Limited animation
Limited animation is a process in the overall technique of traditional animation that reuses frames of character animation.
Early history
The use of budget-cutting and time-saving animation measures in animation dates back to the earliest commercial animation, including cycled animations, mirror-image and symmetrical drawings, still characters, and other labor-saving methods. In general, the progression was from early productions in which every frame was drawn by hand, independent of each other drawing, toward more limited animation that made use of the same drawings in different ways.
Winsor McCay, a man who put an unprecedented amount of detail into his animations, boasted that in his 1914 film, Gertie the Dinosaur, everything moved, including the rocks and blades of grass in the background. In contrast, his 1918 film The Sinking of the Lusitania progressed to using cels over still backgrounds, while still maintaining a level of detail comparable to that of Gertie.[1]
The 1942
American television
The financial benefits of limited animation led to television animation companies relying on the process extensively in the television era.
By the 1970s, the usage of limited animation in
Japanese television
Limited animation proved to be particularly popular in Japan, such that the Japanese word for animation, anime, entered the English lexicon as a loanword for the distinctive style of Japanese animation that took root there.[13] Anime features scenes of mouth moving with occasional eye blinks, rendered long shots of detailed backgrounds, a low frame rate (especially in earlier productions) and rare use of 2D fluidity on motion-blur filled action alongside reused drawings, using style conventions from Japanese comic books (manga). It also has the benefit of lower cost productions and stylized content as opposed to realistic animation.[14][15] As was the case in the United States, television was a major impetus for the growth of anime in Japan; the country's recovery from World War II led to economic prosperity and a boom in Japanese television ownership, and the development of anime allowed Japan to compete in an animation field where they had previously lagged well behind the West.[13]
See also
- Cutout animation
- Flash animation
- Motion comic
- PowerPoint animation
- Squigglevision
- Stock footage
- UPA (animation studio)
- Adult Swim
References
- ISBN 978-0-8109-5941-5.
- ^ Chuck Jones: Extremes and In-betweens – A Life in Animation (PBS 2000)
- ISBN 978-1250040497.
- ^ "Lady and the Tramp History". Disney Archives. Archived from the original on February 24, 2007.
- ^ "Rocky & Bullwinkle". Cataroo.com. Retrieved 2012-09-28.
- ^ "Alex Anderson interview". Hogan's Alley. 26 October 2010. Archived from the original on 26 October 2010.
- ^ Filmation Associates Studio Directory|BCDB
- ISBN 978-0-06-227214-0.
- ^ "Don't believe your eyes! How 'Clutch Cargo' cuts corners as a television comic strip", TV Guide, December 24, 1960, pp. 28-29.
- ^ Clutch Cargo - TV Guide
- ^ "How 'One Hundred and One Dalmatians' Saved Disney". Smithsonian Magazine. June 2, 2021. Retrieved 2022-06-01.
- ISBN 9780894710858.
- ^ a b Anime's Great Deception-The Difference Between Anime and Cartoons
- ^ Is Anime a Legitimate Form of Animation?-Animator Island
- ^ Animation Styles: What Make Anime Unique-Show Me The Animation.com