The key animator draws enough of the frames to get across the major points of the action in a sequence of a character jumping across a gap, the key animator may draw a frame of the character as he is about to leap, two or more frames as the character is flying through the air, and the frame for the character landing on the other side of the gap. A key animator or lead animator will draw the key drawings ("key" in the sense of "important") in a scene, using the character layouts as a guide.
In the traditional animation process, animators will begin by drawing sequences of animation on sheets of paper perforated to fit the peg bars ( ) in his desk, often using colored pencils, one picture or "frame" at a time. Once the Leica reel is finally approved by the director, animation begins. (A term originating at the Disney Studio in the 1930s, from the frame format used by Leica cameras.) Once the animatic is made up of all layout drawings, it is called a Leica reel. The layout drawings are spliced into the animatic, using the X-sheet as a guide. For short films, character layouts are often the responsibility of the director. Character layout artists will determine the major poses for the characters in the scene, and will make a drawing to indicate each pose. It is here that the background layout artists determine the camera angles, camera paths, lighting, and shading of the scene. The layout process is synonymous with the blocking out of shots by a cinematographer on a live-action film. Layout begins after the designs are completed and approved by the director. Bar sheets show the relationship between the on-screen action, the dialogue, and the actual musical notation used in the score. If a film is based more strongly in music, a bar sheet may be prepared in addition to or instead of an X-sheet. She then prepares an exposure sheet (or X-sheet for short): a table that breaks down the action, dialogue, and sound frame-by-frame as a guide for the animators. While design is going on, the timing director (who in many cases may be the main director himself) takes the animatic and analyzes exactly what poses, drawings, and lip movements will be needed on what frames. The background stylists are doing similar work for the settings and locations in the project, and the art directors and color stylists will determine the art style and color schemes to be used. Sometimes, small statues known as maquettes may be produced, so that an animator can see what a character looks like in three dimensions. These model sheets will show how a character or object looks from a variety of angles with a variety of poses and expressions, so that all artists working on the project can deliver consistent work. Character designers prepare model sheets for all important characters and props in the film. Once the animatic has been approved, it and the storyboards are sent to the design departments. Editing the film at the animatic stage prevents the animation of scenes that would be edited out of the film as animation is a very expensive process, there can be very few "deleted scenes" if the film is to be completed under budget. The storyboard and soundtrack are amended if necessary, and a new animatic may be created and reviewed with the director until the storyboard is perfected. This allows the animators and directors to work out any script and timing issues that may exist with the current storyboard. An animatic typically consists of pictures of the storyboard synchronized with the soundtrack.
TRADITIONAL DRAWN ANIMATION USING DRAGONFRAME FULL
Often, an " animatic" (also called a "story reel") is made after the soundtrack is created, but before full animation begins. The preliminary scratch track used during animation typically contains just the voices, any songs, and temporary musical score tracks the final score and sound effects are added in post-production. A typical cartoon soundtrack will feature music, sound effects, and dialogue performed by voice actors. Given the slow, methodical manner in which traditional animation is produced, it is almost always easier to synchronize animation to a pre-existing soundtrack than it is to synchronize a soundtrack to pre-existing animation.
The storyboard artists will have regular meetings with the director, and may have to re-board a sequence many times before it meets final approval.īefore true animation begins, a soundtrack is recorded, so that the animation may be more precisely synchronized to the soundtrack. The images allow the animation team to plan the flow of the plot and the composition of the imagery. Traditionally-animated productions, just like other forms of animation, usually begin life as a storyboard, which is a script of sorts written with images as well as words, similar to a giant comic strip. The traditional animation process Storyboards
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