In the channel panel, you can set keyframes for individual attributes by directly right-clicking on the selected attribute and choosing Key Selecte d from the context menu that appears. This allows a high degree of accuracy to control key

by setting them directly for the selected attribute or group of attributes. Selecting the Key Selecte d menu item is shown in Fig. 7.1.

Rice. 7.3. Animation playback controls

The time slider (Tim e Slider) 'and its associated controls are direct, albeit subtle, animation controls and take up a very small portion of the screen, unlike the other two editors. The time slider in combination with the rang e Slider allows you to set the start and end of the animation playback range, as well as set the current time numerically and interactively.

Clicking on the time slider moves the Curren t Time Indicator to the specified frame, which becomes the current frame. Clicking and dragging the time slider with the left mouse button allows you to interactively move to the desired frame (jog) or manually control the playback (scrub) of the animation. In this case, the quality of reproduction depends on the complexity of the scene. The presence of a large number of polygons, deformers, high-resolution textures or light sources in the scene reduces the smoothness of the playback, but it is the ability to jump to the desired scene frame that best allows you to assess the movement of the object.

To move the current-time indicator to a different frame without refreshing the scene in the viewport or changing the attribute values ​​in the channel panel, click and drag the time slider with the middle mouse button. This is a powerful way to copy keyframes. Remember that setting a keyframe is equivalent to recording attribute changes over time, but if the attributes have not changed, then setting the next keyframe will actually copy the previous keyframe. This feature will be used extensively throughout the animation creation in this chapter.

Right-clicking the time slider will display the Editing Key pop-up menu, offering a standard set of keyframe editing operations (discussed later in this chapter). It also provides access to the following submenus.

The Display Ke y Tick s submenu allows you to display the keyframe marks for the current object or attributes selected in the channel pane, or turn them off altogether.

The Playbac k Loopin g submenu lets you set Maya to play the animation once, repeat continuously, or, like a pendulum, play first forward and then backward between the start and end times.

The Set rang e To submenu allows you to control the playback range in a variety of ways. It contains

This is what the timeline is now called. - Note. ed.

One useful setting is Soun d Lengt h (Sound Length), which can also be used to determine the length of the sound file that has been imported into the stage.

The Soun d submenu allows you to display, hide or rename any imported sound files.

The Playblast function implements a preview of the resulting animation in the form of real-time animated clips. This preview is used extensively in Chapter 9, Character Animation.

Directly below the time slider is a range slider, which also contains fields for changing the start and end times of animation and playback. The range slider allows you to interactively change the range of frames displayed by the time slider. To decrease or increase the size of the slider and change the range of displayed frames accordingly, click and drag the mouse pointer over the rectangle next to a number at either end of the range slider. By doing the same directly with the slider itself, you can move the whole range of frames displayed in the time slider. A pair of inner margins on either side of the range slider set the start and end frames for playback, and a pair of outer margins set the start and end frames for the animation.

Animation workflow concept

When approaching any animation task, it makes sense to have a plan for creating the object's actions. A huge mistake newbies make is when they start animating the first thing they do is set keyframes anywhere. The following methodology is recommended as it is suitable for almost all animations, from simple to complex.

Start by setting preferences for the convenience of creating specific animations.

Animations for the web, television, and film have different parameters; and for each type of animation you get, you need different settings for the workspace and timing parameters. To make it easier to create a specific animation, at the very beginning of the process, change these parameters in the window that opens after clicking the Animation Preferences button. If you need to get the result for several types of output, then set preferences for the highest quality output in order to get the result for it first (for example, the output for television has a higher quality than for the Web, so orient your animation preferences for both multimedia systems follows on television).

Create keyframes in the viewport and roughly adjust the time using the time slider. In the next exercise, a keyframe will be set for one specific attribute of the ball rig example. In most cases, a keyframe is set for all attributes that control the animation of a character at the extreme positions of its movement.

Finally, refine and adjust the motion with the Grap h Editor. In the next exercise using tangential manipulators(tangent handle) and changing their types, reconfigure the interpolation of attribute values ​​at intermediate frames located between the key ones.

Now let's practice with the Mayan animation controls and apply the previously discussed workflow to the classic bouncing ball exercise.

Techniques for creating animation are constantly evolving, and game developers and film studios are constantly looking for talented and creative individuals who can apply these techniques.

Here are the main types of animation that can be used to create digital characters for TV shows, commercial applications, company logos, movies, videos, or games.

• Traditional animation.
• 2D vector animation.
• 3D computer animation.
• Motion graphics.
• Stop motion.

Traditional animation

Have you ever seen images that appear as fast-paced frames drawn on transparent sheets of paper with colored markers? This type of computer animation is called traditional. It is used for preliminary character sketches.

This process can be quite costly and time-consuming, as the animators have to create a set of different frames based on a frame rate of 24 frames per second. This method is used mainly on PCs, as well as tablets, with the use of special computer programs that allow you to create animation in the style of old Disney cartoons.

2D vector animation

The most commonly used animation style. Her frames are created on a relatively flat surface. In addition, vector animation has adopted some of the traditional animation techniques. In fact, this is the same traditional animation, except that a process known as painting and painting is applied to the frames.

During this process, animators place thin, transparent sheets of celluloid on paper, on which the animated characters are drawn, and then redraw them onto film. At the end, frames with different characters are superimposed on each other, and due to the high transparency of the film, this allows you to create a composition of different elements and characters.

3D computer animation

3D animation is completely different from other types of animation in computer graphics. Although they use the same principles of composition and movement, the technical methods used to solve a variety of problems differ significantly. In 3D animation, the animator doesn't need to be a graphic artist. It looks more like playing with dolls than drawing.

It is also called computer generated images ( CGI). They occur when computer animators create a stream of images that are brought together to form an animation. Combining dynamic and static images is performed using computer graphics. Characters created in 3D are digitally rendered on screen and then combined with a wireframe, allowing each model to be animated differently.

The animation is formed by creating models in separate keyframes, after which the computer performs their "propagation", interpreting the animation by adding intermediate frames between the keyframes.

In addition, a lot of time is spent working with curves representing different parts of the object at different time periods. In 3D animation, all characters should be taken into account, even those who at a certain point in time are covered by something and are not visible.

The main difference between these kinds of animation is that in traditional and 2D animation, the artist works with separate frames, while in 3D animation there is always a continuous flow. If it stops, it is perceived as a mistake. Even when the character remains in place, there is always a continuous stream of frames that creates the illusion of reality.

Motion graphics

Ever wondered how promo videos, animated logos, movie opening credits, and app ads are created? This is done with moving graphic texts and elements, or, as I call it, motion graphics.

It is a process that uses "propagation" of animated frames to create fluid motion between frames. Frames spreader programs support scripts that automatically resize animation to create multiple effects.

3D compositions are created from flat elements that move relative to each other, which creates the illusion of volume. They can also be accompanied by sound effects or music. Such objects are often used in multimedia projects.

Stop-motion

The stop motion look of computer animation is more like a traditional animation. All you have to do is photograph the subject, and when you move the subject a relatively small distance, you take another photograph. This procedure is repeated several times, and when the images are reproduced one after the other, the impression of movement is created.

There are many forms of stop motion animation, including Cut-Outs, Claymation and Puppets, and more. But the point is that to create animation, objects that need to move are photographed sequentially many times.

Translation of an article "Types of Animation in Computer Graphics”Was prepared by the friendly project team.

Good bad

Throughout its existence, man has tried to reflect movement in his art. The first attempts to convey motion in a drawing date back to around 2000 BC (Egypt).

Another example of movement found in the caves of northern Spain is a drawing of a boar with eight legs.

Today, the transfer of motion can be implemented using animation.

Animation is called an artificial representation of movement in cinema, on television or in computer graphics by displaying a sequence of drawings or frames with a frequency at which a holistic visual perception of images is provided.

Animation, unlike video, which uses continuous motion, uses many independent drawings.

Synonym for "animation" - "animation"- very widespread in our country. Animation and animation are just different definitions of the same art form.

A more familiar term for us comes from the Latin word "multi" - a lot and corresponds to the traditional technology of reproduction of a picture, because in order for a hero to "come to life", you need to repeat his movement many times: from 10 to 30 drawn frames per second.

Worldwide professional definition "animation"(translated from the Latin “anima” - soul, “animation” - revival, animation) reflects all the modern technical and artistic possibilities of animated cinema as accurately as possible, because animation masters not only bring their characters to life, but put a piece of their soul into their creation ...

From the history of animation

Animation, like any other art form, has its own history. The principle of inertia of visual perception, which underlies animation, was first demonstrated in 1828 by the Frenchman Paul Roget. The object of the demonstration was a disc with an image of a bird on one side and a cage on the other. During the rotation of the disc, the audience created the illusion of a bird in a cage.

The first real, practical way to create animation came from the creation of a camera and a projector by Thomas A. Edison.

Already in 1906, the short film Humorous Phases of Funny Faces was created by Steward Blackton. The author made a drawing on the board, photographed, erased, and then painted again, photographed and erased ...

The real revolution in the world of animation was made by WALT DISNEY (1901-1966), an American director, artist and producer.

This is not a complete story of animation, a small digression from the material of the lecture. You can learn more about the amazing and interesting history of animation on your own.

Animation technologies

Currently, there are various technologies for creating animation:

Classic (traditional) animation represents an alternating sequence of drawings, each of which is drawn separately. This is a very time-consuming process, as the animators have to create each frame separately.

Stop-frame (puppet) animation... The objects placed in space are fixed by the frame, after which their position is changed and fixed again.

Sprite animation implemented using a programming language.

Morphing- transformation of one object into another by generating a specified number of intermediate frames.

Color animation- it changes only the color, not the position of the object.

3 D-animation created using special programs (for example, 3D MAX). Pictures are obtained by rendering a scene, and each scene is a set of objects, light sources, textures.

Motion capture (MotionCapture) – the first direction of animation that makes it possible to convey natural, realistic movements in real time. The sensors are attached to the live actor in those places that will be aligned with the control points of the computer model for inputting and digitizing motion. The coordinates of the actor and his orientation in space are transmitted to the graphics station, and the animation models come to life.

Animation principles

Some general principles are used in the production of animated films. Most of them were formulated for Disney animation and originally related to cartoons made in the traditional animation technique, but almost all of them are applicable with other technologies.
Here are the main ones:

Compression and Stretch(squash & stretch)... This principle has revolutionized the world of animation. The essence of the principle is that a living body is always compressed and stretched during movement. Before the jump, the character is compressed like a spring, and in the jump, on the contrary, it is stretched. The main rule in this case is constant volume - if the character is stretched (stretch - deformation along the Y axis), then he must be compressed to maintain the volume of his body (squash - deformation along the X axis).

"Preparatory action" (Anticipation)... In real life, to perform any action, a person often has to make preparatory movements. For example, before jumping, a person needs to sit down; in order to throw something, his hand must be brought back. Such actions are called refusal movements, because before doing something, the character refuses to act. This movement prepares the viewer for the subsequent action of the character and imparts momentum to the movements.

Scenic(staging)... For the correct perception of the character by the audience, all his movements, postures and facial expressions must be extremely simple and expressive. This principle is based on the main rule of the theater. The camera should be positioned so that the viewer can see all the movements of the character.

"Key personnel" (Pose to Pose)... Before the discovery of this principle, movements were drawn, and therefore the result was difficult to predict, since the artist himself did not yet know what he would draw. This principle provides for a preliminary arrangement of movements - the artist draws the main points and places the character on the stage, and only then the assistants draw all the frames of the movement. This approach has dramatically increased performance because all movements were planned in advance, and the result was exactly as intended. But in order to create any specific movement, it was necessary to carefully study each "piece". When developing expressive poses, the artist invests all his skill, therefore, it is these moments that should be visible to the viewer longer. To do this, assistants finish drawing the movements so that most of the frames are near the key poses. In this case, the character seems to slide from one arrangement to another, slowly coming out of the pose and slowing down in the other.

"Through motion and overlap"(follow through / Overlapping actions).
The essence of the principle is that movement should never stop. There are elements such as ears, tails, clothing that must be constantly in motion. "Walk Through" provides continuous movement and smooth phase transitions, for example, from run to walk and vice versa. The movement of individual elements of the body, while the body no longer moves, is called overlap. Overlap is expressed in scenes of changing phases of movement. If the character slows down sharply after running, the soft parts of the body cannot stop along with the hard ones and a small overlap occurs (hair, ears, tails, etc.). When walking, the movement starts from the hips, and only then extends to the ankles. Thus, all the character's movements are linked into a separate chain, and it becomes possible to rigidly describe the rules by which he moves. A movement in which one element follows another is called through movement.

"Movements along arcs" (arcs)... Living organisms always move along arcuate trajectories. Prior to that, the method of rectilinear movement was used, and therefore, the movements looked mechanical - like those of robots. The nature of the trajectory depends, as a rule, on the speed of movement. If the character moves sharply, the trajectory straightens, but if slowly, then the trajectory bends even more.

Secondary actions (Secondary actions)... Secondary movements are often used to make the character more expressive. They serve to draw attention to something. For example, a grieving character may often blow his nose into a handkerchief, and a surprised one twitch his shoulders. Secondary actions are widespread in the world of animation. Thanks to their use, characters become more lively and emotional.

Timing calculation(Timing). This principle allows you to give the character weight and mood. How does the viewer assess the weight of the characters? The weight of a character is made up of factors such as movement speed and inertia. In order for the character to move in accordance with his weight, the artist calculates the time of movement and overlap for each character. When calculating the time, the weight, inertia, volume and emotional state of the hero are taken into account. The mood is also conveyed by the speed of the character's movements. So the depressed character moves very sluggishly, and the inspired character is quite energetic.

Exaggeration (Exaggerrate and Caricature)... Walt Disney has always demanded more realism from its employees, in fact, striving for more "caricature realism". If the character was to be sad, he demanded that he be made gloomy, while the happy one had to be made dazzlingly radiant. With the help of exaggeration, the emotional impact on the audience increases, however, the character takes on a caricatured character.

Professional drawing... Drawing is the basis of everything. At the Disney studio, signs like: "Do you feel weight, depth and balance in your drawing?" The principle of professional drawing also prohibits drawing "twins". "Gemini" refers to any elements of the picture that are repeated twice or are symmetrical. "Twins" very often appear against the will of the artist, without noticing that he draws two hands in the same position.

Attractiveness (Appeal)... Character attraction is the key to the success of the entire film. How can you tell if a character is attractive? Any object can be attractive if you look at it with pleasure, discovering in it simplicity, charm, good design, charm and magnetism. It is impossible to take your eyes off the attractive character. Even the nastiest hero in a movie has to be attractive to keep the audience on the screen.

Animation is the creation of a moving image on the screen. Rather, the illusion of continuous movement. In fact, this is a sequence of static frames. And also - a technically complex and constantly evolving art. So if someone tells you that cartoons are not serious, protest violently and make arguments. Here is a brief educational program on the main types of moving pictures, from which it will become clear why animation is not inferior to feature films, and in some ways even surpasses it.

Classic hand drawn animation

Many in childhood drew figures in the margins of notebook sheets, changing their position with each page. If you quickly flip through such a notebook, it will seem that the character is running, and the flower is blooming. The classic frame-by-frame animation works in a similar way.

The standard format of the frequency with which the pictures change is 24 frames per second. And all these frames need to be rendered! Previously, this was done manually. Over time, special editing programs came to the rescue, so now only key frames are drawn by hand. Nevertheless, making a stop-motion animated film is still a painstaking and difficult job.

The first version of time-lapse animation is sometimes referred to as the thaumatrope, a vintage disc-shaped toy with drawings on both sides. By quickly rotating the circle on the thread, it was possible to achieve the effect of combining the pictures. For example, a bird and a cage turned into an image of a bird in a cage, and flowers and a vase - into a full-fledged still life. At the beginning of the twentieth century, the first animated films began to appear. Steward Blackton made a short film "Funny expressions of cheerful faces", and Emil Kohl - "Phantasmagoria"... In both films, the authors draw characters on the blackboard, and then they "come to life." Kohl found out that each phase of the movement needed a different pattern and used a vertically fortified camera.

Then a great event happened - Walt Disney came to animation. He invented, in particular, a way to create volume by combining different plans, as well as a layer-by-layer technique, in which transparent celluloid films with images are superimposed on each other, so that the frame no longer needed to be drawn from scratch. Using the three-color system "Technicolor" (combining monochrome images shot through red, blue and green filters), Disney created the first color cartoon - "Flowers and Trees". He also directed the first ever sound cartoon (Steamboat Willie with a whistling Mickey Mouse in the title role) and the first full-length animated film, Snow White and the Seven Dwarfs, which made a splash.

It turned out that animation is interesting for people of different ages. Moreover, it allows you to achieve a special emotional effect using unique means.

An actor, even with the mimic skills of Jim Carrey and the dedication of Christian Bale, who dropped up to 30 kilograms for roles, still cannot go beyond human capabilities. But drawn characters are not required to strictly obey the laws of nature and physics. Therefore, the artist can reward them with any proportions, external features and plastics - if only all this worked to reveal the image.

For this, we also need to thank Disney, who created a whole pantheon of cult characters, whose character is reflected in their appearance. His methods were adopted by other animation directors. Thanks to them, there are hundreds of memorable animated heroes and villains today.

The style of classic animation can be different. Disney or Soviet cartoon, European author's or even abstract animation, anime - different styles that you will never confuse. Technically, however, this is all frame-by-frame animation.

Puppet animation

The stop-motion technology uses a stage-layout, which serves as a decoration, as in a theater, and puppet "actors". To create the illusion of movement, the poses of the figures are slightly changed, taking pictures by frame, and then they turn it all into a film. Such animation appeared along with classic cinematography. For example, the famous scene from the movie "A Trip to the Moon", where a spaceship hits an Earth satellite right in the eye - this is also stop-motion.

Puppet cartoons are always a special story in the world of animation. They are not turned into huge franchises (they will not work due to the complexity of production), and they are not the most successful commercially. However, there is a special magic in this way of animating the static.

Such cartoons make it possible to create a volume that classic hand-drawn animation is not capable of, and also provide detail without the need to draw something - you just need to place objects in the frame. However, this is just not at all easy. Decorations for puppet cartoons are created by hand, and it is truly a hell of a job.

Pink-colored popcorn was used to depict sakura in Coraline in Nightmare Land.

Each flower on the toy trees is handcrafted by cartoonists and positioned as required for the scene. In “Kubo. The Legend of the Samurai "The monkey's fur is made from tiny pieces of silicone, each of which has been pasted onto a figurine. All these things need to be thought out in advance, because when the object has already been created in the material, you will not be able to press undo. Voicing the puppet animation, each movement of the lips of the puppet actor is created separately, synchronizing facial expressions with the soundtrack. Today, many parts are 3D printed, and yet it is still a piece of work.

In the 60s and 80s, puppet animation was very popular in the USSR - for its textured materials and cozy intimacy. Special popular sympathy was earned by Roman Kachanov's "Mitten", where a ball of red wool evokes a storm of emotions, and Alexander Tatarsky's "Plasticine Crow" with a virtuoso play of forms (plasticine animation is also a subspecies of stop-motion) and cheerful songs.

At some point, the puppet animation left behind the computer in terms of the complexity and naturalness of the characters' movements. However, today CG technologies have stepped forward, and computer heroes are not inferior to their puppet brothers, but in many ways surpass them.

Over time, difficult-to-manufacture and time-consuming stop-motion animation began to lose popularity. Oddly enough, this is good for her. Only ideological directors who know exactly what they want to tell and have an original style decide to work in this genre. For example, Tim Barton, with his famous films about singing skeletons and dead pets, or Wes Anderson, who shot Fantastic Mr. Fox.

Computer animation

In this case, moving images are obtained using 3D animation generated on a computer. 3D models of objects move and interact the way the directors want it.

In cinema, George Lucas was one of the first to use computer animation. The special effects of the early Star Wars episodes are still appreciated by many fans more than the graphics in modern films. Lucas' studio ILM has also worked on numerous acclaimed film epics with outstanding effects (Indiana Jones, Back to the Future, Star Trek), as well as on Who Framed Roger Rabbit, which combines actors and characters.

Then it turned out that animation can not only serve films with actors, but also create its own world. The pioneers in the field of computer animation, who did for it no less than Disney did for the traditional one, was the Pixar studio. Today it is the most successful animation studio in the history of cinema.

The 1986 short animated film Luxo Jr tells the story of a small table lamp, supervised by a parent lamp, playing with a ball. Lamps have been honored to become cartoon characters, as they allowed you to work with light and demonstrate how different surfaces reflect it. This short cartoon has something for which Pixar's work is still praised - the innovativeness of technology and the emotional liveliness of the characters. In 1995, the studio released the first fully computer-generated feature film, Toy Story.

The studio is constantly improving technologies and looking for new opportunities. Curly hair in the wind, objects drowning in water, movement of clouds, millions of grains of sand on the beach ...

In the case of CG movies, making this all compelling requires considering texture, weight, trajectory, and a host of other factors. The fact that objects are virtual makes their "material characteristics" only more important. After all, artists and developers want the rubber ball to bounce, and the fabric to flutter in the wind, like a real one.

These methods were adopted by other studios, for example, Blue Sky Studios, which released "Ice Age", and Dreamworks (franchises "Shrek", "Madagascar", "Kung Fu Panda", "How to Train Your Dragon").

Computer animation gave the viewer the depth of the picture, as well as the ability to run along with the characters and make dizzying flights. Such dashing camera turns were not possible in classic animation, or in ordinary cinema. That is why there are so many races and adventures in 3D cartoons, and scripts are written with a visual component and dynamics in mind.

Of course, good cartoons are attracted not only due to technology. However, it is precisely the wide possibilities of animation that allow directors not only to convey experiences, but also to touch on complex topics. Hayao Miyazaki talks about harmony with nature, Tim Barton makes it fun even to talk about death, and Pixar films teach you to accept yourself and understand your own feelings.

“Here, nevertheless, we look back, but we do not stand still. We strive forward, open new paths, take on new things, because we are curious ... and curiosity drives us along new roads. Only forward." (Walt Disney)

About animation technology

Sometimes, between me and the customer there is a misunderstanding when agreeing on the technical features of future animated works. This article will help you better understand animation technology issues.

To begin with, so as not to get confused, I would like to highlight 3 main criteria by which one can judge about animation: types of animation, animation methods and animation styles. For many, it’s the same thing, but it’s not! Types of animation are the way or form the cartoon is shown (drawn, puppet, etc.). Animation techniques are technical features with which animation is created (frame-by-frame animation, programmable animation, etc.). Finally, an animation style is an artistic technique that is used in animation (realism, anime, etc.). In this article I will take a closer look at the concept of "animation views" and then add "methods" and "styles" to that. All this together is animation technology.

Hand-drawn classic animation.

One of the most interesting and common types of animation is the so-called classic animation. Classic animation is done by drawing on transparent film (or tracing paper) each separate frame. Then these frames are collected in a special editing program. This animation is very lively, smooth, spatial, but expensive))). An example of such animation is the cartoons of the Disney studio and Soyuzmultfilm.

A still from the cartoon "Snow White and the Seven Dwarfs" by Disney Studios

Crossover animation.

The oldest type of animation. The essence of this type of animation is that an object drawn on cardboard or paper is cut into separate pieces and these pieces are moved (shifted) from frame to frame. Hence the name - re-laying! Many consider such animation to be primitive, but in the right hands such cartoons can turn out to be very interesting. The cartoon "Hedgehog in the Fog" directed by Yuri Norshtein can be called one of the most striking examples of crossover animation. "Hedgehog in the Fog" was recognized by the world community as the BEST CARTOON OF ALL TIMES AND PEOPLES !!! So much for the transfer ... So much for the primitive ...

A still from the cartoon "Hedgehog in the Fog" directed by Yuri Norshtein

Painting on glass.

But here animation is definitely not primitive! The essence of such an animation is painting with oil paints on glass. At the same time, each frame is a picturesque picture, which is modified by the artist's strokes. A striking example of such animation is the work of Alexander Petrov "The Old Man and the Sea", which was awarded the "Oscar".

A still from the animated film "The Old Man and the Sea" directed by Alexander Petrov.

Puppet animation.

Same old style animation. All of the dolls and decorations in puppet animation are handcrafted, making them as expensive as classic animation. Nevertheless, this type of animation is very popular even today (despite the spread of 3D computer animation). To be honest, I didn't like puppet animation as a child))) But my epiphany came when I saw Tom Burton's cartoon "The Nightmare Before Christmas".

A still from the cartoon "The Nightmare Before Christmas" directed by Tom Burton.

Plasticine animation

The name plasticine animation speaks for itself. I will only add that plasticine animation came out of puppet animation and became popular in Russia after the appearance of the cartoons "Last year's snow was falling" directed by Alexander Tatarsky.

A still from the cartoon "Last Year's Snow Was Falling" directed by A. Tatarsky.

Computer 2D animation.

Whether we like it or not, the old types of animation are being replaced by new ones. For some reason it is customary to call computer 2D animation Flash animation and this is not entirely true. Flash is just one program. You can name other powerful computer programs for creating 2D animation, for example: After Effect, Anime Studi Pro, Toon Boom Studio and many more paid and free programs. Nowadays almost all studios are engaged in computer 2D animation. This is the kind of animation we see today in TV series, on the Internet, in casual computer games, etc.

Still from the animated series "The Simsons"

3d animation.

3D animation - a type of animation created on the basis of computer 3D programs. This is the youngest and most promising type of animation. With the development of computer technology, it has become possible not only to draw graphics and animation in a two-dimensional plane (2D animation), but also to animate three-dimensional forms. This technology is very complex, but if you tell it briefly, the production process looks something like this. First, concept art is drawn (in any way), based on these drawings, a three-dimensional geometry of the model is created. Then textures that fit over the shape of a character or object. Next, create the bones of the object and attach them to the shape so that the shape can move. The animators receive a ready-made model for movement and begin to animate it. The better the model is prepared, the more natural and flexible its movements are. After creating the animation, the scene is rendered (translated from 3D to a regular picture). Striking examples of such animation are the cartoons of the Pixar studio.

Still from the cartoon "Ratatouille" by Pixar studio.

Combined animation.

Composite animation is the combination of any type of animation with a video. Early examples of such animation can be: the film "Who Framed Roger Rabbit", the cartoon "The Adventure of Captain Vrungel", etc. With the development of 3D technology and computer special effects, this type of animation is found in feature films more and more often. The main feature of modern combined animation is its complete realism.

Still from the movie "Jurassic World" directed by Steven Spielberg

Other types of animation.

In addition to the listed types of animation, there are others, for example: sand animation, laser animation, photo animation, needle animation, etc. However, these types are considered less popular and in this article I allowed myself only to mention them.

Types of animation in the Cardboard Tower studio.

Our animation studio specializes in the production of computer 2D animation. Thanks to the flexible capabilities of computer programs, we can create both crossover and classic animation at the same time. We are also able to create and 3D animation. As an example, you can look at 3 videos from our portfolio:

1. Computer 2D animation in a classical manner.