Texture artists "paint" the character with colorful or complex textures, and technical directors set up rigging so that the character can be easily moved and posed. Nowadays, visual development artists will design a character as a 2D drawing or painting, then hand it off to modelers who build the character as a collection of digital polygons. For the majority of animated films today, the soundtrack is recorded first in the language of the film's primary target market and the animators are required to synchronize their work to the soundtrack.Īs a result of the ongoing transition from traditional 2D to 3D computer animation, the animator's traditional task of redrawing and repainting the same character 24 times a second (for each second of finished animation) has now been superseded by the modern task of developing dozens (or hundreds) of movements of different parts of a character in a virtual scene.īecause of the transition to computer animation, many additional support positions have become essential, with the result that the animator has become but one component of a very long and highly specialized production pipeline. Some early animated films asked the vocal and music talent to synchronize their recordings to already-extant animation (and this is still the case when films are dubbed for international audiences). Voice actors and musicians, among other talent, may contribute vocal or music tracks. These more efficient animation procedures have made the animator's job less tedious and more creative.Īudiences generally find animation to be much more interesting with sound. Today's cartoons could be created using any number of methods, mostly using computers to make the animation process cheaper and faster. Īnimation methods have become far more varied in recent years. These finished "cels" were then placed together in sequence over painted backgrounds and filmed, one frame at a time. Each frame of a given scene was hand-drawn, then transposed onto celluloid, where it would be traced and painted. Historically, the creation of animation was a long and arduous process.
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Usually, a young artist seeking to break into animation is hired for the first time in one of these categories, and can later advance to the rank of full animator (usually after working on several productions). In large-scale productions by major studios, each animator usually has one or more assistants, " inbetweeners" and " clean-up artists", who make drawings between the "key poses" drawn by the animator, and also re-draw any sketches that are too roughly made to be used as such. Stop-motion animated character from 20 Million Miles to Earth (1957).
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Some animators in Japan such as Mitsuo Iso take full responsibility for their scenes, making them become more than just the key animator. In hand-drawn Japanese animation productions, such as in Hayao Miyazaki's films, the key animator handles both layout and key animation. Animated films share some film crew positions with regular live action films, such as director, producer, sound engineer, and editor, but differ radically in that for most of the history of animation, they did not need most of the crew positions seen on a physical set. Other artists who contribute to animated cartoons, but who are not animators, include layout artists (who design the backgrounds, lighting, and camera angles), storyboard artists (who draw panels of the action from the script), and background artists (who paint the "scenery"). The methods of creating the images or frames for an animation piece depend on the animators' artistic styles and their field.
Animation is closely related to filmmaking and like filmmaking is extremely labor-intensive, which means that most significant works require the collaboration of several animators. Animators can work in a variety of fields including film, television, and video games. An animator is an artist who creates multiple images, known as frames, which give an illusion of movement called animation when displayed in rapid sequence.
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