes 3 (3s, threes). As the scenes come out of final photography, they are spliced into
9563-438: The characters' outlines are gray. White and blue toners were used for special effects, such as snow and water. Invented by Dave Spencer for the 1985 Disney film The Black Cauldron , the APT (Animation Photo Transfer) process was a technique for transferring the animators' art onto cels. Basically, the process was a modification of a repro-photographic process; the artists' work was photographed on high-contrast "litho" film, and
9694-496: The characters. Furthermore, eyetracking and pupillometry studies found that film music is able to influence gaze direction and pupil dilation depending on its emotional valence and semantic information conveyed. Recently, new experiments showed that film music can alter time perception while watching movies; in particular, soundtracks deemed as activating and arousing lead to time overestimation as opposed to more relaxing or sad music. Lastly, soundtracks have been proved to shape
9825-417: The dialogue, sound effects, and music in a film each has its own separate track, and these are mixed together to make what is called the composite track, which is heard in the film. A dubbing track is often later created when films are dubbed into another language. This is also known as an M&E (music and effects) track. M&E tracks contain all sound elements minus dialogue, which is then supplied by
9956-492: The digital ink-and-paint process because they felt that the digitally colored animation would look too synthetic and would lose the aesthetic appeal of the non-computerized cel for their projects. Many animated television series were still animated in other countries by using the traditionally inked-and-painted cel process as late as 2004, though most of them switched over to the digital process at some point during their run. The last major feature film to use traditional ink and paint
10087-435: The distance between them, is determined by what element of the scene is on the plane as well as the entire scene's intended depth. A camera, mounted above or in front of the planes, moves its focus toward or away from the planes during the capture of the individual animation frames. In some devices, the individual planes can be moved toward or away from the camera. This gives the viewer the impression that they are moving through
10218-403: The early days of animation, washed clean and reused for the next film. In some cases, some of the cels were put into the "archive" to be used again and again for future purposes in order to save money. Some studios saved a portion of the cels and either sold them in studio stores or presented them as gifts to visitors. A cel overlay is a cel with inanimate objects used to give the impression of
10349-426: The extra layer of cel added between the image and the camera; in this example, the still plate would be painted slightly brighter to compensate for being moved one layer down. In TV and other low-budget productions, cels were often "cycled" (i.e., a sequence of cels was repeated several times), and even archived and reused in other episodes. After the film was completed, the cels were either thrown out or, especially in
10480-424: The films finish their theatrical runs and some have become extremely rare collectors' items. In a few rare instances an entire film dialogue track was issued on records. The 1968 Franco Zeffirelli film of Romeo and Juliet was issued as a 4-LP set, as a single LP with musical and dialogue excerpts, and as an album containing only the film's musical score. The ground-breaking film Who's Afraid of Virginia Woolf?
10611-498: The final film by either exporting a digital video file, using a video cassette recorder or printing to film using a high-resolution output device. Use of computers allows for easier exchange of artwork between departments, studios, and even countries and continents (in most low-budget American animated productions, the bulk of the animation is actually done by animators working in other countries , including South Korea , Taiwan , Japan , China , Singapore , Mexico , India , and
10742-435: The first multiplane animation structures, a device called a Tricktisch . Its top-down, vertical design allowed for overhead adjusting of individual, stationary planes. The Tricktisch was used in the filming of The Adventures of Prince Achmed , one of Reiniger's most well-known works. Future multiplane animation devices would generally use the same vertical design as Reiniger's device. One notable exception to this trend
10873-571: The foreign distributor in the native language of its territory. Current dictionary entries for soundtrack document soundtrack as a noun, and as a verb. An early attempt at popularizing the term sound track was printed in the magazine Photoplay in 1929. A 1992 technical dictionary entry in the Academic Press Dictionary of Science and Technology does not distinguish between the form sound track and soundtrack. The contraction soundtrack came into public consciousness with
11004-475: The image on the resulting negative was then transferred to a cel covered with a layer of light-sensitive dye. The cel was exposed through the negative. Chemicals were then used to remove the unexposed portion. Small and delicate details were still inked by hand if needed. Spencer received an Academy Award for Technical Achievement for developing this process. Rotoscoping is a method of traditional animation invented by Max Fleischer in 1915, in which animation
11135-476: The images of a book , drama , motion picture , radio program , television program , or video game ; colloquially, a commercially released soundtrack album of music as featured in the soundtrack of a film, video, or television presentation; or the physical area of a film that contains the synchronised recorded sound . In movie industry terminology usage, a sound track is an audio recording created or used in film production or post-production . Initially,
11266-425: The larger instruments may be pre-recorded onto a backing track and the remaining instruments may play live, or the reverse may occur in such instances as Elvis: The Concert or Sinatra: His Voice. His World. His Way both of which use isolated vocal and video performances accompanied by a live band. In the case of event soundtracks, large public gatherings such as Hands Across America , The Live Aid Concert,
11397-432: The main director) will take the animatic and analyze exactly what poses, drawings, and lip movements will be needed on what frames. An exposure sheet (or X-sheet ) is created; this is a printed table that breaks down the action, dialogue, and sound frame-by-frame as a guide for the animators. If a film is based more strongly in music, a bar sheet may be prepared in addition to or instead of an X-sheet. Bar sheets show
11528-495: The master take used in the film could not be found in its isolated form (without the M&;E), the aforementioned alternate masters and alternate vocal and solo performances might be used instead. As a result of all this ambiguity, over the years the term soundtrack began to be commonly applied to any recording from a film, whether taken from the actual film soundtrack or re-recorded in the studio at an earlier or later time. The term
11659-483: The memory of the scene that the viewers form, to the point of biasing their recall coherently with the music's semantic contents. Soundtrack may also refer to music used in video games. While sound effects were nearly universally used for action happening in the game, music to accompany the gameplay was a later development. Rob Hubbard and Martin Galway were early composers of music specifically for video games for
11790-405: The more stable cellulose acetate .) The outline of the drawing is inked or photocopied onto the cel, and gouache , acrylic or a similar type of paint is used on the reverse sides of the cels to add colors in the appropriate shades. The transparent quality of the cel allows for each character or object in a frame to be animated on different cels, as the cel of one character can be seen underneath
11921-435: The movie; the score contains only music by the original film's composers. Contemporaneously, a soundtrack can go against normality, (most typically used in popular culture franchises) and contains recently released and/or exclusive never before released original pop music selections, (some of which become high charting records on their own, which due to being released on another franchises title, peaked because of that) and
12052-474: The multiplane camera used for the film Snow White and the Seven Dwarfs utilized artwork painted on up to seven separate, movable planes, as well as a vertical, top-down camera. Predecessors of this technique and the equipment used to implement it began appearing in the late 19th century. Painted glass panes were often used in matte shots and glass shots, as seen in the work of Norman Dawn . In 1923, Lotte Reiniger and her animation team constructed one of
12183-498: The music videos for A-ha 's song " Take On Me " and Kanye West 's " Heartless ". In most cases, rotoscoping is mainly used to aid the animation of realistically rendered human beings, as in Snow White and the Seven Dwarfs , Peter Pan , and Sleeping Beauty . A method related to conventional rotoscoping was later invented for the animation of solid inanimate objects, such as cars, boats, or doors. A small live-action model of
12314-563: The next frame until each frame in the sequence has been photographed. Each cel has registration holes, small holes along the top or bottom edge of the cel, which allow the cel to be placed on corresponding peg bars before the camera to ensure that each cel aligns with the one before it; if the cels are not aligned in such a manner, the animation, when played at full speed, will appear "jittery." Sometimes, frames may need to be photographed more than once, in order to implement superimpositions and other camera effects. Pans are created by either moving
12445-503: The object not present in the live-action photography of the model, it was xeroxed onto cels. A notable example is Cruella de Vil's car in Disney's One Hundred and One Dalmatians . The process of transferring 3D objects to cels was greatly improved in the 1980s when computer graphics advanced enough to allow the creation of 3D computer-generated objects that could be manipulated in any way the animators wanted, and then printed as outlines on paper before being copied onto cels using Xerography or
12576-400: The orchestral portion of the material from the album is the same as that used in the special (i.e., the vocals were sung live over a prerecorded track), this creates a similar technicality. Although the instrumental music bed from the CD will lock to picture, the vocal performances will not (although it is possible to create a complete soundtrack recording by lifting the vocal performances from
12707-410: The original film cast, but which had been edited or rearranged for time and content and would not lock to picture. In reality, however, soundtrack producers remain ambiguous about this distinction, and titles in which the music on the album does lock to picture may be labeled as OCS and music from an album that does not lock to picture may be referred to as OMPS. The phrase "recorded directly from
12838-794: The paperless technology available today. Some of the advantages are the possibility and potential of controlling the size of the drawings while working on them, drawing directly on a multiplane background and eliminating the need for photographing line tests and scanning. Though traditional animation is now commonly done with computers, it is distinct from 3D computer animation , such as Toy Story , Shrek , Jimmy Neutron: Boy Genius , and Ice Age . Traditional animation and 3D computer animation can be used together, as in Don Bluth 's Titan A.E. and Disney 's Hercules , Tarzan , Atlantis: The Lost Empire , and Treasure Planet . Some recent anime and western animated series, such as Ghost in
12969-413: The photography process begins. Each cel involved in a frame of a sequence is laid on top of each other, with the background at the bottom of the stack. A piece of glass is lowered onto the artwork in order to flatten any irregularities, and the composite image is then photographed in stop motion by a special animation camera , also called rostrum camera . The cels are removed, and the process repeats for
13100-420: The plate. In this example, after the person puts the plate down, the plate can then be drawn on a separate cel from them. Further frames feature new cels of the person, but the plate does not have to be redrawn as it is not moving; the same cel of the plate can be used in each remaining frame that it is still upon the table. The cel paints were actually manufactured in shaded versions of each color to compensate for
13231-420: The relationship between the on-screen action, the dialogue, and the actual musical notation used in the score. Layout begins after the designs are completed and approved by the director. It is here that the background layout artists determine the camera angles, camera paths, lighting, and shading of the scene. Character layout artists will determine the major poses for the characters in the scene and will make
13362-674: The release of a book soundtrack by the same name. It was recorded in Utah, featuring artist Jenny Oaks Baker and William Arnold and was released in 2018. A soundtrack for J. R. R. Tolkien 's The Hobbit and The Lord of the Rings was composed by Craig Russell for the San Luis Obispo Youth Symphony. Commissioned in 1995, it was finally put on disk in 2000 by the San Luis Obispo Symphony. For
13493-414: The required object was built and painted white, while the edges of the model were painted with thin black lines. The object was then filmed as required for the animated scene by moving the model, the camera, or a combination of both, in real-time or using stop-motion animation. The film frames were then printed on paper, showing a model made up of the painted black lines. After the artists had added details to
13624-402: The scene. A pencil test is a much rougher version of the final animated scene (often devoid of many character details and color); the pencil drawings are quickly photographed or scanned and synced with the necessary soundtracks. This allows the animation to be reviewed and improved upon before passing the work on to their assistant animators , who will add details and some of the missing frames in
13755-443: The scene. The work of the assistant animators is reviewed, pencil-tested, and corrected until the lead animator is ready to meet with the director and have their scene sweatboxed . Once the key animation is approved, the lead animator forwards the scene on to the clean-up department , made up of the clean-up animators and the inbetweeners . The clean-up animators take the lead and assistant animators' drawings and trace them onto
13886-454: The screen from 1 ⁄ 8 to 1 ⁄ 6 of a second. While Plympton uses near-constant three-frame holds, sometimes animation that simply averages eight drawings per second is also termed "on threes" and is usually done to meet budget constraints, along with other cost-cutting measures, like holding the same drawing of a character for a prolonged time or panning over a still image, techniques often used in low-budget TV productions. It
14017-564: The separate layers of art as though in a three-dimensional space. The most famous device used for multiplane animation was the multiplane camera . This device, originally designed by former Walt Disney Studios animator / director Ub Iwerks , is a vertical, top-down camera crane that shot scenes painted on multiple, individually adjustable glass planes. The movable planes allowed for changeable depth within individual animated scenes. In later years Disney Studios would adopt this technology for their own uses. Designed in 1937 by William Garity ,
14148-484: The size of the xeroxed objects and characters. At first, it resulted in a more sketchy look, but the technique was improved upon over time. Disney animator and engineer Bill Justice had patented a forerunner of the Xerox process in 1944, where drawings made with a special pencil would be transferred to a cel by pressure, and then fixing it. It is not known if the process was ever used in animation. The xerographic method
14279-403: The slash and tear system invented by Raoul Barré ; the background and the animated objects were drawn on separate papers. A frame was made by removing all the blank parts of the papers where the objects were drawn before being placed on top of the backgrounds and finally photographed. In lower-budget productions, shortcuts available through the cel technique are used extensively. For example, in
14410-399: The soundtrack" was used for a while in the 1970s, 1980s and 1990s to differentiate material that would lock to picture from that which would not (excluding alternate masters and alternate vocals or solos). However, partly because many 'film takes' actually consisted of several different attempts at the song edited together, over time that term became nebulous as well. For example, in cases where
14541-411: The soundtrack. Like the 1967 rerelease of the film, this version of the score was artificially enhanced for stereo . In recent years, Rhino Records has released a 2-CD set of the complete Gone With the Wind score, restored to its original mono sound. One of the biggest-selling film scores of all time was John Williams ' music from the movie Star Wars . Many film score albums go out of print after
14672-440: The speaking character. For a more complex example, consider a sequence in which a person sets a plate upon a table. The table stays still for the entire sequence, so it can be drawn as part of the background. The plate can be drawn along with the character as the character places it on the table. However, after the plate is on the table, the plate no longer moves, although the person continues to move as they draw their arm away from
14803-404: The storyboard timed and cut together with the soundtrack. This allows the animators and directors to work out any script and timing issues that may exist with the current storyboard. The storyboard and soundtrack are amended if necessary, and a new animatic may be created and reviewed with the director until the storyboard meets the users' requirements. Editing the film at the animatic stage prevents
14934-443: The style of Decca Broadway show cast albums mostly because the material on the discs would not lock to picture, thereby creating the largest distinction between 'Original Motion Picture Soundtrack' which, in its strictest sense would contain music that would lock to picture if the home user would play one alongside the other and 'Original Cast Soundtrack' which in its strictest sense would refer to studio recordings of film music by
15065-769: The tools and user interface for traditional cel animators. New features included the Pencil Test module, the Palette Editor, the Xsheet, the Ink and Paint module, and the Flip module, as well as more customizability by adding separate modules for scanning and rendering. Toonz 5.0 Harlequin now supported vector graphics, with continued support for raster graphics, either generated inside the program or scanned in from paper to allow users to step into paperless animation . Toonz
15196-486: The use of traditional cels for the main content of each episode. Minor productions, such as Hair High (2004) by Bill Plympton , have used traditional cels long after the introduction of digital techniques. Most studios today use one of a number of other high-end software packages, such as Toon Boom Harmony , Toonz (OpenToonz), Animo, and RETAS , or even consumer-level applications such as Adobe Flash , Toon Boom Technologies and TV Paint . The cel animation process
15327-466: The west, and PBS Kids ' Dragon Tales , all of which switched to digital paint between 2000 and 2004, while the last major animated production overall to abandon cel animation was the television adaptation of Sazae-san , which remained stalwart with the technique until September 29, 2013, when it switched to fully digital animation on October 6, 2013. Prior to this, the series adopted digital animation solely for its opening credits in 2009, but retained
15458-447: The work of the background layout artists and color stylists (which is usually compiled into a workbook for their use) so that the resulting backgrounds are harmonious in tone with the character designs. Usually, an animatic or story reel is created after the soundtrack is recorded and before full animation begins. The term "animatic" was originally coined by Walt Disney Animation Studios . An animatic typically consists of pictures of
15589-466: Was Satoshi Kon 's Millennium Actress (2001); the last major animation productions in the west to use the traditional process were Nickelodeon 's SpongeBob SquarePants , both Fox 's The Simpsons and King of the Hill , both Cartoon Network 's The Powerpuff Girls , Dexter's Laboratory and Ed, Edd n Eddy , the latter of which is also the last cartoon to switch to Digital Ink and Paint in
15720-801: Was also made compatible with both Windows and Mac OS X for the first time. Version 6.0 was made available as Toonz Harlequin , created in collaboration with Studio Ghibli , for traditional (with scanned graphics) and paperless animation workflows; and Toonz Bravo for paperless workflows only. Version 6.3 ML ("ML" for "multi-language") introduced non-English language support. Other new features included raster-vector conversion, palette styles, and options for rendering image sequences and video clips. More specifically, Toonz Bravo 6.3 ML got animation libraries for characters and props; palettes with linked styles and smart color models; animation levels with numerically controlled transformation, links and dependencies among pegbars, cameras and table; visual effects , including
15851-602: Was before tape existed, so the record producer needed to copy segments from the playback discs used on set, then copy and re-copy them from one disc to another adding transitions and cross-fades until the final master was created. Needless to say, it was several generations removed from the original and the sound quality suffered for it. The playback recordings were purposely recorded very dry (without reverberation); otherwise it would come across as too hollow sounding in large movie theatres. This made these albums sound flat and boxy. MGM Records called these "original cast albums" in
15982-535: Was closer in resemblance to real life, which was a prominent goal for many animation studios at the time. Applied to animation by Ub Iwerks at the Walt Disney studio during the late 1950s, the electrostatic copying technique called xerography allowed the drawings to be copied directly onto the cels, eliminating much of the "inking" portion of the ink-and-paint process. This saved time and money, and it also made it possible to put in more details and to control
16113-623: Was first tested by Disney in a few scenes of Sleeping Beauty and was first fully used in the short film Goliath II , while the first feature entirely using this process was One Hundred and One Dalmatians (1961). The graphic style of this film was strongly influenced by the process. Some hand inking was still used together with xerography in this and subsequent films when distinct colored lines were needed. Later, colored toners became available, and several distinct line colors could be used, even simultaneously. For instance, in The Rescuers
16244-743: Was first tested in the Pac-Man episodes "Nighty Nightmares" and "The Pac-Mummy". In addition to a cost savings compared to traditional cel painting of 5 to 1, the Hanna-Barbera system also allowed for multiplane camera effects evident in H-B productions such as A Pup Named Scooby-Doo (1988). The computer files for these projects were not archived and the shows themselves were printed to videotape, making remastering difficult due to their lack of high resolution. Digital ink and paint has been in use at Walt Disney Animation Studios since 1989, where it
16375-503: Was invented by Earl Hurd and John Bray in 1915. The cel is an important innovation to traditional animation, as it allows some parts of each frame to be repeated from frame to frame, thus saving labor. A simple example would be a scene with two characters on screen, one of which is talking and the other standing silently. Since the latter character is not moving, it can be displayed in this scene using only one drawing, on one cel, while multiple drawings on multiple cels are used to animate
16506-430: Was issued by Warner Bros Records as a 2-LP set containing virtually all the dialogue from the film. RCA Victor also issued a double-album set what was virtually all the dialogue from the film soundtrack of A Man for All Seasons , Decca Records issued a double-album for Man of La Mancha and Disney Music Group (formerly Buena Vista Records) issued a similar double-album for its soundtrack for The Hobbit . When
16637-474: Was prepared specifically for use in or at an event such as that described above. In the case of theme parks, actors may be ensconced in large costumes where their faces may be obscured. They mime along to a prerecorded music, effects and narration track that may sound as if it was lifted from a movie, or may sound as if it had been overly dramatized for effect. In the case of cruise ships, the small stage spaces do not allow for full orchestration, so that possibly
16768-431: Was published with an original soundtrack by Miklos Szilveszter, accessible through a QR code at the start of each chapter. In Japan , such examples of music inspired by a work and not intended to soundtrack a radio play or motion picture adaptation of it are known as an image album or image song , though this definition also includes such things as film score demos inspired by concept art and songs inspired by
16899-513: Was released under the BSD license to a GitHub repository on March 26, 2016. Digital Video will also continue to develop and market a Toonz Premium version. The source code has also been forked by other projects, such as Tahoma2D which focuses on ease of use, as well as a custom made version for the Morevna Project . 2D animation Animation production usually begins after
17030-661: Was the Setback Camera, developed and used by Fleischer Studios . This device used miniature three-dimensional models of sets, with animated cels placed at various positions within the set. This placement gave the appearance of objects moving in front of and behind the animated characters, and was often referred to as the Tabletop Method. The spread and development of multiplane animation helped animators tackle problems with motion tracking and scene depth, and reduced production times and costs for animated works. In
17161-501: Was used for the final rainbow shot in The Little Mermaid . All subsequent traditional Disney animated features were digitally inked-and-painted (starting with The Rescuers Down Under , which was also the first major feature film to entirely use digital ink and paint), using Disney's proprietary CAPS (Computer Animation Production System) technology, developed primarily by Pixar Animation Studios . The CAPS system allowed
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