http://cultureandcommunication.org/deadmedia/index.php?title=Cel_Animation&feed=atom&action=historyCel Animation - Revision history2024-03-28T10:51:44ZRevision history for this page on the wikiMediaWiki 1.25.2http://cultureandcommunication.org/deadmedia/index.php?title=Cel_Animation&diff=12681&oldid=prevFinnb: Undo revision 12546 by Egugecuge (Talk)2010-11-24T14:45:15Z<p>Undo revision 12546 by <a href="/deadmedia/index.php/Special:Contributions/Egugecuge" title="Special:Contributions/Egugecuge">Egugecuge</a> (<a href="/deadmedia/index.php?title=User_talk:Egugecuge&action=edit&redlink=1" class="new" title="User talk:Egugecuge (page does not exist)">Talk</a>)</p>
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<td colspan='2' style="background-color: white; color:black; text-align: center;">← Older revision</td>
<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 14:45, 24 November 2010</td>
</tr><tr><td colspan="2" class="diff-lineno" id="L1" >Line 1:</td>
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<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">=[http://abaviteha.co.cc This Page Is Currently Under Construction And Will Be Available Shortly, Please Visit Reserve Copy Page]=</del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Gertie animated GIF.gif|thumb|right|alt=Gertie animated GIF|Gertie the dinosaur, from Winsor McCay's 1914 film of the same name. The earliest widely popular animated short films in the US, it was drawn frame-by-frame entirely by hand on paper.]]</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Gertie animated GIF.gif|thumb|right|alt=Gertie animated GIF|Gertie the dinosaur, from Winsor McCay's 1914 film of the same name. The earliest widely popular animated short films in the US, it was drawn frame-by-frame entirely by hand on paper.]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td colspan="2" class="diff-lineno" id="L27" >Line 27:</td>
<td colspan="2" class="diff-lineno">Line 26:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Unlike the phonograph, film is inherently discrete.  While to the eye it appears analog, the cinematic image is composed of 24 separate frames per second, a digital quality.  While Edison's earliest films were composed of single shots, soon it was discovered different shots could be edited together, forming a montage.  Seeing these shots in sequence, viewers inferred their continuous sequence.  Motion picture cameras were able to automate their inscription, and simply place actors before it.  Cameras used to shoot animated films needed to individually shoot each frame.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Unlike the phonograph, film is inherently discrete.  While to the eye it appears analog, the cinematic image is composed of 24 separate frames per second, a digital quality.  While Edison's earliest films were composed of single shots, soon it was discovered different shots could be edited together, forming a montage.  Seeing these shots in sequence, viewers inferred their continuous sequence.  Motion picture cameras were able to automate their inscription, and simply place actors before it.  Cameras used to shoot animated films needed to individually shoot each frame.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Many early animated films placed animation in the context of live-action film.  J. Stuart Blackton's <del class="diffchange diffchange-inline">&quot;</del>The Enchanted Drawing<del class="diffchange diffchange-inline">&quot; </del>was a form of 'trick' film, in which Blackton used film's inherent discontinuity to appear to turn real objects, such as a bottle, into hand-drawn representations on paper.  Walt Disney's earliest film, <del class="diffchange diffchange-inline">&quot;</del>Alice's Wonderland<del class="diffchange diffchange-inline">&quot; </del>(1923), shows a girl wandering into his animation studio, where he proceeds to astonish her with crude but vivacious moving drawings on his drafting desk.  In his early films, shown in vaudeville theaters, Windsor McCay found that audiences did not believe the illusion of animation.  At the end of his widely-popular <del class="diffchange diffchange-inline">&quot;</del>Gertie the Dinosaur<del class="diffchange diffchange-inline">&quot; </del>(1914), he drew a small life-like representation of himself being picked up in Gertie's mouth.   </div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Many early animated films placed animation in the context of live-action film.  J. Stuart Blackton's <ins class="diffchange diffchange-inline">"</ins>The Enchanted Drawing<ins class="diffchange diffchange-inline">" </ins>was a form of 'trick' film, in which Blackton used film's inherent discontinuity to appear to turn real objects, such as a bottle, into hand-drawn representations on paper.  Walt Disney's earliest film, <ins class="diffchange diffchange-inline">"</ins>Alice's Wonderland<ins class="diffchange diffchange-inline">" </ins>(1923), shows a girl wandering into his animation studio, where he proceeds to astonish her with crude but vivacious moving drawings on his drafting desk.  In his early films, shown in vaudeville theaters, Windsor McCay found that audiences did not believe the illusion of animation.  At the end of his widely-popular <ins class="diffchange diffchange-inline">"</ins>Gertie the Dinosaur<ins class="diffchange diffchange-inline">" </ins>(1914), he drew a small life-like representation of himself being picked up in Gertie's mouth.   </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The two forms increasingly sought to differentiate each from the other.  While cinema grew out of early hand-drawn sequences, mechanization, coupled with mimesis, enabled cinema to achieve a new standard of verisimilitude.  <del class="diffchange diffchange-inline">&quot;</del>A mechanical eye was coupled with a mechanical heart; photography met the motor<del class="diffchange diffchange-inline">&quot;</del>, as Manovich (296-7) writes.  Cinema's ease with mimetic images soon distanced it from the crudity of animation, <del class="diffchange diffchange-inline">&quot;</del>cinema's bastard relative, its supplement and shadow<del class="diffchange diffchange-inline">&quot; </del>(298).   </div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The two forms increasingly sought to differentiate each from the other.  While cinema grew out of early hand-drawn sequences, mechanization, coupled with mimesis, enabled cinema to achieve a new standard of verisimilitude.  <ins class="diffchange diffchange-inline">"</ins>A mechanical eye was coupled with a mechanical heart; photography met the motor<ins class="diffchange diffchange-inline">"</ins>, as Manovich (296-7) writes.  Cinema's ease with mimetic images soon distanced it from the crudity of animation, <ins class="diffchange diffchange-inline">"</ins>cinema's bastard relative, its supplement and shadow<ins class="diffchange diffchange-inline">" </ins>(298).   </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Early animated characters had exceedingly simple design, such as Felix the Cat, which enabled the figure to be drawn many times over by different animators.  While films like McCay's and Disney's showed cinema audiences an entirely new kind of spectacle, cel animation's painted quality came to be trivialized in comparison to cinema's realism.  Short animated films were shown before Hollywood feature films, but simply as a form of light entertainment.  The simplicity of visual representations ultimately appealed more to children, and particularly with the onset of television in the home in the the postwar years, Animation became a child's pleasure, something it arguably remained for much of the rest of the 20th century.   </div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Early animated characters had exceedingly simple design, such as Felix the Cat, which enabled the figure to be drawn many times over by different animators.  While films like McCay's and Disney's showed cinema audiences an entirely new kind of spectacle, cel animation's painted quality came to be trivialized in comparison to cinema's realism.  Short animated films were shown before Hollywood feature films, but simply as a form of light entertainment.  The simplicity of visual representations ultimately appealed more to children, and particularly with the onset of television in the home in the the postwar years, Animation became a child's pleasure, something it arguably remained for much of the rest of the 20th century.   </div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Perhaps ironically, animation's very sophistication meant that it was a labor-intensive and exacting form.  To make animated films several minutes long took thousands of drawings.  To fill time, loops of drawings were used as labor-saving devices.  In <del class="diffchange diffchange-inline">&quot;</del>Gertie the Dinosaur,<del class="diffchange diffchange-inline">&quot; </del>Gertie spends much of the time simply rocking back and forth.  Nevertheless, each frame was drawn entirely over again.  Each time, the entire image was copied, with only the small difference of the figure typically changing.  It took McCay 3 years to finish the six minute film.</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Perhaps ironically, animation's very sophistication meant that it was a labor-intensive and exacting form.  To make animated films several minutes long took thousands of drawings.  To fill time, loops of drawings were used as labor-saving devices.  In <ins class="diffchange diffchange-inline">"</ins>Gertie the Dinosaur,<ins class="diffchange diffchange-inline">" </ins>Gertie spends much of the time simply rocking back and forth.  Nevertheless, each frame was drawn entirely over again.  Each time, the entire image was copied, with only the small difference of the figure typically changing.  It took McCay 3 years to finish the six minute film.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:multiplaneatwork4.jpg|thumb|right|alt=Multi-plane camera|Disney's multi-plane camera was used to photograph all frames together in focus, establishing a sense of depth.]]</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:multiplaneatwork4.jpg|thumb|right|alt=Multi-plane camera|Disney's multi-plane camera was used to photograph all frames together in focus, establishing a sense of depth.]]</div></td></tr>
<tr><td colspan="2" class="diff-lineno" id="L46" >Line 46:</td>
<td colspan="2" class="diff-lineno">Line 45:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>It was not until years later that 'cel' animation became adopted in the industry. Cel animation involved separating the animated figure from the background, which remained static.  The animated figure could then be drawn on transparent celluloid, and layered on top of the background.  This innovation freed early animation up from the crippling demands of mechanically copying each drawing, yet still meant that to produce animated shorts with anything like the regularity they were demanded by the marketplace, teams of animators were needed.  A photo of Pat Sullivan's studio, responsible for Felix the Cat, shows 10 men sitting side-by-side at separate desks.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>It was not until years later that 'cel' animation became adopted in the industry. Cel animation involved separating the animated figure from the background, which remained static.  The animated figure could then be drawn on transparent celluloid, and layered on top of the background.  This innovation freed early animation up from the crippling demands of mechanically copying each drawing, yet still meant that to produce animated shorts with anything like the regularity they were demanded by the marketplace, teams of animators were needed.  A photo of Pat Sullivan's studio, responsible for Felix the Cat, shows 10 men sitting side-by-side at separate desks.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>In contrast to the initial serial quality of animation, this layering gave animation a parallel quality which mimetic film lacked.  The potential of this form was not truly realized until Walt Disney's feature films, starting with <del class="diffchange diffchange-inline">&quot;</del>Snow White and the Seven Dwarfs<del class="diffchange diffchange-inline">&quot; </del>(1937), which featured rich, colored backgrounds, and tens of scampering animals.  Disney's richly detailed world was accomplished by employing an elaborate vertically-oriented camera, which was able to focus on the multiple layers of the animated image at one time.  Similar models remained with animation for most of the 20th century.  </div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>In contrast to the initial serial quality of animation, this layering gave animation a parallel quality which mimetic film lacked.  The potential of this form was not truly realized until Walt Disney's feature films, starting with <ins class="diffchange diffchange-inline">"</ins>Snow White and the Seven Dwarfs<ins class="diffchange diffchange-inline">" </ins>(1937), which featured rich, colored backgrounds, and tens of scampering animals.  Disney's richly detailed world was accomplished by employing an elaborate vertically-oriented camera, which was able to focus on the multiple layers of the animated image at one time.  Similar models remained with animation for most of the 20th century.  </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td colspan="2" class="diff-lineno" id="L54" >Line 54:</td>
<td colspan="2" class="diff-lineno">Line 53:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==Computer-Based Animation==</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==Computer-Based Animation==</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Roger_rabbit_2.jpg|thumb|left|alt=Roger Rabbit|<del class="diffchange diffchange-inline">&quot;</del>Who Framed Roger Rabbit?<del class="diffchange diffchange-inline">&quot; </del>mixed live-action and animated characters in a hybrid narrative.]]</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Roger_rabbit_2.jpg|thumb|left|alt=Roger Rabbit|<ins class="diffchange diffchange-inline">"</ins>Who Framed Roger Rabbit?<ins class="diffchange diffchange-inline">" </ins>mixed live-action and animated characters in a hybrid narrative.]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Starting in the 1980's, computers began to be used to compliment live-action footage with <del class="diffchange diffchange-inline">&quot;</del>special effects.<del class="diffchange diffchange-inline">&quot; </del> <del class="diffchange diffchange-inline">&quot;</del>Who Framed Roger Rabbit?<del class="diffchange diffchange-inline">&quot; </del>(1988) was among the first mainstream Hollywood releases to mix the two.  Here, the live action and animation remained worlds apart, even though events took place side-by side.  By the early 1990s technology had advanced significantly enough that computer effects could convincingly be shown to match the verisimilitude of live action.  A breakthrough was reached with <del class="diffchange diffchange-inline">&quot;</del>Jurrasic Park<del class="diffchange diffchange-inline">&quot; </del>(1993), which featured animated images of dinosaurs pursuing humans who sought to domesticate them.  Although the film contained only 12 minutes of computer animation, the entire film was based around these brief, terrifying appearances.   </div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Starting in the 1980's, computers began to be used to compliment live-action footage with <ins class="diffchange diffchange-inline">"</ins>special effects.<ins class="diffchange diffchange-inline">" </ins> <ins class="diffchange diffchange-inline">"</ins>Who Framed Roger Rabbit?<ins class="diffchange diffchange-inline">" </ins>(1988) was among the first mainstream Hollywood releases to mix the two.  Here, the live action and animation remained worlds apart, even though events took place side-by side.  By the early 1990s technology had advanced significantly enough that computer effects could convincingly be shown to match the verisimilitude of live action.  A breakthrough was reached with <ins class="diffchange diffchange-inline">"</ins>Jurrasic Park<ins class="diffchange diffchange-inline">" </ins>(1993), which featured animated images of dinosaurs pursuing humans who sought to domesticate them.  Although the film contained only 12 minutes of computer animation, the entire film was based around these brief, terrifying appearances.   </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Jurassic_park_t-rex.jpg|thumb|right|alt=Jurrasic Park T-Rex|The computer-animated dinosaurs in <del class="diffchange diffchange-inline">&quot;</del>Jurrasic Park<del class="diffchange diffchange-inline">&quot; </del>set a new standard for verisimilitude in special effects.]]</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Jurassic_park_t-rex.jpg|thumb|right|alt=Jurrasic Park T-Rex|The computer-animated dinosaurs in <ins class="diffchange diffchange-inline">"</ins>Jurrasic Park<ins class="diffchange diffchange-inline">" </ins>set a new standard for verisimilitude in special effects.]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>No longer a child's medium, cinema turned to animation to develop technically.  Here the sophistication of the medium can be seen, as the live action footage seems nearly overshadowed by the rich detail of the animation.  The aesthetic demands of early cel animation meant that characters must be simple, yet computer modeling enabled animation aesthetics to become frighteningly detailed and life-like.   </div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>No longer a child's medium, cinema turned to animation to develop technically.  Here the sophistication of the medium can be seen, as the live action footage seems nearly overshadowed by the rich detail of the animation.  The aesthetic demands of early cel animation meant that characters must be simple, yet computer modeling enabled animation aesthetics to become frighteningly detailed and life-like.   </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Subsequent films using digital animation are carrying animation even further, using it as a primary visual representation device.  In <del class="diffchange diffchange-inline">&quot;</del>Avatar<del class="diffchange diffchange-inline">&quot; </del>(2009), even live-action actors are transformed by digital effects, as the characters inhabit an entirely fictionalized fantasy world.  Cinema, which began in animation, has ended up returning to it.  Manovich goes so far as to say argue that “digital cinema is a particular case of animation that uses live-action footage as one of its many elements<del class="diffchange diffchange-inline">&quot; </del>(302).  While traditional hand-animation has largely become supplanted, computer-animation now appears to be becoming the dominant paradigm in filmmaking.</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Subsequent films using digital animation are carrying animation even further, using it as a primary visual representation device.  In <ins class="diffchange diffchange-inline">"</ins>Avatar<ins class="diffchange diffchange-inline">" </ins>(2009), even live-action actors are transformed by digital effects, as the characters inhabit an entirely fictionalized fantasy world.  Cinema, which began in animation, has ended up returning to it.  Manovich goes so far as to say argue that “digital cinema is a particular case of animation that uses live-action footage as one of its many elements<ins class="diffchange diffchange-inline">" </ins>(302).  While traditional hand-animation has largely become supplanted, computer-animation now appears to be becoming the dominant paradigm in filmmaking.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
</table>Finnbhttp://cultureandcommunication.org/deadmedia/index.php?title=Cel_Animation&diff=12546&oldid=prevEgugecuge at 05:18, 24 November 20102010-11-24T05:18:59Z<p></p>
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<td colspan='2' style="background-color: white; color:black; text-align: center;">← Older revision</td>
<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 05:18, 24 November 2010</td>
</tr><tr><td colspan="2" class="diff-lineno" id="L1" >Line 1:</td>
<td colspan="2" class="diff-lineno">Line 1:</td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">=[http://abaviteha.co.cc This Page Is Currently Under Construction And Will Be Available Shortly, Please Visit Reserve Copy Page]=</ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Gertie animated GIF.gif|thumb|right|alt=Gertie animated GIF|Gertie the dinosaur, from Winsor McCay's 1914 film of the same name. The earliest widely popular animated short films in the US, it was drawn frame-by-frame entirely by hand on paper.]]</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Gertie animated GIF.gif|thumb|right|alt=Gertie animated GIF|Gertie the dinosaur, from Winsor McCay's 1914 film of the same name. The earliest widely popular animated short films in the US, it was drawn frame-by-frame entirely by hand on paper.]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td colspan="2" class="diff-lineno" id="L26" >Line 26:</td>
<td colspan="2" class="diff-lineno">Line 27:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Unlike the phonograph, film is inherently discrete.  While to the eye it appears analog, the cinematic image is composed of 24 separate frames per second, a digital quality.  While Edison's earliest films were composed of single shots, soon it was discovered different shots could be edited together, forming a montage.  Seeing these shots in sequence, viewers inferred their continuous sequence.  Motion picture cameras were able to automate their inscription, and simply place actors before it.  Cameras used to shoot animated films needed to individually shoot each frame.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Unlike the phonograph, film is inherently discrete.  While to the eye it appears analog, the cinematic image is composed of 24 separate frames per second, a digital quality.  While Edison's earliest films were composed of single shots, soon it was discovered different shots could be edited together, forming a montage.  Seeing these shots in sequence, viewers inferred their continuous sequence.  Motion picture cameras were able to automate their inscription, and simply place actors before it.  Cameras used to shoot animated films needed to individually shoot each frame.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Many early animated films placed animation in the context of live-action film.  J. Stuart Blackton's <del class="diffchange diffchange-inline">"</del>The Enchanted Drawing<del class="diffchange diffchange-inline">" </del>was a form of 'trick' film, in which Blackton used film's inherent discontinuity to appear to turn real objects, such as a bottle, into hand-drawn representations on paper.  Walt Disney's earliest film, <del class="diffchange diffchange-inline">"</del>Alice's Wonderland<del class="diffchange diffchange-inline">" </del>(1923), shows a girl wandering into his animation studio, where he proceeds to astonish her with crude but vivacious moving drawings on his drafting desk.  In his early films, shown in vaudeville theaters, Windsor McCay found that audiences did not believe the illusion of animation.  At the end of his widely-popular <del class="diffchange diffchange-inline">"</del>Gertie the Dinosaur<del class="diffchange diffchange-inline">" </del>(1914), he drew a small life-like representation of himself being picked up in Gertie's mouth.   </div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Many early animated films placed animation in the context of live-action film.  J. Stuart Blackton's <ins class="diffchange diffchange-inline">&quot;</ins>The Enchanted Drawing<ins class="diffchange diffchange-inline">&quot; </ins>was a form of 'trick' film, in which Blackton used film's inherent discontinuity to appear to turn real objects, such as a bottle, into hand-drawn representations on paper.  Walt Disney's earliest film, <ins class="diffchange diffchange-inline">&quot;</ins>Alice's Wonderland<ins class="diffchange diffchange-inline">&quot; </ins>(1923), shows a girl wandering into his animation studio, where he proceeds to astonish her with crude but vivacious moving drawings on his drafting desk.  In his early films, shown in vaudeville theaters, Windsor McCay found that audiences did not believe the illusion of animation.  At the end of his widely-popular <ins class="diffchange diffchange-inline">&quot;</ins>Gertie the Dinosaur<ins class="diffchange diffchange-inline">&quot; </ins>(1914), he drew a small life-like representation of himself being picked up in Gertie's mouth.   </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The two forms increasingly sought to differentiate each from the other.  While cinema grew out of early hand-drawn sequences, mechanization, coupled with mimesis, enabled cinema to achieve a new standard of verisimilitude.  <del class="diffchange diffchange-inline">"</del>A mechanical eye was coupled with a mechanical heart; photography met the motor<del class="diffchange diffchange-inline">"</del>, as Manovich (296-7) writes.  Cinema's ease with mimetic images soon distanced it from the crudity of animation, <del class="diffchange diffchange-inline">"</del>cinema's bastard relative, its supplement and shadow<del class="diffchange diffchange-inline">" </del>(298).   </div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The two forms increasingly sought to differentiate each from the other.  While cinema grew out of early hand-drawn sequences, mechanization, coupled with mimesis, enabled cinema to achieve a new standard of verisimilitude.  <ins class="diffchange diffchange-inline">&quot;</ins>A mechanical eye was coupled with a mechanical heart; photography met the motor<ins class="diffchange diffchange-inline">&quot;</ins>, as Manovich (296-7) writes.  Cinema's ease with mimetic images soon distanced it from the crudity of animation, <ins class="diffchange diffchange-inline">&quot;</ins>cinema's bastard relative, its supplement and shadow<ins class="diffchange diffchange-inline">&quot; </ins>(298).   </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Early animated characters had exceedingly simple design, such as Felix the Cat, which enabled the figure to be drawn many times over by different animators.  While films like McCay's and Disney's showed cinema audiences an entirely new kind of spectacle, cel animation's painted quality came to be trivialized in comparison to cinema's realism.  Short animated films were shown before Hollywood feature films, but simply as a form of light entertainment.  The simplicity of visual representations ultimately appealed more to children, and particularly with the onset of television in the home in the the postwar years, Animation became a child's pleasure, something it arguably remained for much of the rest of the 20th century.   </div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Early animated characters had exceedingly simple design, such as Felix the Cat, which enabled the figure to be drawn many times over by different animators.  While films like McCay's and Disney's showed cinema audiences an entirely new kind of spectacle, cel animation's painted quality came to be trivialized in comparison to cinema's realism.  Short animated films were shown before Hollywood feature films, but simply as a form of light entertainment.  The simplicity of visual representations ultimately appealed more to children, and particularly with the onset of television in the home in the the postwar years, Animation became a child's pleasure, something it arguably remained for much of the rest of the 20th century.   </div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Perhaps ironically, animation's very sophistication meant that it was a labor-intensive and exacting form.  To make animated films several minutes long took thousands of drawings.  To fill time, loops of drawings were used as labor-saving devices.  In <del class="diffchange diffchange-inline">"</del>Gertie the Dinosaur,<del class="diffchange diffchange-inline">" </del>Gertie spends much of the time simply rocking back and forth.  Nevertheless, each frame was drawn entirely over again.  Each time, the entire image was copied, with only the small difference of the figure typically changing.  It took McCay 3 years to finish the six minute film.</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Perhaps ironically, animation's very sophistication meant that it was a labor-intensive and exacting form.  To make animated films several minutes long took thousands of drawings.  To fill time, loops of drawings were used as labor-saving devices.  In <ins class="diffchange diffchange-inline">&quot;</ins>Gertie the Dinosaur,<ins class="diffchange diffchange-inline">&quot; </ins>Gertie spends much of the time simply rocking back and forth.  Nevertheless, each frame was drawn entirely over again.  Each time, the entire image was copied, with only the small difference of the figure typically changing.  It took McCay 3 years to finish the six minute film.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:multiplaneatwork4.jpg|thumb|right|alt=Multi-plane camera|Disney's multi-plane camera was used to photograph all frames together in focus, establishing a sense of depth.]]</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:multiplaneatwork4.jpg|thumb|right|alt=Multi-plane camera|Disney's multi-plane camera was used to photograph all frames together in focus, establishing a sense of depth.]]</div></td></tr>
<tr><td colspan="2" class="diff-lineno" id="L45" >Line 45:</td>
<td colspan="2" class="diff-lineno">Line 46:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>It was not until years later that 'cel' animation became adopted in the industry. Cel animation involved separating the animated figure from the background, which remained static.  The animated figure could then be drawn on transparent celluloid, and layered on top of the background.  This innovation freed early animation up from the crippling demands of mechanically copying each drawing, yet still meant that to produce animated shorts with anything like the regularity they were demanded by the marketplace, teams of animators were needed.  A photo of Pat Sullivan's studio, responsible for Felix the Cat, shows 10 men sitting side-by-side at separate desks.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>It was not until years later that 'cel' animation became adopted in the industry. Cel animation involved separating the animated figure from the background, which remained static.  The animated figure could then be drawn on transparent celluloid, and layered on top of the background.  This innovation freed early animation up from the crippling demands of mechanically copying each drawing, yet still meant that to produce animated shorts with anything like the regularity they were demanded by the marketplace, teams of animators were needed.  A photo of Pat Sullivan's studio, responsible for Felix the Cat, shows 10 men sitting side-by-side at separate desks.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>In contrast to the initial serial quality of animation, this layering gave animation a parallel quality which mimetic film lacked.  The potential of this form was not truly realized until Walt Disney's feature films, starting with <del class="diffchange diffchange-inline">"</del>Snow White and the Seven Dwarfs<del class="diffchange diffchange-inline">" </del>(1937), which featured rich, colored backgrounds, and tens of scampering animals.  Disney's richly detailed world was accomplished by employing an elaborate vertically-oriented camera, which was able to focus on the multiple layers of the animated image at one time.  Similar models remained with animation for most of the 20th century.  </div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>In contrast to the initial serial quality of animation, this layering gave animation a parallel quality which mimetic film lacked.  The potential of this form was not truly realized until Walt Disney's feature films, starting with <ins class="diffchange diffchange-inline">&quot;</ins>Snow White and the Seven Dwarfs<ins class="diffchange diffchange-inline">&quot; </ins>(1937), which featured rich, colored backgrounds, and tens of scampering animals.  Disney's richly detailed world was accomplished by employing an elaborate vertically-oriented camera, which was able to focus on the multiple layers of the animated image at one time.  Similar models remained with animation for most of the 20th century.  </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td colspan="2" class="diff-lineno" id="L53" >Line 53:</td>
<td colspan="2" class="diff-lineno">Line 54:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==Computer-Based Animation==</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==Computer-Based Animation==</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Roger_rabbit_2.jpg|thumb|left|alt=Roger Rabbit|<del class="diffchange diffchange-inline">"</del>Who Framed Roger Rabbit?<del class="diffchange diffchange-inline">" </del>mixed live-action and animated characters in a hybrid narrative.]]</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Roger_rabbit_2.jpg|thumb|left|alt=Roger Rabbit|<ins class="diffchange diffchange-inline">&quot;</ins>Who Framed Roger Rabbit?<ins class="diffchange diffchange-inline">&quot; </ins>mixed live-action and animated characters in a hybrid narrative.]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Starting in the 1980's, computers began to be used to compliment live-action footage with <del class="diffchange diffchange-inline">"</del>special effects.<del class="diffchange diffchange-inline">" </del> <del class="diffchange diffchange-inline">"</del>Who Framed Roger Rabbit?<del class="diffchange diffchange-inline">" </del>(1988) was among the first mainstream Hollywood releases to mix the two.  Here, the live action and animation remained worlds apart, even though events took place side-by side.  By the early 1990s technology had advanced significantly enough that computer effects could convincingly be shown to match the verisimilitude of live action.  A breakthrough was reached with <del class="diffchange diffchange-inline">"</del>Jurrasic Park<del class="diffchange diffchange-inline">" </del>(1993), which featured animated images of dinosaurs pursuing humans who sought to domesticate them.  Although the film contained only 12 minutes of computer animation, the entire film was based around these brief, terrifying appearances.   </div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Starting in the 1980's, computers began to be used to compliment live-action footage with <ins class="diffchange diffchange-inline">&quot;</ins>special effects.<ins class="diffchange diffchange-inline">&quot; </ins> <ins class="diffchange diffchange-inline">&quot;</ins>Who Framed Roger Rabbit?<ins class="diffchange diffchange-inline">&quot; </ins>(1988) was among the first mainstream Hollywood releases to mix the two.  Here, the live action and animation remained worlds apart, even though events took place side-by side.  By the early 1990s technology had advanced significantly enough that computer effects could convincingly be shown to match the verisimilitude of live action.  A breakthrough was reached with <ins class="diffchange diffchange-inline">&quot;</ins>Jurrasic Park<ins class="diffchange diffchange-inline">&quot; </ins>(1993), which featured animated images of dinosaurs pursuing humans who sought to domesticate them.  Although the film contained only 12 minutes of computer animation, the entire film was based around these brief, terrifying appearances.   </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Jurassic_park_t-rex.jpg|thumb|right|alt=Jurrasic Park T-Rex|The computer-animated dinosaurs in <del class="diffchange diffchange-inline">"</del>Jurrasic Park<del class="diffchange diffchange-inline">" </del>set a new standard for verisimilitude in special effects.]]</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Jurassic_park_t-rex.jpg|thumb|right|alt=Jurrasic Park T-Rex|The computer-animated dinosaurs in <ins class="diffchange diffchange-inline">&quot;</ins>Jurrasic Park<ins class="diffchange diffchange-inline">&quot; </ins>set a new standard for verisimilitude in special effects.]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>No longer a child's medium, cinema turned to animation to develop technically.  Here the sophistication of the medium can be seen, as the live action footage seems nearly overshadowed by the rich detail of the animation.  The aesthetic demands of early cel animation meant that characters must be simple, yet computer modeling enabled animation aesthetics to become frighteningly detailed and life-like.   </div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>No longer a child's medium, cinema turned to animation to develop technically.  Here the sophistication of the medium can be seen, as the live action footage seems nearly overshadowed by the rich detail of the animation.  The aesthetic demands of early cel animation meant that characters must be simple, yet computer modeling enabled animation aesthetics to become frighteningly detailed and life-like.   </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Subsequent films using digital animation are carrying animation even further, using it as a primary visual representation device.  In <del class="diffchange diffchange-inline">"</del>Avatar<del class="diffchange diffchange-inline">" </del>(2009), even live-action actors are transformed by digital effects, as the characters inhabit an entirely fictionalized fantasy world.  Cinema, which began in animation, has ended up returning to it.  Manovich goes so far as to say argue that “digital cinema is a particular case of animation that uses live-action footage as one of its many elements<del class="diffchange diffchange-inline">" </del>(302).  While traditional hand-animation has largely become supplanted, computer-animation now appears to be becoming the dominant paradigm in filmmaking.</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Subsequent films using digital animation are carrying animation even further, using it as a primary visual representation device.  In <ins class="diffchange diffchange-inline">&quot;</ins>Avatar<ins class="diffchange diffchange-inline">&quot; </ins>(2009), even live-action actors are transformed by digital effects, as the characters inhabit an entirely fictionalized fantasy world.  Cinema, which began in animation, has ended up returning to it.  Manovich goes so far as to say argue that “digital cinema is a particular case of animation that uses live-action footage as one of its many elements<ins class="diffchange diffchange-inline">&quot; </ins>(302).  While traditional hand-animation has largely become supplanted, computer-animation now appears to be becoming the dominant paradigm in filmmaking.</div></td></tr>
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</table>Egugecugehttp://cultureandcommunication.org/deadmedia/index.php?title=Cel_Animation&diff=7949&oldid=prevAlex at 03:55, 8 April 20102010-04-08T03:55:17Z<p></p>
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</table>Alexhttp://cultureandcommunication.org/deadmedia/index.php?title=Cel_Animation&diff=7836&oldid=prevAlex at 03:45, 8 April 20102010-04-08T03:45:22Z<p></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Category:Cinema]]</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Category:Cinema]]</div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[Category:Dossier]]</ins></div></td></tr>
</table>Alexhttp://cultureandcommunication.org/deadmedia/index.php?title=Cel_Animation&diff=7774&oldid=prevAlex at 20:02, 7 April 20102010-04-07T20:02:38Z<p></p>
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<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 20:02, 7 April 2010</td>
</tr><tr><td colspan="2" class="diff-lineno" id="L79" >Line 79:</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Wells, Paul. “Understanding Animation.” London and New York: Routledge, 1998. Print.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Wells, Paul. “Understanding Animation.” London and New York: Routledge, 1998. Print.</div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[Category:Visuality]]</ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[Category:Cinema]]</ins></div></td></tr>
</table>Alexhttp://cultureandcommunication.org/deadmedia/index.php?title=Cel_Animation&diff=7700&oldid=prevTyler at 17:29, 29 March 20102010-03-29T17:29:08Z<p></p>
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<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 17:29, 29 March 2010</td>
</tr><tr><td colspan="2" class="diff-lineno" id="L46" >Line 46:</td>
<td colspan="2" class="diff-lineno">Line 46:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>In contrast to the initial serial quality of animation, this layering gave animation a parallel quality which mimetic film lacked.  The potential of this form was not truly realized until Walt Disney's feature films, starting with "Snow White and the Seven Dwarfs" (1937), which featured rich, colored backgrounds, and tens of scampering animals.  Disney's richly detailed world was accomplished by employing an elaborate vertically-oriented camera, which was able to focus on the multiple layers of the animated image at one time.  Similar models remained with animation for most of the 20th century.  </div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>In contrast to the initial serial quality of animation, this layering gave animation a parallel quality which mimetic film lacked.  The potential of this form was not truly realized until Walt Disney's feature films, starting with "Snow White and the Seven Dwarfs" (1937), which featured rich, colored backgrounds, and tens of scampering animals.  Disney's richly detailed world was accomplished by employing an elaborate vertically-oriented camera, which was able to focus on the multiple layers of the animated image at one time.  Similar models remained with animation for most of the 20th century.  </div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td colspan="2" class="diff-lineno" id="L55" >Line 55:</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Starting in the 1980's, computers began to be used to compliment live-action footage with "special effects."  "Who Framed Roger Rabbit?" (1988) was among the first mainstream Hollywood releases to mix the two.  Here, the live action and animation remained worlds apart, even though events took place side-by side.  By the early 1990s technology had advanced significantly enough that computer effects could convincingly be shown to match the verisimilitude of live action.  A breakthrough was reached with "Jurrasic Park" (1993), which featured animated images of dinosaurs pursuing humans who sought to domesticate them.  Although the film contained only 12 minutes of computer animation, the entire film was based around these brief, terrifying appearances.   </div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Starting in the 1980's, computers began to be used to compliment live-action footage with "special effects."  "Who Framed Roger Rabbit?" (1988) was among the first mainstream Hollywood releases to mix the two.  Here, the live action and animation remained worlds apart, even though events took place side-by side.  By the early 1990s technology had advanced significantly enough that computer effects could convincingly be shown to match the verisimilitude of live action.  A breakthrough was reached with "Jurrasic Park" (1993), which featured animated images of dinosaurs pursuing humans who sought to domesticate them.  Although the film contained only 12 minutes of computer animation, the entire film was based around these brief, terrifying appearances.   </div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[Image:Jurassic_park_t-rex.jpg|thumb|right|alt=Jurrasic Park T-Rex|The computer-animated dinosaurs in "Jurrasic Park" set a new standard for verisimilitude in special effects.]]</ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>No longer a child's medium, cinema turned to animation to develop technically.  Here the sophistication of the medium can be seen, as the live action footage seems nearly overshadowed by the rich detail of the animation.  The aesthetic demands of early cel animation meant that characters must be simple, yet computer modeling enabled animation aesthetics to become frighteningly detailed and life-like.   </div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>No longer a child's medium, cinema turned to animation to develop technically.  Here the sophistication of the medium can be seen, as the live action footage seems nearly overshadowed by the rich detail of the animation.  The aesthetic demands of early cel animation meant that characters must be simple, yet computer modeling enabled animation aesthetics to become frighteningly detailed and life-like.   </div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Subsequent films using digital animation are carrying animation even further, using it as a primary visual representation device.  In "Avatar" (2009), even live-action actors are transformed by digital effects, as the characters inhabit an entirely fictionalized fantasy world.  Cinema, which began in animation, has ended up returning to it.  Manovich goes so far as to say argue that “digital cinema is a particular case of animation that uses live-action footage as one of its many elements" (302).  While traditional hand-animation has largely become supplanted, computer-animation now appears to be becoming the dominant paradigm in filmmaking.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Subsequent films using digital animation are carrying animation even further, using it as a primary visual representation device.  In "Avatar" (2009), even live-action actors are transformed by digital effects, as the characters inhabit an entirely fictionalized fantasy world.  Cinema, which began in animation, has ended up returning to it.  Manovich goes so far as to say argue that “digital cinema is a particular case of animation that uses live-action footage as one of its many elements" (302).  While traditional hand-animation has largely become supplanted, computer-animation now appears to be becoming the dominant paradigm in filmmaking.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline">[[Image:Jurassic_park_t-rex.jpg|thumb|right|alt=Jurrasic Park T-Rex|The computer-animated dinosaurs in "Jurrasic Park" set a new standard for verisimilitude in special effects.]]</del></div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
</table>Tylerhttp://cultureandcommunication.org/deadmedia/index.php?title=Cel_Animation&diff=7697&oldid=prevTyler at 17:28, 29 March 20102010-03-29T17:28:29Z<p></p>
<table class='diff diff-contentalign-left'>
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<td colspan='2' style="background-color: white; color:black; text-align: center;">← Older revision</td>
<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 17:28, 29 March 2010</td>
</tr><tr><td colspan="2" class="diff-lineno" id="L40" >Line 40:</td>
<td colspan="2" class="diff-lineno">Line 40:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Perhaps ironically, animation's very sophistication meant that it was a labor-intensive and exacting form.  To make animated films several minutes long took thousands of drawings.  To fill time, loops of drawings were used as labor-saving devices.  In "Gertie the Dinosaur," Gertie spends much of the time simply rocking back and forth.  Nevertheless, each frame was drawn entirely over again.  Each time, the entire image was copied, with only the small difference of the figure typically changing.  It took McCay 3 years to finish the six minute film.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Perhaps ironically, animation's very sophistication meant that it was a labor-intensive and exacting form.  To make animated films several minutes long took thousands of drawings.  To fill time, loops of drawings were used as labor-saving devices.  In "Gertie the Dinosaur," Gertie spends much of the time simply rocking back and forth.  Nevertheless, each frame was drawn entirely over again.  Each time, the entire image was copied, with only the small difference of the figure typically changing.  It took McCay 3 years to finish the six minute film.</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;"></del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">It was not until years later that 'cel' animation became adopted in the industry. Cel animation involved separating the animated figure from the background, which remained static.  The animated figure could then be drawn on transparent celluloid, and layered on top of the background.  This innovation freed early animation up from the crippling demands of mechanically copying each drawing, yet still meant that to produce animated shorts with anything like the regularity they were demanded by the marketplace, teams of animators were needed.  A photo of Pat Sullivan's studio, responsible for Felix the Cat, shows 10 men sitting side-by-side at separate desks.</del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:multiplaneatwork4.jpg|thumb|right|alt=Multi-plane camera|Disney's multi-plane camera was used to photograph all frames together in focus, establishing a sense of depth.]]</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:multiplaneatwork4.jpg|thumb|right|alt=Multi-plane camera|Disney's multi-plane camera was used to photograph all frames together in focus, establishing a sense of depth.]]</div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">It was not until years later that 'cel' animation became adopted in the industry. Cel animation involved separating the animated figure from the background, which remained static.  The animated figure could then be drawn on transparent celluloid, and layered on top of the background.  This innovation freed early animation up from the crippling demands of mechanically copying each drawing, yet still meant that to produce animated shorts with anything like the regularity they were demanded by the marketplace, teams of animators were needed.  A photo of Pat Sullivan's studio, responsible for Felix the Cat, shows 10 men sitting side-by-side at separate desks.</ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>In contrast to the initial serial quality of animation, this layering gave animation a parallel quality which mimetic film lacked.  The potential of this form was not truly realized until Walt Disney's feature films, starting with "Snow White and the Seven Dwarfs" (1937), which featured rich, colored backgrounds, and tens of scampering animals.  Disney's richly detailed world was accomplished by employing an elaborate vertically-oriented camera, which was able to focus on the multiple layers of the animated image at one time.  Similar models remained with animation for most of the 20th century.  </div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>In contrast to the initial serial quality of animation, this layering gave animation a parallel quality which mimetic film lacked.  The potential of this form was not truly realized until Walt Disney's feature films, starting with "Snow White and the Seven Dwarfs" (1937), which featured rich, colored backgrounds, and tens of scampering animals.  Disney's richly detailed world was accomplished by employing an elaborate vertically-oriented camera, which was able to focus on the multiple layers of the animated image at one time.  Similar models remained with animation for most of the 20th century.  </div></td></tr>
<tr><td colspan="2" class="diff-lineno" id="L51" >Line 51:</td>
<td colspan="2" class="diff-lineno">Line 51:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==Computer-Based Animation==</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==Computer-Based Animation==</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;"></del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">Starting in the 1980's, computers began to be used to compliment live-action footage with "special effects."  "Who Framed Roger Rabbit?" (1988) was among the first mainstream Hollywood releases to mix the two.  Here, the live action and animation remained worlds apart, even though events took place side-by side.  By the early 1990s technology had advanced significantly enough that computer effects could convincingly be shown to match the verisimilitude of live action.  A breakthrough was reached with "Jurrasic Park" (1993), which featured animated images of dinosaurs pursuing humans who sought to domesticate them.  Although the film contained only 12 minutes of computer animation, the entire film was based around these brief, terrifying appearances.  </del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Roger_rabbit_2.jpg|thumb|left|alt=Roger Rabbit|"Who Framed Roger Rabbit?" mixed live-action and animated characters in a hybrid narrative.]]</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Roger_rabbit_2.jpg|thumb|left|alt=Roger Rabbit|"Who Framed Roger Rabbit?" mixed live-action and animated characters in a hybrid narrative.]]</div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">Starting in the 1980's, computers began to be used to compliment live-action footage with "special effects."  "Who Framed Roger Rabbit?" (1988) was among the first mainstream Hollywood releases to mix the two.  Here, the live action and animation remained worlds apart, even though events took place side-by side.  By the early 1990s technology had advanced significantly enough that computer effects could convincingly be shown to match the verisimilitude of live action.  A breakthrough was reached with "Jurrasic Park" (1993), which featured animated images of dinosaurs pursuing humans who sought to domesticate them.  Although the film contained only 12 minutes of computer animation, the entire film was based around these brief, terrifying appearances.  </ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>No longer a child's medium, cinema turned to animation to develop technically.  Here the sophistication of the medium can be seen, as the live action footage seems nearly overshadowed by the rich detail of the animation.  The aesthetic demands of early cel animation meant that characters must be simple, yet computer modeling enabled animation aesthetics to become frighteningly detailed and life-like.   </div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>No longer a child's medium, cinema turned to animation to develop technically.  Here the sophistication of the medium can be seen, as the live action footage seems nearly overshadowed by the rich detail of the animation.  The aesthetic demands of early cel animation meant that characters must be simple, yet computer modeling enabled animation aesthetics to become frighteningly detailed and life-like.   </div></td></tr>
<tr><td colspan="2" class="diff-lineno" id="L60" >Line 60:</td>
<td colspan="2" class="diff-lineno">Line 60:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Subsequent films using digital animation are carrying animation even further, using it as a primary visual representation device.  In "Avatar" (2009), even live-action actors are transformed by digital effects, as the characters inhabit an entirely fictionalized fantasy world.  Cinema, which began in animation, has ended up returning to it.  Manovich goes so far as to say argue that “digital cinema is a particular case of animation that uses live-action footage as one of its many elements" (302).  While traditional hand-animation has largely become supplanted, computer-animation now appears to be becoming the dominant paradigm in filmmaking.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Subsequent films using digital animation are carrying animation even further, using it as a primary visual representation device.  In "Avatar" (2009), even live-action actors are transformed by digital effects, as the characters inhabit an entirely fictionalized fantasy world.  Cinema, which began in animation, has ended up returning to it.  Manovich goes so far as to say argue that “digital cinema is a particular case of animation that uses live-action footage as one of its many elements" (302).  While traditional hand-animation has largely become supplanted, computer-animation now appears to be becoming the dominant paradigm in filmmaking.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Jurassic_park_t-rex.jpg|thumb|<del class="diffchange diffchange-inline">left</del>|alt=Jurrasic Park T-Rex|The computer-animated dinosaurs in "Jurrasic Park" set a new standard for verisimilitude in special effects.]]</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Jurassic_park_t-rex.jpg|thumb|<ins class="diffchange diffchange-inline">right</ins>|alt=Jurrasic Park T-Rex|The computer-animated dinosaurs in "Jurrasic Park" set a new standard for verisimilitude in special effects.]]</div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
</table>Tylerhttp://cultureandcommunication.org/deadmedia/index.php?title=Cel_Animation&diff=7694&oldid=prevTyler at 17:27, 29 March 20102010-03-29T17:27:33Z<p></p>
<table class='diff diff-contentalign-left'>
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<td colspan='2' style="background-color: white; color:black; text-align: center;">← Older revision</td>
<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 17:27, 29 March 2010</td>
</tr><tr><td colspan="2" class="diff-lineno" id="L16" >Line 16:</td>
<td colspan="2" class="diff-lineno">Line 16:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>In dynamic visual terms, image sequences have been found on ancient pottery and tablets, but came to 'move' only in the 19th century, with parlor amusements like the phenakistoscope.  This device has hand-painted or hand-drawn figures rounding the edge of a circular disc;  when the disc is spun, the figures appear to move.  Photography's mimetic images were static until technicians such as Étienne-Jules Marey's experiments in chronophotography began to impose mechanical order on movement. Edison's kinetoscope first imposed a mechanical seriality upon motion, which soon became an industry standard.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>In dynamic visual terms, image sequences have been found on ancient pottery and tablets, but came to 'move' only in the 19th century, with parlor amusements like the phenakistoscope.  This device has hand-painted or hand-drawn figures rounding the edge of a circular disc;  when the disc is spun, the figures appear to move.  Photography's mimetic images were static until technicians such as Étienne-Jules Marey's experiments in chronophotography began to impose mechanical order on movement. Edison's kinetoscope first imposed a mechanical seriality upon motion, which soon became an industry standard.</div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
</table>Tylerhttp://cultureandcommunication.org/deadmedia/index.php?title=Cel_Animation&diff=7693&oldid=prevTyler at 17:27, 29 March 20102010-03-29T17:27:19Z<p></p>
<table class='diff diff-contentalign-left'>
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<td colspan='2' style="background-color: white; color:black; text-align: center;">← Older revision</td>
<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 17:27, 29 March 2010</td>
</tr><tr><td colspan="2" class="diff-lineno" id="L16" >Line 16:</td>
<td colspan="2" class="diff-lineno">Line 16:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>In dynamic visual terms, image sequences have been found on ancient pottery and tablets, but came to 'move' only in the 19th century, with parlor amusements like the phenakistoscope.  This device has hand-painted or hand-drawn figures rounding the edge of a circular disc;  when the disc is spun, the figures appear to move.  Photography's mimetic images were static until technicians such as Étienne-Jules Marey's experiments in chronophotography began to impose mechanical order on movement. Edison's kinetoscope first imposed a mechanical seriality upon motion, which soon became an industry standard.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>In dynamic visual terms, image sequences have been found on ancient pottery and tablets, but came to 'move' only in the 19th century, with parlor amusements like the phenakistoscope.  This device has hand-painted or hand-drawn figures rounding the edge of a circular disc;  when the disc is spun, the figures appear to move.  Photography's mimetic images were static until technicians such as Étienne-Jules Marey's experiments in chronophotography began to impose mechanical order on movement. Edison's kinetoscope first imposed a mechanical seriality upon motion, which soon became an industry standard.</div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
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<td colspan="2" class="diff-lineno">Line 26:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Many early animated films placed animation in the context of live-action film.  J. Stuart Blackton's "The Enchanted Drawing" was a form of 'trick' film, in which Blackton used film's inherent discontinuity to appear to turn real objects, such as a bottle, into hand-drawn representations on paper.  Walt Disney's earliest film, "Alice's Wonderland" (1923), shows a girl wandering into his animation studio, where he proceeds to astonish her with crude but vivacious moving drawings on his drafting desk.  In his early films, shown in vaudeville theaters, Windsor McCay found that audiences did not believe the illusion of animation.  At the end of his widely-popular "Gertie the Dinosaur" (1914), he drew a small life-like representation of himself being picked up in Gertie's mouth.   </div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Many early animated films placed animation in the context of live-action film.  J. Stuart Blackton's "The Enchanted Drawing" was a form of 'trick' film, in which Blackton used film's inherent discontinuity to appear to turn real objects, such as a bottle, into hand-drawn representations on paper.  Walt Disney's earliest film, "Alice's Wonderland" (1923), shows a girl wandering into his animation studio, where he proceeds to astonish her with crude but vivacious moving drawings on his drafting desk.  In his early films, shown in vaudeville theaters, Windsor McCay found that audiences did not believe the illusion of animation.  At the end of his widely-popular "Gertie the Dinosaur" (1914), he drew a small life-like representation of himself being picked up in Gertie's mouth.   </div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;"></del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">[[Image:Gertie_stacks_of_drawings.jpg|thumb|left|alt=Gertie drawings|McCay's drawings for 'Gertie' took up thousands of pages.]]</del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>The two forms increasingly sought to differentiate each from the other.  While cinema grew out of early hand-drawn sequences, mechanization, coupled with mimesis, enabled cinema to achieve a new standard of verisimilitude.  "A mechanical eye was coupled with a mechanical heart; photography met the motor", as Manovich (296-7) writes.  Cinema's ease with mimetic images soon distanced it from the crudity of animation, "cinema's bastard relative, its supplement and shadow" (298).   </div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>The two forms increasingly sought to differentiate each from the other.  While cinema grew out of early hand-drawn sequences, mechanization, coupled with mimesis, enabled cinema to achieve a new standard of verisimilitude.  "A mechanical eye was coupled with a mechanical heart; photography met the motor", as Manovich (296-7) writes.  Cinema's ease with mimetic images soon distanced it from the crudity of animation, "cinema's bastard relative, its supplement and shadow" (298).   </div></td></tr>
<tr><td colspan="2" class="diff-lineno" id="L34" >Line 34:</td>
<td colspan="2" class="diff-lineno">Line 33:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==Animation's Modularity==</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==Animation's Modularity==</div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[Image:Gertie_stacks_of_drawings.jpg|thumb|left|alt=Gertie drawings|McCay's drawings for 'Gertie' took up thousands of pages.]]</ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Perhaps ironically, animation's very sophistication meant that it was a labor-intensive and exacting form.  To make animated films several minutes long took thousands of drawings.  To fill time, loops of drawings were used as labor-saving devices.  In "Gertie the Dinosaur," Gertie spends much of the time simply rocking back and forth.  Nevertheless, each frame was drawn entirely over again.  Each time, the entire image was copied, with only the small difference of the figure typically changing.  It took McCay 3 years to finish the six minute film.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Perhaps ironically, animation's very sophistication meant that it was a labor-intensive and exacting form.  To make animated films several minutes long took thousands of drawings.  To fill time, loops of drawings were used as labor-saving devices.  In "Gertie the Dinosaur," Gertie spends much of the time simply rocking back and forth.  Nevertheless, each frame was drawn entirely over again.  Each time, the entire image was copied, with only the small difference of the figure typically changing.  It took McCay 3 years to finish the six minute film.</div></td></tr>
<tr><td colspan="2" class="diff-lineno" id="L42" >Line 42:</td>
<td colspan="2" class="diff-lineno">Line 45:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>In contrast to the initial serial quality of animation, this layering gave animation a parallel quality which mimetic film lacked.  The potential of this form was not truly realized until Walt Disney's feature films, starting with "Snow White and the Seven Dwarfs" (1937), which featured rich, colored backgrounds, and tens of scampering animals.  Disney's richly detailed world was accomplished by employing an elaborate vertically-oriented camera, which was able to focus on the multiple layers of the animated image at one time.  Similar models remained with animation for most of the 20th century.  </div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>In contrast to the initial serial quality of animation, this layering gave animation a parallel quality which mimetic film lacked.  The potential of this form was not truly realized until Walt Disney's feature films, starting with "Snow White and the Seven Dwarfs" (1937), which featured rich, colored backgrounds, and tens of scampering animals.  Disney's richly detailed world was accomplished by employing an elaborate vertically-oriented camera, which was able to focus on the multiple layers of the animated image at one time.  Similar models remained with animation for most of the 20th century.  </div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
</table>Tylerhttp://cultureandcommunication.org/deadmedia/index.php?title=Cel_Animation&diff=7691&oldid=prevTyler at 17:26, 29 March 20102010-03-29T17:26:33Z<p></p>
<table class='diff diff-contentalign-left'>
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<td colspan='2' style="background-color: white; color:black; text-align: center;">← Older revision</td>
<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 17:26, 29 March 2010</td>
</tr><tr><td colspan="2" class="diff-lineno" id="L20" >Line 20:</td>
<td colspan="2" class="diff-lineno">Line 20:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==Animation and Film==</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==Animation and Film==</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Felix_happy.jpg|thumb|<del class="diffchange diffchange-inline">left</del>|alt=Felix|Felix the Cat had a simple, iconic design, both easily drawn and easily recognized.]]</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Felix_happy.jpg|thumb|<ins class="diffchange diffchange-inline">right</ins>|alt=Felix|Felix the Cat had a simple, iconic design, both easily drawn and easily recognized.]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Unlike the phonograph, film is inherently discrete.  While to the eye it appears analog, the cinematic image is composed of 24 separate frames per second, a digital quality.  While Edison's earliest films were composed of single shots, soon it was discovered different shots could be edited together, forming a montage.  Seeing these shots in sequence, viewers inferred their continuous sequence.  Motion picture cameras were able to automate their inscription, and simply place actors before it.  Cameras used to shoot animated films needed to individually shoot each frame.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Unlike the phonograph, film is inherently discrete.  While to the eye it appears analog, the cinematic image is composed of 24 separate frames per second, a digital quality.  While Edison's earliest films were composed of single shots, soon it was discovered different shots could be edited together, forming a montage.  Seeing these shots in sequence, viewers inferred their continuous sequence.  Motion picture cameras were able to automate their inscription, and simply place actors before it.  Cameras used to shoot animated films needed to individually shoot each frame.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Many early animated films placed animation in the context of live-action film.  J. Stuart Blackton's "The Enchanted Drawing" was a form of 'trick' film, in which Blackton used film's inherent discontinuity to appear to turn real objects, such as a bottle, into hand-drawn representations on paper.  Walt Disney's earliest film, "Alice's Wonderland" (1923), shows a girl wandering into his animation studio, where he proceeds to astonish her with crude but vivacious moving drawings on his drafting desk.  In his early films, shown in vaudeville theaters, Windsor McCay found that audiences did not believe the illusion of animation.  At the end of his widely-popular "Gertie the Dinosaur" (1914), he drew a small life-like representation of himself being picked up in Gertie's mouth.   </div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Many early animated films placed animation in the context of live-action film.  J. Stuart Blackton's "The Enchanted Drawing" was a form of 'trick' film, in which Blackton used film's inherent discontinuity to appear to turn real objects, such as a bottle, into hand-drawn representations on paper.  Walt Disney's earliest film, "Alice's Wonderland" (1923), shows a girl wandering into his animation studio, where he proceeds to astonish her with crude but vivacious moving drawings on his drafting desk.  In his early films, shown in vaudeville theaters, Windsor McCay found that audiences did not believe the illusion of animation.  At the end of his widely-popular "Gertie the Dinosaur" (1914), he drew a small life-like representation of himself being picked up in Gertie's mouth.   </div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[Image:Gertie_stacks_of_drawings.jpg|thumb|left|alt=Gertie drawings|McCay's drawings for 'Gertie' took up thousands of pages.]]</ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>The two forms increasingly sought to differentiate each from the other.  While cinema grew out of early hand-drawn sequences, mechanization, coupled with mimesis, enabled cinema to achieve a new standard of verisimilitude.  "A mechanical eye was coupled with a mechanical heart; photography met the motor", as Manovich (296-7) writes.  Cinema's ease with mimetic images soon distanced it from the crudity of animation, "cinema's bastard relative, its supplement and shadow" (298).   </div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>The two forms increasingly sought to differentiate each from the other.  While cinema grew out of early hand-drawn sequences, mechanization, coupled with mimesis, enabled cinema to achieve a new standard of verisimilitude.  "A mechanical eye was coupled with a mechanical heart; photography met the motor", as Manovich (296-7) writes.  Cinema's ease with mimetic images soon distanced it from the crudity of animation, "cinema's bastard relative, its supplement and shadow" (298).   </div></td></tr>
<tr><td colspan="2" class="diff-lineno" id="L34" >Line 34:</td>
<td colspan="2" class="diff-lineno">Line 36:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Perhaps ironically, animation's very sophistication meant that it was a labor-intensive and exacting form.  To make animated films several minutes long took thousands of drawings.  To fill time, loops of drawings were used as labor-saving devices.  In "Gertie the Dinosaur," Gertie spends much of the time simply rocking back and forth.  Nevertheless, each frame was drawn entirely over again.  Each time, the entire image was copied, with only the small difference of the figure typically changing.  It took McCay 3 years to finish the six minute film.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Perhaps ironically, animation's very sophistication meant that it was a labor-intensive and exacting form.  To make animated films several minutes long took thousands of drawings.  To fill time, loops of drawings were used as labor-saving devices.  In "Gertie the Dinosaur," Gertie spends much of the time simply rocking back and forth.  Nevertheless, each frame was drawn entirely over again.  Each time, the entire image was copied, with only the small difference of the figure typically changing.  It took McCay 3 years to finish the six minute film.</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;"></del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">[[Image:Gertie_stacks_of_drawings.jpg|thumb|right|alt=Gertie drawings|McCay's drawings for 'Gertie' took up thousands of pages.]]</del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>It was not until years later that 'cel' animation became adopted in the industry. Cel animation involved separating the animated figure from the background, which remained static.  The animated figure could then be drawn on transparent celluloid, and layered on top of the background.  This innovation freed early animation up from the crippling demands of mechanically copying each drawing, yet still meant that to produce animated shorts with anything like the regularity they were demanded by the marketplace, teams of animators were needed.  A photo of Pat Sullivan's studio, responsible for Felix the Cat, shows 10 men sitting side-by-side at separate desks.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>It was not until years later that 'cel' animation became adopted in the industry. Cel animation involved separating the animated figure from the background, which remained static.  The animated figure could then be drawn on transparent celluloid, and layered on top of the background.  This innovation freed early animation up from the crippling demands of mechanically copying each drawing, yet still meant that to produce animated shorts with anything like the regularity they were demanded by the marketplace, teams of animators were needed.  A photo of Pat Sullivan's studio, responsible for Felix the Cat, shows 10 men sitting side-by-side at separate desks.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline">In contrast to the initial serial quality of animation, this layering gave animation a parallel quality which mimetic film lacked</del>. <del class="diffchange diffchange-inline"> The potential of this form was not truly realized until Walt </del>Disney's <del class="diffchange diffchange-inline">feature films, starting with "Snow White and the Seven Dwarfs" (1937), which featured rich, colored backgrounds, and tens of scampering animals.  Disney's richly detailed world was accomplished by employing an elaborate vertically</del>-<del class="diffchange diffchange-inline">oriented </del>camera<del class="diffchange diffchange-inline">, which </del>was <del class="diffchange diffchange-inline">able </del>to focus <del class="diffchange diffchange-inline">on the multiple layers of the animated image at one time.  Similar models remained with animation for most </del>of <del class="diffchange diffchange-inline">the 20th century</del>.  </div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins class="diffchange diffchange-inline">[[Image:multiplaneatwork4</ins>.<ins class="diffchange diffchange-inline">jpg|thumb|right|alt=Multi-plane camera|</ins>Disney's <ins class="diffchange diffchange-inline">multi</ins>-<ins class="diffchange diffchange-inline">plane </ins>camera was <ins class="diffchange diffchange-inline">used </ins>to <ins class="diffchange diffchange-inline">photograph all frames together in </ins>focus<ins class="diffchange diffchange-inline">, establishing a sense </ins>of <ins class="diffchange diffchange-inline">depth</ins>.<ins class="diffchange diffchange-inline">]]</ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline">[[Image:multiplaneatwork4</del>.<del class="diffchange diffchange-inline">jpg|thumb|left|alt=Multi-plane camera|</del>Disney's <del class="diffchange diffchange-inline">multi</del>-<del class="diffchange diffchange-inline">plane </del>camera was <del class="diffchange diffchange-inline">used </del>to <del class="diffchange diffchange-inline">photograph all frames together in </del>focus<del class="diffchange diffchange-inline">, establishing a sense </del>of <del class="diffchange diffchange-inline">depth</del>.<del class="diffchange diffchange-inline">]]</del></div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins class="diffchange diffchange-inline">In contrast to the initial serial quality of animation, this layering gave animation a parallel quality which mimetic film lacked</ins>. <ins class="diffchange diffchange-inline"> The potential of this form was not truly realized until Walt </ins>Disney's <ins class="diffchange diffchange-inline">feature films, starting with "Snow White and the Seven Dwarfs" (1937), which featured rich, colored backgrounds, and tens of scampering animals.  Disney's richly detailed world was accomplished by employing an elaborate vertically</ins>-<ins class="diffchange diffchange-inline">oriented </ins>camera<ins class="diffchange diffchange-inline">, which </ins>was <ins class="diffchange diffchange-inline">able </ins>to focus <ins class="diffchange diffchange-inline">on the multiple layers of the animated image at one time.  Similar models remained with animation for most </ins>of <ins class="diffchange diffchange-inline">the 20th century</ins>.  </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td colspan="2" class="diff-lineno" id="L48" >Line 48:</td>
<td colspan="2" class="diff-lineno">Line 48:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Starting in the 1980's, computers began to be used to compliment live-action footage with "special effects."  "Who Framed Roger Rabbit?" (1988) was among the first mainstream Hollywood releases to mix the two.  Here, the live action and animation remained worlds apart, even though events took place side-by side.  By the early 1990s technology had advanced significantly enough that computer effects could convincingly be shown to match the verisimilitude of live action.  A breakthrough was reached with "Jurrasic Park" (1993), which featured animated images of dinosaurs pursuing humans who sought to domesticate them.  Although the film contained only 12 minutes of computer animation, the entire film was based around these brief, terrifying appearances.   </div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Starting in the 1980's, computers began to be used to compliment live-action footage with "special effects."  "Who Framed Roger Rabbit?" (1988) was among the first mainstream Hollywood releases to mix the two.  Here, the live action and animation remained worlds apart, even though events took place side-by side.  By the early 1990s technology had advanced significantly enough that computer effects could convincingly be shown to match the verisimilitude of live action.  A breakthrough was reached with "Jurrasic Park" (1993), which featured animated images of dinosaurs pursuing humans who sought to domesticate them.  Although the film contained only 12 minutes of computer animation, the entire film was based around these brief, terrifying appearances.   </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Roger_rabbit_2.jpg|thumb|<del class="diffchange diffchange-inline">right</del>|alt=Roger Rabbit|"Who Framed Roger Rabbit?" mixed live-action and animated characters in a hybrid narrative.]]</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Roger_rabbit_2.jpg|thumb|<ins class="diffchange diffchange-inline">left</ins>|alt=Roger Rabbit|"Who Framed Roger Rabbit?" mixed live-action and animated characters in a hybrid narrative.]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>No longer a child's medium, cinema turned to animation to develop technically.  Here the sophistication of the medium can be seen, as the live action footage seems nearly overshadowed by the rich detail of the animation.  The aesthetic demands of early cel animation meant that characters must be simple, yet computer modeling enabled animation aesthetics to become frighteningly detailed and life-like.   </div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>No longer a child's medium, cinema turned to animation to develop technically.  Here the sophistication of the medium can be seen, as the live action footage seems nearly overshadowed by the rich detail of the animation.  The aesthetic demands of early cel animation meant that characters must be simple, yet computer modeling enabled animation aesthetics to become frighteningly detailed and life-like.   </div></td></tr>
</table>Tyler