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Piccolo Animation

Halloween Anime

Art of Painting Animation

Animation Film Making Process

Building a story

In the process of planning, usually made of ideas start a story and storyboard or e-konte. Story ideas expressed in the form of a synopsis. Typically tens to hundreds of preproduction painting produced to explore the possibility of a story. Preproduction painting is a visualization of the initial story. Preproduction painting in America carried a team of five to ten people. In the world of Japanese anime sometimes preproduction painting some have done.

Unlike the American animation studio, where eight to ten people invited to be a storyboard artist, usually in Japan there is only one person who became a storyboard artist. He usually always synonymous with the director. Usually at this time began to be given the task of character designers. Very rarely there are films such as Lilo and Stitch in America. In the film script writer, storyboard artist and director concurrently two people, Chris Sandres and Dean Deblois.

Stories in the world of American animation is always changing. Excerpted from the Head Storyboard Artist for Mulan, Chris Sanders, "At first we thought to make romantic comedies like Tootsie Mulan. After many times we tried, no success, until I finally pissed myself. In the end we tried to make his personality as accurately as possible with version of his Chinese legend, Mulan is made as a girl who berabdi because the other way did not work. I am glad of the change. "

Some of the characters after the story repeatedly edited will be discarded. For example, for the movie Pocahontas, there should be a turkey named Red Feather, but it is not significant so it is not used. If not so amended. "I was asked to design five models of 'Mulan' to Mulan," said Chen Yi Chang, the character designer of the film. "It does not directly so, but slowly in accordance with changes in the story."

The importance of "storyboard"

Usually in the U.S. and Japan there is a story called session meeting at which the storyboard artists get together and discuss a story. Of the meeting will be decided the most appropriate scene. Not infrequently there is great debate on it.

Storyboard is generally still in a phase of very rough. Not uncommon in a storyboard panel, the picture is made somewhat carelessly. Storyboards for animated films generally look like a comic. The difference with the comic, the storyboard still little notes around the image either to be repaired or considered. Not infrequently, especially in the world of American animation, panel by panel storyboard of a film stretched from one end to the other building. Until 1984, the Disney studio still doing this. Some of the animation studio took a more practical way, which is recorded storyboards-storyboards to handle the production team.

To test the effectiveness of a storyboard, usually held Leica Reel screening. Leica Reel is a collection of storyboard recorded by the camera. What looks good on paper, not necessarily good in a movie theater screen. That's the reason for the holding of Leica Reel.



After the storyboard sealed and agreed upon, then the layout and animation process begins. Layout is the blueprint of the composition of a scene. There are two types of layouts, which is tonal and linear. Tonal layout was made to regulate the light and shadow areas of a scene. Meanwhile, a linear layout is made to describe the details of a scene. Usually after the layouts are given and approved, then the background department will take over and produce the colored version. Not many computer rarely play a role in this process. Although it is still colored by hand, Tom Cardone-member production team animated film Hercules-admitted computer enough plays. "In the past, repair of a background could take two days. Now, 45 minutes was finished."

It takes a lot of people

In the process of animation, the people involved is not small. There are two major departments, namely the animation department and the department clean-up. Level positions in the process is, inbetweener, assistant animator, animator, and Supervising animator. In the animation department was still there two parts, the character animation and special effects animation. Already evident from its name that the character animation was assigned to draw the characters. Meanwhile, the special effects take care of things like describe the rain, lightning, smoke, and others. Although there has been a computer to take care of this, several animation studios are reluctant to leave its effects are drawn by hand. Profit effect is still drawn by hand, among others, is that it allows the effect of stylization, the image effects that can be tailored to the style of artistic direction of director or art director of the film.

After the animation is completed, it will still do the clean-up. As the name suggests, clean-up duty to "clean up". Cleaning? As mentioned above, the highest level in the work to animation is a Supervising animator. Not necessarily the assistant supervisor can draw exactly the same as the image of the supervisor. Inconvenience plus if the Supervising animators had a habit of making the pictures very rough (as Glen Keane). To be on the cinema screen can all look pristine, so clean-up personnel function becomes important.

It is not easy because they have to pay attention to small details like the number of hollow hair (if any) on a character, the folds of her dress, hygiene paper from graphite dust, and others. Not infrequently they wear gloves so careful. Some people find the name of the department on this one too demeaning the importance of the role of clean-up personnel. However, until now no one can replace the name with something better. After the clean-up is complete, the results will be transferred to a cel and colored by the Ink and Paint department.

Finally, the film will be recorded by special cameras, the multiplane camera. Lately more popuer method is the incorporation process background and animation into one inside the computer.

Dubbing

Voiceover of a movie can be done before or after the movie finished. Most voiceover done when the film was processed, but sometimes as in the Japanese animation, voiceover actually done after the movie finished.

Scoring, or structuring background film music, usually performed when the movie has finished production will be like in the movies, live-action.

Composer-music composer who did the scoring is not bound to work for several years, but only in one film. They can do three or four projects at a time when composing music for a film. An example is John Williams, Alan Menken, Danny Elfman, and Alan Silvestri. From Japan they have a Yoko Kanno, Jo Hisaishi, Yuki Kajiura, Hajime Mizoguchi, and composer Kenji Kawai as their mainstay.



Until now still not clear how the involvement of the composers in the world of anime to movies they do. Hayao Miyazaki is quite dependent on customers composer, Joe Hisaishi. Before Jo Hisaishi will produce full-scoring films of Miyazaki, it will produce the first prototype of the maestro that is normally used as inspiration for work.

This work is not easy. There are in-joke at the Disney studio that when work is completed, all the animators will lie in hospital in a coma. This is because most of them before the deadline will be in the studio for days with the lack of sleep. Some people at that time would only eat cereal without milk and cups of coffee or coke.

Sand Animation

SAND ANIMATION or Sand animation cinematography is a practice that uses the visual and aesthetic properties of sand to create animated images. SAND ANIMATION, also known as sand art, is a term that has two meanings. It is included in the category on performance art, which fall as the art of animation.


Literally, an artist drawing on the sand placed on a table under which there is a light source (lamp) or what many refer to as LIGHTBOARD, and using overhead projectors from the artist / overhead projectors, so the image is displayed only a silhouette (silhouette).

Bleach Anime Sword

Double Dragon

 Nostalgia is one of the reasons why gamers want to play the games of antiquity. Did you know that a lot of older games now inremake so that those who were children in the era of old 90s (including me in it) can come back to repeat it a beautiful memory? One game that I remember I always played on my NES era is Double Dragon II: The Revenge. I was with my friend knows how many hundred times the finish; we are always together like Jimmy and Billy are inseparable beat the enemy!

After the popularity of Double Dragon NES era began to fade. Although at the time of the next iteration of the SNES is still there but the gamer category of beat-em-up more deify Final Fight and Streets of Rage / Bare Knuckle. Not long after the genre was dead faint and leave the Double Dragon (film adaptation follows the cupu) in the memories of history. For years now the franchise was suddenly back in the IOS in the form of a remake. But what is the element of nostalgia is enough to make this game worth playing?

Anime cutscene

One of the subtle changes when starting the game is the graphics quality. Double Dragon remake version is located right in the middle of old school and modernity. The point? Improved quality of graphics so that the equivalent of the game beat-em-up and above (equivalent Bare Knuckle 3 maybe) but not too modern, let alone made up to 3D, thus eliminating the element of nostalgia in it. Add more scenes with animated cutscene Japanese manga-style scratches then paslah already belonging to a narrow market.

When playing the game beat-em-up, people often complain about the controls are less responsive. Double Dragon tried to address this by giving greater control. Really big. So big its control over more than a third of the game screen. Honestly it was very annoying because my iPod screen is quite narrow. And responsiveness was not as much as expected. More responsive than the Virtual Control of other games but still sometimes troublesome. Billy the time anyway I suddenly jumped into the abyss with a volunteer? Duh!

The control system in this game is divided into two types: Manual and Auto. Auto allows gamers spend moves in the game while the Manual is more difficult. So why choose Manual? Because the strongest moves are stored and can only be used in this mode! Given the control system is not too bad and not much smarter enemy AI, use the Auto system is a fitting choice for beginners. If it's good at, increasing the difficulty to a higher level and modify the system could be an option to Manual.

Not Ryu and Ken but Billy and Jimmy!

One thing I love about this game is the number of unlockables! In addition to Jimmy and Billy played as a duet you can mengunlock main characters until the boss opponents to wear in the next playthrough. Maybe this is just a gimmick additional but still adds value to play this game - especially since the main mode can be completed within a short (about 1 hour due to split of the six levels).