外文文獻-動畫

1、外文文獻-動畫 附錄 英文原文 Animation Animation is the rapid display of a sequence of images of 2-D or 3-D artwork or model positions to create an illusion of movement. The effect is an optical illusion of motion due to the phenomenon of persistence of vision, and can be created and demonstrated in several ways

2、. The most common method of presenting animation is as a motion picture or video program, although there are other methods. Early examples An Egyptian burial chamber mural, approximately 4000 years old, showing wrestlers in action. Even though this may appear similar to a series of animation drawing

3、s, there was no way of viewing the images in motion. It does, however, indicate the artist's intention of depicting motion. Five images sequence from a vase found in Iran There is no single person who can be considered the "creator" of film animation, as there were several people worki

4、ng on projects which could be considered animation at about the same time. Georges Méliès was a creator of special-effect films; he was generally one of the first people to use animation with his technique. He discovered a technique by accident which was to stop the camera rolling to chang

5、e something in the scene, and then continue rolling the film. This idea was later known as stop-motion animation. Méliès discovered this technique accidentally when his camera broke down while shooting a bus driving by. When he had fixed the camera, a hearse happened to be passing by just

6、as Méliès restarted rolling the film, his end result was that he had managed to make a bus transform into a hearse. This was just one of the great contributors to animation in the early years. The earliest surviving stop-motion advertising film was an English short by Arthur Melbourne-Coop

7、er called Matches: An Appeal 1899. Developed for the Bryant and May Matchsticks company, it involved stop-motion animation of wired-together matches writing a patriotic call to action on a blackboard. J. Stuart Blackton was possibly the first American film-maker to use the techniques of stop-motion

8、and hand-drawn animation. Introduced to film-making by Edison, he pioneered these concepts at the turn of the 20th century, with his first copyrighted work dated 1900. Several of his films, among them The Enchanted Drawing 1900 and Humorous Phases of Funny Faces 1906 were film versions of Blackton&#

9、39;s "lightning artist" routine, and utilized modified versions of Méliès' early stop-motion techniques to make a series of blackboard drawings appear to move and reshape themselves. 'Humorous Phases of Funny Faces' is regularly cited as the first true animated film,

10、and Blackton is considered the first true animator. Fantasmagorie by Emile Cohl, 1908 Following the successes of Blackton and Cohl, many other artists began experimenting with animation. One such artist was Winsor McCay, a successful newspaper cartoonist, who created detailed animations that require

11、d a team of artists and painstaking attention for detail. Each frame was drawn on paper; which invariably required backgrounds and characters to be redrawn and animated. Among McCay's most noted films are Little Nemo 1911, Gertie the Dinosaur 1914 and The Sinking of the Lusitania 1918. The produ

12、ction of animated short films, typically referred to as "cartoons", became an industry of its own during the 1910s, and cartoon shorts were produced to be shown in movie theaters. The most successful early animation producer was John Randolph Bray, who, along with animator Earl Hurd, paten

13、ted the cel animation process which dominated the animation industry for the rest of the decade. El Apóstol Spanish: "The Apostle" was a 1917 Argentine animated film utilizing cutout animation, and the world's first animated feature film. Traditional animation The traditional cel

14、animation process became obsolete by the beginning of the 21st century. Today, animators' drawings and the backgrounds are either scanned into or drawn directly into a computer system. Various software programs are used to color the drawings and simulate camera movement and effects. The final an

15、imated piece is output to one of several delivery media, including traditional 35?mm film and newer media such as digital video. The "look" of traditional cel animation is still preserved, and the character animators' work has remained essentially the same over the past 70 years. Some

16、animation producers have used the term "tradigital" to describe cel animation which makes extensive use of computer technology. Examples of traditionally animated feature films include Pinocchio United States, 1940, Animal Farm United Kingdom, 1954, and Akira Japan, 1988. Traditional anima

17、ted films which were produced with the aid of computer technology include The Lion King US, 1994 Sen to Chihiro no Kamikakushi Spirited Away Japan, 2001, and Les Triplettes de Belleville France, 2003. Full animation refers to the process of producing high-quality traditionally animated films, which

18、regularly use detailed drawings and plausible movement. Fully animated films can be done in a variety of styles, from more realistically animated works such as those produced by the Walt Disney studio Beauty and the Beast, Aladdin, Lion King to the more 'cartoony' styles of those produced by

19、 the Warner Bros. animation studio. Many of the Disney animated features are examples of full animation, as are non-Disney works such as The Secret of NIMH US, 1982, The Iron Giant US, 1999, and Nocturna Spain, 2007 Limited animation involves the use of less detailed and/or more stylized drawings an

20、d methods of movement. Pioneered by the artists at the American studio United Productions of America, limited animation can be used as a method of stylized artistic expression, as in Gerald McBoing Boing US, 1951, Yellow Submarine UK, 1968, and much of the anime produced in Japan. Its primary use, h

21、owever, has been in producing cost-effective animated content for media such as television the work of Hanna-Barbera, Filmation, and other TV animation studios and later the Internet web cartoons。 Rotoscoping is a technique, patented by Fleischer in 1917, where animators trace live-action movement,

22、frame by frame. The source film can be directly copied from actors' outlines into animated drawings, as in The Lord of the Rings US, 1978, or used in a stylized and expressive manner, as in Waking Life US, 2001 and A Scanner Darkly US, 2006. Some other examples are: Fire and Ice USA, 1983 and He

23、avy Metal 1981 Live-action/animation is a technique, when combining hand-drawn characters into live action shots. One of the earlier uses of it was Koko the Clown when Koko was drawn over live action footage. Other examples would include Who Framed Roger Rabbit USA, 1988, Space Jam USA, 1996 and Osm

24、osis Jones USA, 2002 Computer animation 2D animation 2D animation figures are created and/or edited on the computer using 2D bitmap graphics or created and edited using 2D vector graphics. This includes automated computerized versions of traditional animation techniques such as of, interpolated morp

25、hing, onion skinning and interpolated rotoscoping. 2D animation has many applications, including analog computer animation, Flash animation and PowerPoint animation. Cinemagraphs are still photographs in the form of an animated GIF file of which part is animated. 3D animation 3D animation is digital

26、ly modeled and manipulated by an animator. To manipulate a mesh, it is given a digital skeletal structure that can be used to control the mesh. This process is called rigging. Various other techniques can be applied, such as mathematical functions ex. gravity, particle simulations, simulated fur or

27、hair, effects such as fire and water and the use of motion capture to name but a few, these techniques fall under the category of 3D dynamics. Well-made 3D animations can be difficult to distinguish from live action and are commonly used as visual effects for recent movies. Toy Story 1995, USA is th

28、e first feature-length film to be created and rendered entirely using 3D graphics. Terms Cel-shaded animation, is used to mimic traditional animation using CG software. Shading looks stark, with less blending colors. Examples include, Skyland 2007, France, Appleseed Ex Machina 2007, Japan, The Legen

29、d of Zelda: Wind Waker 2002, Japan Machinima, Films created by screen capturing in video games and virtual worlds Motion capture, is used when live action actors wear special suits that allow computers to copy their movements into CG characters. Examples include Polar Express 2004, USA, Beowulf 2007

30、, USA, A Christmas Carol 2009, USA, The Adventures of Tintin 2011, USA Photo realistic animation, is used primarily for animation that attempts to resemble real life. Using advanced rendering that makes detailed skin, plants, water, fire, clouds, etc. to mimic real life. Examples include Up 2009, US

31、A, Kung-Fu Panda 2008, USA, Ice Age 2002, USA 2D animation techniques tend to focus on image manipulation while 3D techniques usually build virtual worlds in which characters and objects move and interact. 3D animation can create images that seem real to the viewer. Other animation techniques Drawn

32、on film animation: a technique where footage is produced by creating the images directly on film stock, for example by Norman McLaren, Len Lye and Stan Brakhage Paint-on-glass animation: a technique for making animated films by manipulating slow drying oil paints on sheets of glass, for example by A

33、leksandr Petrov Erasure animation: a technique using tradition 2D medium, photographed over time as the artist manipulates the image. For example, William Kentridge is famous for his charcoal erasure films, and Piotr Duma?a for his auteur technique of animating scratches on plaster Pinscreen animati

34、on: makes use of a screen filled with movable pins, which can be moved in or out by pressing an object onto the screen. The screen is lit from the side so that the pins cast shadows. The technique has been used to create animated films with a range of textural effects difficult to achieve with tradi

35、tional cel animation Sand animation: sand is moved around on a back- or front-lighted piece of glass to create each frame for an animated film. This creates an interesting effect when animated because of the light contrast Flip book: A flip book sometimes, especially in British English, called a fli

36、ck book is a book with a series of pictures that vary gradually from one page to the next, so that when the pages are turned rapidly, the pictures appear to animate by simulating motion or some other change. Flip books are often illustrated books for children, but may also be geared towards adults a

37、nd employ a series of photographs rather than drawings. Flip books are not always separate books, but may appear as an added feature in ordinary books or magazines, often in the page corners. Software packages and websites are also available that convert digital video files into custom-made flip boo

38、ks 中文翻譯動畫 動畫是2-D或3-D的藝術(shù)品或職位建模的一系列的想象的快速的表現(xiàn)來創(chuàng)造一種運動的幻覺。 這個影響是移動上的一種視覺上的錯覺由于視覺持續(xù)的現(xiàn)象,并且能夠在幾種方式上被創(chuàng)造和被展示。最常見的方法當前動畫是作為一幅移動的圖片或是視頻節(jié)目,盡管有其他的方法。 一位埃及人埋葬在秘密的壁畫中,近似于4000年,在行動上展示了摔跤選手。甚至盡管這個可能出現(xiàn)相似于一系列的動畫的圖案,沒有視覺上的方式在運轉(zhuǎn)中的想象。它的確是,然而,在描寫運動中表明了藝術(shù)家的意圖。 沒有單一的人能夠被考慮成電影動畫的“創(chuàng)造者”,像有幾個人工作在項目中,它能夠同時被考慮成動畫。 喬治斯是一名特殊效果電影的創(chuàng)造者

39、;一般來說他是使用他的機器制作動畫的第一人。他偶然的發(fā)現(xiàn)了一種技術(shù)這即將去停止照相機旋轉(zhuǎn)在場面中改變一些事情,然后繼續(xù)旋轉(zhuǎn)膠卷。這個思想后來被稱作單格拍制動畫。當攝影一輛公共汽車驅(qū)動時喬治斯偶然的發(fā)現(xiàn)這項技術(shù),當時他的照相機就出現(xiàn)了故障。當他已經(jīng)修好照相機時,一輛靈車碰巧通過時剛巧喬治斯重啟旋轉(zhuǎn)膠卷,他的最后結(jié)果他設(shè)法使一輛公共汽車轉(zhuǎn)變成一輛靈車。在早些年對于動畫他是一位偉大的創(chuàng)造者。 最早期繼續(xù)存在的單格拍攝廣告電影是一種英語的缺乏被阿瑟墨爾本庫珀稱作火柴:一種呼吁(1899)。開發(fā)的布賴恩特和五月火柴梗公司,它涉及到接有點電線的火柴的單格拍制動畫在一個黑板上寫愛國的行動呼吁。 J.斯圖爾特

40、布萊克頓可能是美國第一電影制作人用來使用單格拍制技術(shù)和手繪的動畫。被愛迪生發(fā)明電影制作,他倡導這些概念在20世紀的轉(zhuǎn)變,隨著他的第一個受版權(quán)保護的注有日期1900。幾個他的電影,在他們之中被施魔法的圖畫(1900)和風趣的臉的幽默階段(1906)是布萊克頓的“作家快手”路線的版本,并且修改喬治斯早期的單格拍制技術(shù)的版本用來制作一系列的黑板上的圖畫出現(xiàn)移動并且改造他們自己。風趣的臉的幽默階段有規(guī)律的被引用作為第一個真實的動畫電影,布萊克頓被稱為第一位真實的動畫家。 隨著布萊克頓和埃米爾的成功,許多其他的藝術(shù)家開始用動畫進行試驗。一位這樣的藝術(shù)家名叫溫瑟,一位成功的報紙漫畫家,他創(chuàng)作了詳細的動畫片

41、這需要一組藝術(shù)家并且對于細節(jié)艱苦的注意。每一個框架在紙上被描述,這總是需要背景圖片和人物特征來被重畫和有生氣的,在莫卡的大多數(shù)顯著的電影中有小尼莫(1911),恐龍葛蒂(1914)和尼西塔尼亞號的沉沒(1918)。 動畫短片的作品,尤其被稱作“卡通動畫”,在1910s期間變成了它自己的一個工業(yè),卡通動畫短片在電影院制作被放映。最成功的早期動畫生產(chǎn)者是布雷,他,跟隨制片家賀德一起,取得賽璐珞動畫處理的專利這支配著動畫工業(yè)對于其他的十年。 E1 導師(西班牙語:“信徒”)是1917年阿根廷動畫電影利用挖剪圖片動畫,并且是世界上第一部最佳動畫長片電影。 這個完整品質(zhì)的攝制一個接一個的被拍照在電影被一

42、臺活動照相機倚靠一個被描畫的背景。 賽璐珞動畫推移在21世紀的開端變得淘汰了。今天,動畫家的圖紙和背景圖片或者是已掃描的或者是直接繪圖在一個電腦系統(tǒng)中的。各種各樣的軟件程序被用于給圖紙圖顏料、模仿照相機運動和效果。最后的動畫塊輸出是幾個交付媒體中的一個,包括傳統(tǒng)的35mm電影和更新的媒體例如數(shù)字視頻。傳統(tǒng)的賽璐珞動畫的樣子仍舊是保留的,特征動畫的工作已經(jīng)從本質(zhì)上保留了過去的70年。一些動畫的生產(chǎn)者已經(jīng)用“傳統(tǒng)數(shù)字”術(shù)語來表述賽璐珞動畫這使得計算機技術(shù)廣泛的使用。 傳統(tǒng)的最佳動畫長片電影的例子包括木偶奇遇記(美國,1940),動物莊園(英國,1954),和阿基拉(日本,1988).傳統(tǒng)的最佳動畫

43、長片在電腦技術(shù)的幫助下被制作包括(獅子王,1994)千與千尋(日本,2001),美麗城三重唱(法國,2003)。 完全動畫涉及到制作高質(zhì)量傳統(tǒng)的動畫電影過程,這有規(guī)律地使用詳圖和貌似真實的運動。完全動畫電影能夠用各種各樣的模式來制作,從更多顯示的動畫作品例如由迪士尼工作室(美女與野獸,阿拉丁,獅子王)被制作到由迪士尼被制作的更多的“卡通化”風格。許多迪士尼經(jīng)典動畫長片是完全動畫片的例子,正如非迪士尼例如勇敢鼠媽媽(美國,1982),鋼鐵巨人(美國,1999),和星星大作戰(zhàn)(西班牙,2007)。 有限的動畫涉及到更少詳細的和/或更多風格的詳細描繪和運動的方法。在美國的美國工作室聯(lián)合制作有藝術(shù)家作為先驅(qū),有限的動畫能夠被用于程式化的一種表現(xiàn)方法,像在杰拉爾德McBoing定票(美國,1951),黃色