IN THIS VIDEO HOW TO BUILD A CHARACTER IS TAUGHT..
source:www.youtube.com
Monday, December 13, 2010
Sunday, December 12, 2010
THE ANIMATION MARKET IN INDIA
THE MARKET IN INDIA
The Indian animation industry was estimated at $354 million in 2006 and is forecast to reach $869 million by 2010. Animation in India is currently riding on two key factors - a large base of highly skilled labour, and low cost of production. While the industry is gaining prominence steadily, several important factors such as the government's role in supporting the animation industry, and producing original content locally.
In 2009, the state of the animation industry in India, was growing at a CAGR of 30%, is estimated to reach US$ 1.5 billion by 2005.
Some of the other estimates of the NASSCOM report on animation indicate the following:
The global entertainment market will generate a demand for animation production services of the order of US$ 37 billion by 2003
In the non-entertainment segment the demand for animation production services will touch US$ 14.7 billion by 2015
The global film/TV program production market will create a US $ 17.5 billion revenue opportunity for animation production houses
The Indian gaming industry was estimated at nearly $48 million in 2006 and is expected to cross $424 million by 2010.
Pune, is competing with Hyderabad and Mumbai to be the country's animation hub. With the sector facing severe human resources shortage, more and more studios are increasingly venturing into animation training. Chetan Deshmukh, an anomator and special effects expert, recently shifted his base to Pune from US. He has worked on Hollywood movies like Chicago and Shanghai Knights. The Mahratta Chamber of Commerce, Industries and Agriculture (MCCIA), a premier body of industries in and around Pune region has launched a programme to catapult Pune as a global hub for animation and gaming. It has recently formed a group of professionals, training institutes and celebrities to implement the initiative, with filmmaker Amol Palekar has as their brand ambassador.
Comparison with the global scenario
The total global animation production figures, according to the NASSCOM Animation report, range between US$ 16-31.5 billion for the year 2000. Statistics for 2001 stand anywhere between US$ 25 billion and US$ 38 billion. Analysts estimate that the global animation production rose to about US$ 45 billion in 2002.
Ventures
Continuing its impressive financial run, Chennai-based Media Technology Company Sanraa media,has signed a £ 2 million deal with the Leading Global Production Company Endemol, UK for the production of the animated series 'The 99', which is based on the illustrated comic 'The 99'. The 99, a 3D animation series, will comprise 26 episodes will be done by Sanraa Media and day-to-day production will be overseen by Endemol.
The co-production deal also entitles Sanraa Media to the rights of distributing the series in India, Indonesia, Malaysia, Pakistan, Sri Lanka and Thailand.
Source: wikipedia
The Indian animation industry was estimated at $354 million in 2006 and is forecast to reach $869 million by 2010. Animation in India is currently riding on two key factors - a large base of highly skilled labour, and low cost of production. While the industry is gaining prominence steadily, several important factors such as the government's role in supporting the animation industry, and producing original content locally.
In 2009, the state of the animation industry in India, was growing at a CAGR of 30%, is estimated to reach US$ 1.5 billion by 2005.
Some of the other estimates of the NASSCOM report on animation indicate the following:
The global entertainment market will generate a demand for animation production services of the order of US$ 37 billion by 2003
In the non-entertainment segment the demand for animation production services will touch US$ 14.7 billion by 2015
The global film/TV program production market will create a US $ 17.5 billion revenue opportunity for animation production houses
The Indian gaming industry was estimated at nearly $48 million in 2006 and is expected to cross $424 million by 2010.
Pune, is competing with Hyderabad and Mumbai to be the country's animation hub. With the sector facing severe human resources shortage, more and more studios are increasingly venturing into animation training. Chetan Deshmukh, an anomator and special effects expert, recently shifted his base to Pune from US. He has worked on Hollywood movies like Chicago and Shanghai Knights. The Mahratta Chamber of Commerce, Industries and Agriculture (MCCIA), a premier body of industries in and around Pune region has launched a programme to catapult Pune as a global hub for animation and gaming. It has recently formed a group of professionals, training institutes and celebrities to implement the initiative, with filmmaker Amol Palekar has as their brand ambassador.
Comparison with the global scenario
The total global animation production figures, according to the NASSCOM Animation report, range between US$ 16-31.5 billion for the year 2000. Statistics for 2001 stand anywhere between US$ 25 billion and US$ 38 billion. Analysts estimate that the global animation production rose to about US$ 45 billion in 2002.
Ventures
Continuing its impressive financial run, Chennai-based Media Technology Company Sanraa media,has signed a £ 2 million deal with the Leading Global Production Company Endemol, UK for the production of the animated series 'The 99', which is based on the illustrated comic 'The 99'. The 99, a 3D animation series, will comprise 26 episodes will be done by Sanraa Media and day-to-day production will be overseen by Endemol.
The co-production deal also entitles Sanraa Media to the rights of distributing the series in India, Indonesia, Malaysia, Pakistan, Sri Lanka and Thailand.
Source: wikipedia
12 BASIC PRINCIPLES OF ANIMATION
1. Squash and stretch
2. Anticipation
3. Staging
4. Straight Ahead Action and Pose to Pose
5. Follow Through and Overlapping Action
6. Slow In and Slow Out
7. Arcs
8. Secondary Action
9. Timing
10. Exaggeration
11. Solid Drawing
12. Appeal
1. SQUASH AND STRETCH
This action gives the illusion of weight and volume to a character as it moves. Also squash and stretch is useful in animating dialogue and doing facial expressions. How extreme the use of squash and stretch is, depends on what is required in animating the scene. Usually it's broader in a short style of picture and subtler in a feature. It is used in all forms of character animation from a bouncing ball to the body weight of a person walking. This is the most important element you will be required to master and will be used often.
2. ANTICIPATION
This movement prepares the audience for a major action the character is about to perform, such as, starting to run, jump or change expression. A dancer does not just leap off the floor. A backwards motion occurs before the forward action is executed. The backward motion is the anticipation. A comic effect can be done by not using anticipation after a series of gags that used anticipation. Almost all real action has major or minor anticipation such as a pitcher's wind-up or a golfers' back swing. Feature animation is often less broad than short animation unless a scene requires it to develop a characters personality.
3. STAGING
A pose or action should clearly communicate to the audience the attitude, mood, reaction or idea of the character as it relates to the story and continuity of the story line. The effective use of long, medium, or close up shots, as well as camera angles also helps in telling the story. There is a limited amount of time in a film, so each sequence, scene and frame of film must relate to the overall story. Do not confuse the audience with too many actions at once. Use one action clearly stated to get the idea across, unless you are animating a scene that is to depict clutter and confusion. Staging directs the audience's attention to the story or idea being told. Care must be taken in background design so it isn't obscuring the animation or competing with it due to excess detail behind the animation. Background and animation should work together as a pictorial unit in a scene.
4. STRAIGHT AHEAD AND POSE TO POSE ANIMATION
Straight ahead animation starts at the first drawing and works drawing to drawing to the end of a scene. You can lose size, volume, and proportions with this method, but it does have spontaneity and freshness. Fast, wild action scenes are done this way. Pose to Pose is more planned out and charted with key drawings done at intervals throughout the scene. Size, volumes, and proportions are controlled better this way, as is the action. The lead animator will turn charting and keys over to his assistant. An assistant can be better used with this method so that the animator doesn't have to draw every drawing in a scene. An animator can do more scenes this way and concentrate on the planning of the animation. Many scenes use a bit of both methods of animation.
5. FOLLOW THROUGH AND OVERLAPPING ACTION
When the main body of the character stops all other parts continue to catch up to the main mass of the character, such as arms, long hair, clothing, coat tails or a dress, floppy ears or a long tail (these follow the path of action). Nothing stops all at once. This is follow through. Overlapping action is when the character changes direction while his clothes or hair continues forward. The character is going in a new direction, to be followed, a number of frames later, by his clothes in the new direction. "DRAG," in animation, for example, would be when Goofy starts to run, but his head, ears, upper body, and clothes do not keep up with his legs. In features, this type of action is done more subtly. Example: When Snow White starts to dance, her dress does not begin to move with her immediately but catches up a few frames later. Long hair and animal tail will also be handled in the same manner. Timing becomes critical to the effectiveness of drag and the overlapping action.
6. SLOW-OUT AND SLOW-IN
As action starts, we have more drawings near the starting pose, one or two in the middle, and more drawings near the next pose. Fewer drawings make the action faster and more drawings make the action slower. Slow-ins and slow-outs soften the action, making it more life-like. For a gag action, we may omit some slow-out or slow-ins for shock appeal or the surprise element. This will give more snap to the scene.
7. ARCS
All actions, with few exceptions (such as the animation of a mechanical device), follow an arc or slightly circular path. This is especially true of the human figure and the action of animals. Arcs give animation a more natural action and better flow. Think of natural movements in the terms of a pendulum swinging. All arm movement, head turns and even eye movements are executed on an arcs.
8. SECONDARY ACTION
This action adds to and enriches the main action and adds more dimension to the character animation, supplementing and/or re-enforcing the main action. Example: A character is angrily walking toward another character. The walk is forceful, aggressive, and forward leaning. The leg action is just short of a stomping walk. The secondary action is a few strong gestures of the arms working with the walk. Also, the possibility of dialogue being delivered at the same time with tilts and turns of the head to accentuate the walk and dialogue, but not so much as to distract from the walk action. All of these actions should work together in support of one another. Think of the walk as the primary action and arm swings, head bounce and all other actions of the body as secondary or supporting action.
9. TIMING
Expertise in timing comes best with experience and personal experimentation, using the trial and error method in refining technique. The basics are: more drawings between poses slow and smooth the action. Fewer drawings make the action faster and crisper. A variety of slow and fast timing within a scene adds texture and interest to the movement. Most animation is done on twos (one drawing photographed on two frames of film) or on ones (one drawing photographed on each frame of film). Twos are used most of the time, and ones are used during camera moves such as trucks, pans and occasionally for subtle and quick dialogue animation. Also, there is timing in the acting of a character to establish mood, emotion, and reaction to another character or to a situation. Studying movement of actors and performers on stage and in films is useful when animating human or animal characters. This frame by frame examination of film footage will aid you in understanding timing for animation. This is a great way to learn from the others.
10. EXAGGERATION
Exaggeration is not extreme distortion of a drawing or extremely broad, violent action all the time. It¹s like a caricature of facial features, expressions, poses, attitudes and actions. Action traced from live action film can be accurate, but stiff and mechanical. In feature animation, a character must move more broadly to look natural. The same is true of facial expressions, but the action should not be as broad as in a short cartoon style. Exaggeration in a walk or an eye movement or even a head turn will give your film more appeal. Use good taste and common sense to keep from becoming too theatrical and excessively animated
11. SOLID DRAWING
The basic principles of drawing form, weight, volume solidity and the illusion of three dimension apply to animation as it does to academic drawing. The way you draw cartoons, you draw in the classical sense, using pencil sketches and drawings for reproduction of life. You transform these into color and movement giving the characters the illusion of three-and four-dimensional life. Three dimensional is movement in space. The fourth dimension is movement in time.
12. APPEAL
A live performer has charisma. An animated character has appeal. Appealing animation does not mean just being cute and cuddly. All characters have to have appeal whether they are heroic, villainous, comic or cute. Appeal, as you will use it, includes an easy to read design, clear drawing, and personality development that will capture and involve the audience¹s interest. Early cartoons were basically a series of gags strung together on a main theme. Over the years, the artists have learned that to produce a feature there was a need for story continuity, character development and a higher quality of artwork throughout the entire production. Like all forms of story telling, the feature has to appeal to the mind as well as to the eye.
2. Anticipation
3. Staging
4. Straight Ahead Action and Pose to Pose
5. Follow Through and Overlapping Action
6. Slow In and Slow Out
7. Arcs
8. Secondary Action
9. Timing
10. Exaggeration
11. Solid Drawing
12. Appeal
1. SQUASH AND STRETCH
This action gives the illusion of weight and volume to a character as it moves. Also squash and stretch is useful in animating dialogue and doing facial expressions. How extreme the use of squash and stretch is, depends on what is required in animating the scene. Usually it's broader in a short style of picture and subtler in a feature. It is used in all forms of character animation from a bouncing ball to the body weight of a person walking. This is the most important element you will be required to master and will be used often.
2. ANTICIPATION
This movement prepares the audience for a major action the character is about to perform, such as, starting to run, jump or change expression. A dancer does not just leap off the floor. A backwards motion occurs before the forward action is executed. The backward motion is the anticipation. A comic effect can be done by not using anticipation after a series of gags that used anticipation. Almost all real action has major or minor anticipation such as a pitcher's wind-up or a golfers' back swing. Feature animation is often less broad than short animation unless a scene requires it to develop a characters personality.
3. STAGING
A pose or action should clearly communicate to the audience the attitude, mood, reaction or idea of the character as it relates to the story and continuity of the story line. The effective use of long, medium, or close up shots, as well as camera angles also helps in telling the story. There is a limited amount of time in a film, so each sequence, scene and frame of film must relate to the overall story. Do not confuse the audience with too many actions at once. Use one action clearly stated to get the idea across, unless you are animating a scene that is to depict clutter and confusion. Staging directs the audience's attention to the story or idea being told. Care must be taken in background design so it isn't obscuring the animation or competing with it due to excess detail behind the animation. Background and animation should work together as a pictorial unit in a scene.
4. STRAIGHT AHEAD AND POSE TO POSE ANIMATION
Straight ahead animation starts at the first drawing and works drawing to drawing to the end of a scene. You can lose size, volume, and proportions with this method, but it does have spontaneity and freshness. Fast, wild action scenes are done this way. Pose to Pose is more planned out and charted with key drawings done at intervals throughout the scene. Size, volumes, and proportions are controlled better this way, as is the action. The lead animator will turn charting and keys over to his assistant. An assistant can be better used with this method so that the animator doesn't have to draw every drawing in a scene. An animator can do more scenes this way and concentrate on the planning of the animation. Many scenes use a bit of both methods of animation.
5. FOLLOW THROUGH AND OVERLAPPING ACTION
When the main body of the character stops all other parts continue to catch up to the main mass of the character, such as arms, long hair, clothing, coat tails or a dress, floppy ears or a long tail (these follow the path of action). Nothing stops all at once. This is follow through. Overlapping action is when the character changes direction while his clothes or hair continues forward. The character is going in a new direction, to be followed, a number of frames later, by his clothes in the new direction. "DRAG," in animation, for example, would be when Goofy starts to run, but his head, ears, upper body, and clothes do not keep up with his legs. In features, this type of action is done more subtly. Example: When Snow White starts to dance, her dress does not begin to move with her immediately but catches up a few frames later. Long hair and animal tail will also be handled in the same manner. Timing becomes critical to the effectiveness of drag and the overlapping action.
6. SLOW-OUT AND SLOW-IN
As action starts, we have more drawings near the starting pose, one or two in the middle, and more drawings near the next pose. Fewer drawings make the action faster and more drawings make the action slower. Slow-ins and slow-outs soften the action, making it more life-like. For a gag action, we may omit some slow-out or slow-ins for shock appeal or the surprise element. This will give more snap to the scene.
7. ARCS
All actions, with few exceptions (such as the animation of a mechanical device), follow an arc or slightly circular path. This is especially true of the human figure and the action of animals. Arcs give animation a more natural action and better flow. Think of natural movements in the terms of a pendulum swinging. All arm movement, head turns and even eye movements are executed on an arcs.
8. SECONDARY ACTION
This action adds to and enriches the main action and adds more dimension to the character animation, supplementing and/or re-enforcing the main action. Example: A character is angrily walking toward another character. The walk is forceful, aggressive, and forward leaning. The leg action is just short of a stomping walk. The secondary action is a few strong gestures of the arms working with the walk. Also, the possibility of dialogue being delivered at the same time with tilts and turns of the head to accentuate the walk and dialogue, but not so much as to distract from the walk action. All of these actions should work together in support of one another. Think of the walk as the primary action and arm swings, head bounce and all other actions of the body as secondary or supporting action.
9. TIMING
Expertise in timing comes best with experience and personal experimentation, using the trial and error method in refining technique. The basics are: more drawings between poses slow and smooth the action. Fewer drawings make the action faster and crisper. A variety of slow and fast timing within a scene adds texture and interest to the movement. Most animation is done on twos (one drawing photographed on two frames of film) or on ones (one drawing photographed on each frame of film). Twos are used most of the time, and ones are used during camera moves such as trucks, pans and occasionally for subtle and quick dialogue animation. Also, there is timing in the acting of a character to establish mood, emotion, and reaction to another character or to a situation. Studying movement of actors and performers on stage and in films is useful when animating human or animal characters. This frame by frame examination of film footage will aid you in understanding timing for animation. This is a great way to learn from the others.
10. EXAGGERATION
Exaggeration is not extreme distortion of a drawing or extremely broad, violent action all the time. It¹s like a caricature of facial features, expressions, poses, attitudes and actions. Action traced from live action film can be accurate, but stiff and mechanical. In feature animation, a character must move more broadly to look natural. The same is true of facial expressions, but the action should not be as broad as in a short cartoon style. Exaggeration in a walk or an eye movement or even a head turn will give your film more appeal. Use good taste and common sense to keep from becoming too theatrical and excessively animated
11. SOLID DRAWING
The basic principles of drawing form, weight, volume solidity and the illusion of three dimension apply to animation as it does to academic drawing. The way you draw cartoons, you draw in the classical sense, using pencil sketches and drawings for reproduction of life. You transform these into color and movement giving the characters the illusion of three-and four-dimensional life. Three dimensional is movement in space. The fourth dimension is movement in time.
12. APPEAL
A live performer has charisma. An animated character has appeal. Appealing animation does not mean just being cute and cuddly. All characters have to have appeal whether they are heroic, villainous, comic or cute. Appeal, as you will use it, includes an easy to read design, clear drawing, and personality development that will capture and involve the audience¹s interest. Early cartoons were basically a series of gags strung together on a main theme. Over the years, the artists have learned that to produce a feature there was a need for story continuity, character development and a higher quality of artwork throughout the entire production. Like all forms of story telling, the feature has to appeal to the mind as well as to the eye.
Saturday, March 31, 2007
animation
hi
friends in this blog iam going to tell about animation it is the cool feature for youth who are
being creative to the world
WHAT IS ANIMATION?
Animation is nothing but fun and exiting career option...
if you are interested in to be an innovative and hard working person,animation is the only receipe for a successful career.
Animation falls in 2 forms ,they are CLASSICAL and DIGITAL,
inCLASSICAL animation,layouts and characters of the movie are hand drawn.only in the last stage movies are taken on the computer for ink&paint. Mostly 2D animations movies are
made with "classical Aimation"techniques,for ex:-"the lion king","Alladin","Mickey mouse",
"Tom &Jerry",etc.,are the best examples.
in DIGITAL animation techniques produce 3D Animation movies almost completly on computers. ex:-"TOY STORY","ANTZ","A BUG'S LIFE","JURASSIC PARK","SHREK-1&2",ETC.,
SO FRIENDS ANIMATION IS A NICE CAREER OPTION FOR YOUTH
ENJOY.
your's
ravi.
friends in this blog iam going to tell about animation it is the cool feature for youth who are
being creative to the world
WHAT IS ANIMATION?
Animation is nothing but fun and exiting career option...
if you are interested in to be an innovative and hard working person,animation is the only receipe for a successful career.
Animation falls in 2 forms ,they are CLASSICAL and DIGITAL,
inCLASSICAL animation,layouts and characters of the movie are hand drawn.only in the last stage movies are taken on the computer for ink&paint. Mostly 2D animations movies are
made with "classical Aimation"techniques,for ex:-"the lion king","Alladin","Mickey mouse",
"Tom &Jerry",etc.,are the best examples.
in DIGITAL animation techniques produce 3D Animation movies almost completly on computers. ex:-"TOY STORY","ANTZ","A BUG'S LIFE","JURASSIC PARK","SHREK-1&2",ETC.,
SO FRIENDS ANIMATION IS A NICE CAREER OPTION FOR YOUTH
ENJOY.
your's
ravi.
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