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Equipment for Computer animation.

You are already known that animation is nothing but movement of graphics.Computer animation can be created with a computer and animation software. Some impressive animation can be achieved even with basic programs; however the rendering can take a lot of time on an ordinary home computer. Because of this, video game animators tend to use low resolution, low polygon count renders, such that the graphics can be rendered in real time on a home computer. 

Now in professionalize, Professional animators of movies, television, and video sequences on computer games make photorealistic animation with high detail. This level of quality for movie animation would take tens to hundreds of years to create on a home computer. Many powerful workstation computers are used instead. Graphics workstation computers use two to four processors, and thus are a lot more powerful than a home computer, and are specialized for rendering. A large number of workstations (known as a render farm) are networked together to effectively act as a giant computer. The result is a computer-animated movie that can be completed in about one to five years (this process is not comprised solely of rendering, however). A workstation typically costs $2,000 to $16,000, with the more expensive stations being able to render much faster, due to the more technologically advanced hardware that they contain. Pixar's Renderman is rendering software which is widely used as the movie animation industry standard, in competition with Mental Ray. It can be bought at the official Pixar website for about $3,500. It will work on Linux, Mac OS X, and Microsoft Windows based graphics workstations along with an animation program such as Maya and Softimage XSI. Professionals also use digital movie cameras, motion capture or performance capture, bluescreens, film editing software, props, and other tools for movie animation.

For there respected worked in movie animation would  and situation demand they create a instant animation software.

Methods of animating virtual characters

Methods of animating virtual characters

In human and animal characters, many parts of the skeletal model correspond to actual bones, but skeletal animation is also used to animate other things, such as facial features (though other methods for facial animation exist). In most 3D computer animation systems, an animator creates a simplified representation of a character's anatomy, analogous to a skeleton or stick figure. The position of each segment of the skeletal model is defined by animation variables, or AvarsThe character "Woody" in Toy Story, for example, uses 700 Avars, including 100 Avars in the face. The computer does not usually render the skeletal model directly (it is invisible), but uses the skeletal model to compute the exact position and orientation of the character, which is eventually rendered into an image. Thus by changing the values of Avars over time, the animator creates motion by making the character move from frame to frame.
In contrast, a newer method called motion capture makes use of live action. When computer animation is driven by motion capture, a real performer acts out the scene as if they were the character to be animated. His or her motion is recorded to a computer using video cameras and markers, and that performance is then applied to the animated character.
There are several methods for generating the Avar values to obtain realistic motion. Traditionally, animators manipulate the Avars directly. Rather than set Avars for every frame, they usually set Avars at strategic points (frames) in time and let the computer interpolate or 'tween' between them, a process called keyframing. Keyframing puts control in the hands of the animator, and has roots in hand-drawn traditional animation.
Each method has their advantages, and as of 2007, games and films are using either or both of these methods in productions. Keyframe animation can produce motions that would be difficult or impossible to act out, while motion capture can reproduce the subtleties of a particular actor. For example, in the 2006 film Pirates of the Caribbean: Dead Man's Chest, actor Bill Nighy provided the performance for the character Davy Jones. Even though Nighy himself doesn't appear in the film, the movie benefited from his performance by recording the nuances of his body language, posture, facial expressions, etc. Thus motion capture is appropriate in situations where believable, realistic behavior and action is required, but the types of characters required exceed what can be done through conventional costuming.

Animation Explanation.

Animation Explanation.
Animation is nothing but movement of graphics. Do you know why we don’t see at night? Ha-ha-ha we will discuss it latter! To trick the eye and brain into thinking they are seeing a smoothly moving object, the pictures should be drawn at around 12 frames per second (frame/s) or faster (a frame is one complete image). With rates above 70 frames/s no improvement in realism or smoothness is perceivable due to the way the eye and brain process images. At rates below 12 frame/s most people can detect jerkiness associated with the drawing of new images which detracts from the illusion of realistic movement. Conventional hand-drawn cartoon animation often uses 15 frames/s in order to save on the number of drawings needed, but this is usually accepted because of the stylized nature of cartoons. Because it produces more realistic imagery computer animation demands higher frame rates to reinforce this realism.So what is fram? Ok, a frame is invitational position of a graphics.
The reason no jerkiness is seen at higher speeds is due to “persistence of vision.” From moment to moment, the eye and brain working together actually store whatever one looks at for a fraction of a second, and automatically "smooth out" minor jumps. Movie film seen in theaters in the United States runs at 24 frames per second, which is sufficient to create this illusion of continuous movement. Other country Movie film seen in theaters are variable. So you can do and adjust your frame rate depending your demand.

A simple example of animation.

Hey! Hoe are you feeling? This is not our tusk,this is simply greetings. OK, Let's come to the point.
The simple example of animation.
The screen is blanked to a background color, such as black. Then a goat is drawn on the right of the screen. Next the screen is blanked, but the goat is re-drawn or duplicated slightly to the left of its original position. This process is repeated, each time moving the goat a bit to the left. If this process is repeated fast enough the goat will appear to move smoothly to the left. This basic procedure is used for all moving pictures in films and television.
The moving goat is an example of shifting the location of an object. More complex transformations of object properties such as size, shape, lighting effects and color often require calculations and computer rendering instead of simple re-drawing or duplication.

What is Computer animation?

Computer animation (or CGI animation) is the art of creating moving images with the use of computers. It is a subfield of computer graphics and animation. Increasingly it is created by means of 3D computer graphics, though 2D computer graphics are still widely used for stylistic, low bandwidth, and faster real-time rendering needs. Sometimes the target of the animation is the computer itself, but sometimes the target is another medium, such as film. It is also referred to as CGI (computer-generated imagery or computer-generated imaging), especially when used in films.
To create the illusion of movement, an image is displayed on the computer screen and repeatedly replaced by a new image that is similar to the previous image, but advanced slightly in the time domain (usually at a rate of 24 or 30 frames/second). This technique is identical to how the illusion of movement is achieved with television and motion pictures.
Computer animation is essentially a digital successor to the art of stop motion animation of 3D models and frame-by-frame animation of 2D illustrations. For 3D animations, objects (models) are built on the computer monitor (modeled) and 3D figures are rigged with a virtual skeleton. For 2D figure animations, separate objects (illustrations) and separate transparent layers are used, with or without a virtual skeleton. Then the limbs, eyes, mouth, clothes, etc. of the figure are moved by the animator on key frames. The differences in appearance between key frames are automatically calculated by the computer in a process known as tweening or morphing. Finally, the animation is rendered.
For 3D animations, all frames must be rendered after modeling is complete. For 2D vector animations, the rendering process is the key frame illustration process, while tweened frames are rendered as needed. For pre-recorded presentations, the rendered frames are transferred to a different format or medium such as film or digital video. The frames may also be rendered in real time as they are presented to the end-user audience. Low bandwidth animations transmitted via the internet (e.g. 2D Flash, X3D) often use software on the end-users computer to render in real time as an alternative to streaming or pre-loaded high bandwidth animations.

Program Set for 2010 Cartoon Digital.

The program and speakers for the upcoming Cartoon Digital event, set for April 20-22 in Spain, have been announced.

The topics for the event, which will be held in Santiago de Compostela, include:

• Developing and selling content for mobile applications
• Multi-platform interactive animated series
• Digital distribution in the on-demand world
• Kids’ properties and cross media planning
• Broadcasters’ digital strategies
• Animation studios and social networks
• Partnering with Google/YouTube
• The digital home

Speakers scheduled to attend this year include:

• Patrick Crowe, Director of Xenophile Media
• Jesse Cleverly, Creative Director at Connective Media
• Marc Buhaj, SVP of Original Programming at Walt Disney EMEA
• Carlos Biern, Executive VP-Co-productions & Distribution at BRB Internacional
• Genevieve Dexter, Commercial director at Cake Entertainment
• Chelo Loureiro and Carlos Fernández, Continental Producciones
• Maria C. Ferreras, Strategic Partners at Google/YouTube
• Florence Le Borgne-Bachschmidt, Head of TV & Digital Content Business Unit at IDATE
• Bertram Gugel, Blogger and Head of Gugelproductions
• David Curry, Director at Le Singe Media
• Nicolás Amado, Regional Sales Director for Brightcove

The full brochure with registration form can be downloaded from http://www.cartoon-media.eu/MASTERS/dig_programme.php

The deadline for registration is April 5.

Last basic principles of animation is Appeal

Appeal
Appeal in a cartoon character corresponds to what would be called charisma in an actor.A character who is appealing is not necessarily sympathetic — villains or monsters can also be appealing — the important thing is that the viewer feels the character is real and interesting.There are several tricks for making a character connect better with the audience; for likable characters a symmetrical or particularly baby-like face tends to be effective.

11. Solid drawing

The principle of solid — or good — drawing, really means that the same principles apply to an animator as to an academic artist.The drawer has to understand the basics of anatomy, composition, weight, balance, light and shadow etc. For the classical animator, this involved taking art classes and doing sketches from life. One thing in particular that Johnston and Thomas warned against was creating "twins": characters whose left and right sides mirrored each other, and looked lifeless.Modern-day computer animators in theory do not need to draw at all, yet their work can still benefit greatly from a basic understanding of these principles.

Basic 10th Steps, Exaggeration.

Exaggeration is an effect especially useful for animation, as perfect imitation of reality can look static and dull in cartoons.The level of exaggeration depends on whether one seeks realism or a particular style, like a caricature or the style of an artist.The classical definition of exaggeration, employed by Disney, was to remain true to reality, just presenting it in a wilder, more extreme form.Other forms of exaggeration can involve the supernatural or surreal, alterations in the physical features of a character, or elements in the storyline itself.It is important to employ a certain level of restraint when using exaggeration; if a scene contains several elements, there should be a balance in how those elements are exaggerated in relation to each other, to avoid confusing or overawing the viewer.

9. Timing

Timing in reality refers to two different concepts: physical timing and theatrical timing. It is essential both to the physical realism, as well as to the storytelling of the animation, that the timing is right. On a purely physical level, correct timing makes objects appear to abide to the laws of physics; for instance, an object's weight decides how it reacts to an impetus, like a push. Theatrical timing is of a less technical nature, and is developed mostly through experience. It can be pure comic timing, or it can be used to convey deep emotions. It can also be a device to communicate aspects of a character's personality.

8th Step of basic animation:-Secondary action

Adding secondary actions to the main action gives a scene more life, and can help to support the main action. A person walking can simultaneously swing his arms or keep them in his pockets, he can speak or whistle, or he can express emotions through facial expressions. The important thing about secondary actions is that they emphasize, rather than take attention away from the main action. If the latter is the case, those actions are better left out. In the case of facial expressions, during a dramatic movement these will often go unnoticed. In these cases it is better to include them at the beginning and the end of the movement, rather than during.

7.Arcs

Most human and animal actions occur along an arched trajectory, and animation should reproduce these movements for greater realism. This can apply to a limb moving by rotating a joint, or a thrown object moving along a parabolic trajectory. The exception is mechanical movement, which typically moves in straight lines

6. Slow in and slow out

The movement of the human body, and most other objects, needs time to accelerate and slow down. For this reason, an animation looks more realistic if it has more frames near the beginning and end of a movement, and fewer in the middle. This principle goes for characters moving between two extreme poses, such as sitting down and standing up, but also for inanimate, moving objects, like the bouncing ball in the above illustration.

5.Follow through and overlapping action

These closely related techniques help render movement more realistic, and give the impression that characters follow the laws of physics. "Follow through" means that separate parts of a body will continue moving after the character has stopped. "Overlapping action" is the tendency for parts of the body to move at different rates (an arm will move on different timing of the head and so on). A third technique is "drag", where a character starts to move and parts of him take a few frames to catch up. These parts can be inanimate objects like clothing or the antenna on a car, or parts of the body, such as arms or hair. On the human body, the torso is the core, with arms, legs, head and hair appendices that normally follow the torso's movement. Body parts with much tissue, such as large stomachs and breasts, or the loose skin on a dog, are more prone to independent movement than bonier body parts. Again, exaggerated use of the technique can produce a comical effect, while more realistic animation must time the actions exactly, to produce a convincing result.
Thomas and Johnston also developed the principle of the "moving hold". A character not in movement can be rendered absolutely still; this is often done, particularly to draw attention to the main action. According to Thomas and Johnston, however, this gave a dull and lifeless result, and should be avoided. Even characters sitting still can display some sort of movement, such as the torso moving in and out with breathing

Principle-4.Straight ahead action and pose to pose

These are two different approaches to the actual drawing process. "Straight ahead action" means drawing out a scene frame by frame from beginning to end, while "pose to pose" involves starting with drawing a few, key frames, and then filling in the intervals later. "Straight ahead action" creates a more fluid, dynamic illusion of movement, and is better for producing realistic action sequences.

On the other hand, it is hard to maintain proportions, and to create exact, convincing poses along the way. "Pose to pose" works better for dramatic or emotional scenes, where composition and relation to the surroundings are of greater importance. A combination of the two techniques is often used. Computer animation removes the problems of proportion related to "straight ahead action" drawing; however, "pose to pose" is still used for computer animation, because of the advantages it brings in composition. The use of computers facilitates this method, as computers can fill in the missing sequences in between poses automatically. It is, however, still important to oversee this process, and apply the other principles discussed.

The 3rd basic principles of animation

Staging
This principle is akin to staging as it is known in theatre and film. Its purpose is to direct the audience's attention, and make it clear what is of greatest importance in a scene; what is happening, and what is about to happen. Johnston and Thomas defined it as "the presentation of any idea so that it is completely and unmistakably clear", whether that idea is an action, a personality, an expression or a mood.This can be done by various means, such as the placement of a character in the frame, the use of light and shadow, and the angle and position of the camera. The essence of this principle is keeping focus on what is relevant, and avoiding unnecessary detail

Animation 2nd Basic is Anticipation.

Anticipation is used to prepare the audience for an action, and to make the action appear more realistic. A dancer jumping off the floor has to bend his knees first; a golfer making a swing has to swing the club back first. The technique can also be used for less physical actions, such as a character looking off-screen to anticipate someone's arrival, or attention focusing on an object that a character is about to pick up.For special effect, anticipation can also be omitted in cases where it is expected. The resulting sense of anticlimax will produce a feeling of surprise in the viewer, and can often add comedy to a scene.This is often referred to as a 'surprise gag'

Basic of Cartoon .

The word cartoon has various meanings, based on several very different forms of visual art and illustration. The artists who draw cartoons are known as cartoonists.
The term has evolved over time. The original meaning was in fine art, where cartoon meant a preparatory drawing for a piece of art, such as a painting or tapestry. The modern meaning refers to both humorous illustrations in print and animated films. Even more recently, there are several contemporary meanings, including creative visual work for electronic media and animated digital media. When the word cartoon is applied to print media, it most often refers to a humorous single-panel drawing or gag cartoon, most of which have typeset captions rather than speech balloons. The word cartoon is sometimes used to refer to a comic strip

First principles is "Squash and stretch

The 12 principles
Squash and stretch
The most important principle is "squash and stretch", the purpose of which is to give a sense of weight and flexibility to drawn objects. It can be applied to simple objects, like a bouncing ball, or more complex constructions, like the musculature of a human face. Taken to an extreme point, a figure stretched or squashed to an exaggerated degree can have a comical effect.In realistic animation, however, the most important aspect of this principle is the fact that an object's volume does not change when squashed or stretched. If the length of a ball is stretched vertically, its width (in three dimensions, also its depth) needs to contract correspondingly horizontally.

The 12 basic principles of animation.

The 12 principles
1.1 Squash and stretch
1.2 Anticipation
1.3 Staging
1.4 Straight ahead action and pose to pose
1.5 Follow through and overlapping action
1.6 Slow in and slow out
1.7 Arcs
1.8 Secondary action
1.9 Timing
1.10 Exaggeration
1.11 Solid drawing
1.12 Appeal

Know about Keyframe.

Keyframe animation is a very old technique. In fact it is so old that one can find examples of it which go as far back as the 1600 B.C. Surprised? You shouldn't be because keyframing refers to the simple technique of making a series of sketches of a character or object in which the position of the subject changes just a little in each successive frame. When this series of frames are displayed rapidly one after another the viewer gets the illusion that the subject is moving. Many readers of this article might have come across keyframe animation in the form of flip books. In 3D animation the process of making keyframes has been made a lot less tedious and quicker. Animators nowadays don't have to manually create all the frames required for an animation sequence. They only create a few selected keyframes, say the beginning, middle and end portions of a sequence and then let animation software fill in the rest of the frames.

Everyone knows about cartoon.

There is no one who didn’t see cartoon?
This blog is for those who loved animation or cartoon. If you can see or think then you will make or create a cartoon or animation.
Simple be courage “You can”. Ok Let start…
First read the blog slowly. Read more...

Know how to create a animation in a second!.

If you can hold a mous you can draw, if you can draw then you can create an animation.
Ok, there is two type of animation. 2D and 3D. First choice which platfrom you want to like. For new commer you must sart with 2D platfrom. Read More