ONION SKIN PRESENTATION

so basically this is how my presentation would have gone today if I had been there:

Onion skin paper was first used by typewriters alongside Carbon paper
Its strong and lightweightUsed in a variation of art sectors such as…This is because of how versatile it is.   Disney was not the first animator, he only introduced onion skinning in traditional animation in the 1920’s and  made his first historical leap in 1932. Rubbish.





People began using onion skin paper in animation around the 1900’s just after the creation of Celluloid paper by H.W Goodwin. - Celluloid paper was made from Gum cotton and Camphor.
Emile Cohl created Fantasmagorie in 1908 and created what is now known as the ‘first true traditionally hand drawn animation. She used onion skin paper, to draw and each frame before shooting them onto negative film. - 700 drawings long just fyiThe lightbox was introduced in the mid1800’s to photographers but only taken up almost half a century later by animators. Emile Cohl did use it for Fantasmagorie but many didnt use a light box or light table till much later.Max Fleischer began experimenting with the lightbox in 1915, creating the rotoscope device. Consisted of a single light source, plexiglas and a projector with a lense. All attached to an easel. 





1971 was the start of digital animation, when peter Foldes created Metadata, drawn on a tablet invented by Ivan Sutherland in 1962 on software developed by Nestor Burtnyk and Marceli Wein designed for  computer assisted keyframing. This was the introduction of digital onion skinning.  This was the most primitive of stages in digital animation, John Whitney introduced inbetweening into computer animation but was limited to vector based, single outlining animated drawings.Alan Kitchings introduced solid colour inbetweening in the 70’s animation Antics.

Implicit curve oriented inbetweening is a piece of software that basically predicts the movement of an object between key frames in order to in between for you - computer generated inbetweening speeds p workflow and eventually leads to auto-painting algorithms which is actually available in tv paint, but its slightly rubbish as its a generalised algorithm. Auto painting algorithms work on a bucket-fill basis only, and do not work for shading . but MFBAs have improved the innacuracies atleast by inputting further developed mechanisms. Linear interpolation is shown in the second image with four examples, they all follow the same 4 rules:1 smooth motion2 edges and curves all remain as smooth as provided on the keyframes
3 size and stylisation is dependent on the inbetweener4 curvature of strokes change between keys but dynamics of each curve and line must be taken into consideration. So a shows the basic linear interpolation,b is feature based stroke interpolation of a, c has montion enhances interpolation based on b, and d is path driven in betweening based off c. 




The Paperman Method takes computer generated inbetweening to the next level, combining 3D rendered animation with 2D drawings. It removes any questions of perspective, sizing, shapes, and motions. All the 2D inbetweening is still computer generated, by the Key framer, and can be edited on a computer, live, instead of redrawing frames. The Paper Man method does involve the use of Meander.




Meander uses vector curves …. FERN!!!!










 
While 2D animation is the ‘classic’ and everyone remembers the Mickey Mouse classical animations, current productions has surpassed this, in a technological sense and in a been there done that kind of way.  Artists are advancing with the technology available, things like the original Disney movie Snow White seems old fashioned in comparison to present day features. 2D will always live on in TV cartoons for younger audiences, but the use of 2D animation no-longer lives on the big screen. Everyone remembers the scene in ‘Frozen’ where Elsa creates her ice kingdom using computer generated fractals, this is something 2D animation just cannot replicateThere are always hopes to further the 2D side of animation without converging into 3D and this results in the 2D/CG hybrids, which Paperman was constructed upon.