| (Pre - Production, Production, Post
| |
| | program is done. When affordable, this is
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| Production, Motion Capture, New
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| | done in a professional edit suite with
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| Media)___________________________________
| |
| | high quality equipment. If off-line
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| ____________________________________A)
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| | editing had been done, the edit decision
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| Pre - ProductionScene: A scene or script
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| | list from that phase guides the on-line
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| is a numbered part of a film script,
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| | edit process, typically minimizing the
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| which may be broken down into parts in
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| | time and cost in the professional edit
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| longshot, medium-shot, close-up, etc by
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| | suite.Post Production : The phases of
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| the director when shooting. A master
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| | production that occur after the
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| scene is a fairly long length of the
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| | recording, filming, or taping. This
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| script, all under one number, which the
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| | includes editing, mixing, effects,
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| director will certainly break down later.
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| | dubbing, compression, mastering,
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| He or she may, however, take the whole of
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| | etc.Render Farm : A group of computers
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| a master scene first, then shoot closeups
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| | which work together to perform the
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| of the various characters to cut in with
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| | computation-intensive tasks of 3-D
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| this later. In animation the basic unit
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| | rendering.===============================
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| of continuous action, usually shot on one
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| | =================================D)
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| background, from which a film is built
| |
| | Motion CaptureMocap : The process of
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| up.Script: The detailed scene-by-scene
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| | recording the data from human movement so
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| instructions for a film or television
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| | that it can be used for 3D characters
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| production, including description of
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| | created on a computer. Mocap can be used
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| setting and action with dialogue and
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| | for 3D animations for film, TV and games,
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| camera directions. When the script also
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| | and for special effects work. There are
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| has full details of visuals it is termed
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| | wireless, magnetic motion capture
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| a 'storyboard'.Storyboard: A form of
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| | systems, and optical systems, which track
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| shooting script common for animated films
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| | markers attached to the
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| for many years and now usually used for
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| | animator.Performance Capture : The
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| commercials, even live-action ones. It
| |
| | recording of a performance, either human
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| consists of a series of sketches showing
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| | or animal, using a Motion Capture system
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| key positions for every scene, with
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| | (or similar technology) - difference
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| dialogue and descriptive notes below.
| |
| | being that you can motion capture a
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| Still used in
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| | table, but it is cannot give a
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| animation.===============================
| |
| | performance. Special Effects Blue (or
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| =================================B)
| |
| | Green)Screen : A system that replaces a
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| Production2D Animation: The creation of
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| | specified colour (blue in this case) with
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| moving pictures in a two-dimensional
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| | images from another source. This can
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| environment, such as through
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| | either be done optically (eg. using film)
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| "traditional" cel animation or in
| |
| | or electronically (eg. in video, also
|
| computerized animation software. This is
| |
| | known as Chroma-Key in video). Some
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| done by sequencing consecutive images, or
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| | computer systems look at pixel in the
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| "frames", that simulate motion by each
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| | scene and determine whether to replace
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| image showing the next in a gradual
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| | that pixel with the other video source.
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| progression of steps. The eye can be
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| | Better computer systems allow 'some' of
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| "fooled" into perceiving motion when
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| | the colour of the pixel from 1 image and
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| these consecutive images are shown at a
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| | 'some' from another image. The better
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| rate of 24 frames per second or faster.
| |
| | systems could be take transparent objects
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| 3DAnimation:
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| | (eg. bottles) or smoke and combine these
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| The creation of moving pictures in a
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| | with the images from another
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| three-dimensional digital environment.
| |
| | source.Chroma-Key : Keying out parts of
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| This is done by sequencing consecutive
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| | an image which contain a particular
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| images, or "frames", that simulate motion
| |
| | colour (or colours). Eg. replacing a blue
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| by each image showing the next in a
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| | or green background with images from
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| gradual progression of steps, filmed by a
| |
| | another source.Composite : To combine two
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| virtual "camera" and then output to video
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| | or more individual images onto one piece
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| by a rendering engine. The eye can be
| |
| | of film by photographic or digital means.
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| "fooled" into perceiving motion when
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| | Early compositing was accomplished in the
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| these consecutive images are shown at a
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| | camera by masking part of the scene when
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| rate of 24 frames per second or
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| | filming, rewinding the film and removing
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| faster.Character animation: The art of
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| | the matte and shooting again to expose
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| making an animated figure move like a
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| | the previously masked portion. Digital
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| unique individual; sometimes described as
| |
| | compositing is commonplace, in which
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| acting through drawings. The animator
| |
| | multiple film images are scanned into the
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| must "understand how the character's
| |
| | computer, combined digitally, and output
|
| personality and body structure will be
| |
| | to a single piece of film.Motion Control
|
| reflected in its movements.Character
| |
| | : Controling the motion of a camera or
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| model: A sheet of drawings defining the
| |
| | special effects object (eg. model space
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| proportions, shape, clothing etc. of a
| |
| | ship etc), using commands from a
|
| character for the guidance of
| |
| | computer, so that the exact moves can be
|
| animators.Computer animation: The
| |
| | repeated as many times. This makes it
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| technique of using computers to generate
| |
| | easy to composite it (ie.combine it with
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| moving pictures. Some systems can achieve
| |
| | another shot).Rotoscoping : Drawing
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| this in real-time (25 frames per
| |
| | around something in the frame so that an
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| second-or in the USA 30fps), but the
| |
| | effect can be applied to that part of the
|
| majority of animation is created one
| |
| | film. If an animated creature has to go
|
| frame at a time and then edited into a
| |
| | behind something in the live action piece
|
| continuous sequence. Very sophisticated
| |
| | of film, that object can be drawn around
|
| programs are required to perform the
| |
| | so a matte can be created, so that the
|
| tasks of movement, fairing, perspective,
| |
| | createure will not show over the top of
|
| hidden-surface removal, colouring,
| |
| | that object. If the camera is moving,
|
| shading and illumination, and as the
| |
| | then each frame of film would have to be
|
| trend increases towards more realistic
| |
| | rotoscoped. If the camera is still, then
|
| images, faster computers are needed to
| |
| | the same matte can probably be used for
|
| process the millions of computations
| |
| | all frames in that shot. Rotoscoping was
|
| required for each frame. The term
| |
| | first used by the Fleischers for making
|
| "computer animation" covers a broad range
| |
| | cartoons. The Fleischers invented the
|
| of subjects, but overall can be defined
| |
| | Rotoscope, which is a device for
|
| as the creation of moving images through
| |
| | projecting live-action film on to paper
|
| the use of computers. These images can be
| |
| | frame by frame, so that the outline could
|
| created in either a two-dimensional or
| |
| | be traced and used as a guide for the
|
| three-dimensional space, and can be
| |
| | animation. The Rotoscope consists of an
|
| applied to web design, user interface
| |
| | animation camera and a light source
|
| design, application development, video
| |
| | (usually using a prism behind the
|
| games, movies, special effects,
| |
| | movement and the lamp house attached to
|
| cartooning, and many others.Computer
| |
| | the camera's open door) that projects a
|
| graphics: Charts, diagrams, drawings and
| |
| | print through the camera's lense and the
|
| other pictorial representations that are
| |
| | projected image is then traced to create
|
| computer generated.Effects animation: The
| |
| | a matte. The lamp house is then removed
|
| animation of non-character movements such
| |
| | and the raw stock placed in the camera
|
| as rain, smoke, lightning, water,
| |
| | and the drawings are filmed through the
|
| etc.Go-Motion: Similar to 'Stop-Motion',
| |
| | same lense that projected the image. The
|
| but the animation is produced by rods
| |
| | resulting image will then fit the
|
| attached to the pupet/creature, which can
| |
| | original image if the two strips of film
|
| be programmed by a computer to perform
| |
| | are run bi-packed in the same projector
|
| the required movement. The advantage over
| |
| | movment (using an optical printer). In
|
| stop-motion is that a lot more realistic
| |
| | digital film effects work, rotoscoping
|
| movement can be created, because the
| |
| | refers to any drawn matte, as both images
|
| puppet/creature blurs slightly between
| |
| | can be seen compisited while the matte is
|
| each frame. The disadvantage is that the
| |
| | being drawn, so good results can be
|
| rods attached to the creature need to be
| |
| | achieved.Virtual Sets : Sets which are
|
| hidden from view (e.g. using the
| |
| | generated (at least partially) from data
|
| blue-screen process)In Between: The
| |
| | within a computer. Mostly used for TV
|
| paper drawing of a figure that lies in
| |
| | work, these systems replace the real set
|
| sequence between two key positions drawn
| |
| | (eg. an empty studio) with a computer
|
| by an animator.Key frame animation: The
| |
| | generated set, allowing the actor
|
| animator 'draws' directly onto the CRT
| |
| | presenter to move in the foreground. eg.
|
| display and produces a basic picture or
| |
| | the background is 'keyed out' and
|
| cell. A number of these drawings can then
| |
| | replaced with the set which has been
|
| be superimposed on one another to form a
| |
| | created in a 3D package (eg. Softimage or
|
| composite cell or key frame. Many of
| |
| | 3D Studio Max), and any camera movements
|
| these key frames can be made up and
| |
| | will be duplicated by the 'virtual
|
| stored in the computer to be called up
| |
| | camera'. This will require a powerful
|
| and used as required. The action of the
| |
| | computer, especially if it is to be done
|
| film can be created by stringing together
| |
| | in real-time, for example a Silicon
|
| the series of key frames, and introducing
| |
| | Graphics machine. The method of keeping
|
| the desired movements between one frame
| |
| | track of the camera movement (so that it
|
| and the next. Each key frame can be used
| |
| | can be duplicated in the 3D computer set)
|
| over and over again by simply calling it
| |
| | is different for the various sytems. Some
|
| repeatedly from the computer
| |
| | systems use a blue grid painted on the
|
| score.Stop-Motion Animation: Moving a
| |
| | back wall of a studio of a known size. A
|
| special effects puppet or model/creature
| |
| | red LED is projected onto the cameras and
|
| a small amount and recording a single
| |
| | the actor/presenter so that they too can
|
| frame (or small number of frames) so that
| |
| | be tracked throughout the set.Visual
|
| when the film is played back at a normal
| |
| | effects (also called optical or
|
| speed it appears to move. The
| |
| | photographic effects) : Special effects
|
| disadvantage with this form of animation
| |
| | achieved with the aid of photographic or
|
| is that it can sometimes appear to
| |
| | digital technology, occurring after the
|
| 'strobe', partly due to the lack of blur
| |
| | principal photography, or main shooting,
|
| between the frames.Three-dimensional
| |
| | of a film. Includes miniatures, optical
|
| modeling: Geometrical descriptions of an
| |
| | and digital effects, matte paintings,
|
| object using polygons or solids in three
| |
| | stop-motion animation, and
|
| dimensions (x,y,z coordinates) for the
| |
| | computer-generated imagery (CGI).Wire
|
| purpose of creating the illusion of
| |
| | Removal : Removal of unwanted wires,
|
| height, width and depth.
| |
| | rods, etc. from a piece of film by
|
| C) Post ProductionEdit : The process of
| |
| | replacing them with what would have been
|
| assembling video clips, audio tracks,
| |
| | seen if they weren't there (eg. the
|
| graphics and other source marerial into a
| |
| | background). This can be done by
|
| presentable package.Off-Line Edit : A
| |
| | replacing them with the same area from
|
| "draft" edit, usually prepared in an
| |
| | another frame in which the wires/rods
|
| off-line edit suite (at a lower cost),
| |
| | were not visible, or by averaging the
|
| then taken to an on-line facility to make
| |
| | colours on either side of the wire and
|
| the final cut.On-Line Edit : The final
| |
| | replacing it with the
|
| version of an edit, prepared in a
| |
| | average.=================================
|
| professional edit facility.Non-linear
| |
| | ===============================E) New
|
| editing : An approach to video editing
| |
| | MediaA generic term for the many
|
| made possible by digital video
| |
| | different forms of electronic
|
| recordings. As in word processing, video
| |
| | communication that are made possible
|
| segments can be inserted between two
| |
| | through the use of computer technology.
|
| existing segments without erasing either.
| |
| | The term is in relation to "old" media
|
| Unlike the approach required when editing
| |
| | forms, such as print newspapers and
|
| analog video , segments do not need to
| |
| | magazines, that are static
|
| "laid down" in the sequence in which they
| |
| | representations of text and graphics. New
|
| will later be shown.Off-line editing :
| |
| | media includes:* Web sites* streaming
|
| The steps during the edit process when a
| |
| | audio and video* chat rooms* e-mail*
|
| preliminary selection of usable shots and
| |
| | online communities* Web advertising*
|
| scenes is made, and the tentative
| |
| | DVD and CD-ROM media* virtual reality
|
| sequence of these elements is decided.
| |
| | environments* integration of digital
|
| This process is typically done with lower
| |
| | data with the telephone, such as
|
| cost, simpler editing equipment than is
| |
| | Internet telephony* digital cameras*
|
| found in a professional edit suite (where
| |
| | mobile computingUse of the term new media
|
| on-line editing is done). Using off-line
| |
| | implies that the data communication is
|
| editing can significantly reduce the
| |
| | happening between desktop and laptop
|
| total cost of a producation.On-line
| |
| | computers and handhelds , such as PDAs ,
|
| editing : The steps during the edit
| |
| | and the media they take data from, such
|
| process when the compilation of final
| |
| | as compact discs.
|
