2D animation is not used as much in mainstream cinema anymore due to the public’s constant persistence in making everything feel more 3D. But one space where 2D is thriving is the TV medium, animated shows have ruled most kids channels like Disney and cartoon network but this mainly happens because 3D animation is much harder to make to a high quality can working on a 2D series is much easier.
The software I’m thinking about using for this project is TVPaint as I read about it and heard that it’s quite easy to learn for new animators. I’m also using some books as research towards producing and making the animation such as.
2D Computer animation – Headly Griffin
Timing for animation – Harold Whitaker and John Halas
Physics for animators – Michele Bousquet
Story Pitch- This is pretty self-explanatory, but this is where the writers pitch the story of the animated show or movie to the studio to try to get it made. The difficulty about this is getting the audience to believe in the story.
Script Production- This is where the main writers and producers start to flesh out and develop the story fully.
Storyboards- Each storyboard artist receives script pages and outline of the characters emotional changes seen through actions, draw them out then pitch it to the director.
Background Design (Digital Ink and Paint)- The is the design of the backgrounds for every scene, this is an essential part of the animation as this creates the world around you characters showing where they are.
Voice (Audio Track Recorded)- This is the recording of the actor’s voices getting ready for the final made animation.
Animatic- The animatic is the pre-animation giving the concept of the eventually finished animation these are usually made in black and white. They are used to see is scenes work with the episode to find out if it will go into the final product.
Animation – The final animation especially in TV animation it si done overseas as it is cheaper to do so. Theses take a long time to make it’s usually around 10 months to make a series.
The software used to produce the Animated Series Gravity Falls is Toonz. This animation software is used by countless Large Studios to produce some of the most memorable cartoon series and feature films. This is the lead competitor when it comes to animation suites for studios next to Toon Boom Harmony. Both are great for creating beautifully detailed animations for television broadcast or theater release. What Toonz does is that it allows for workflows involving Paper and Paperless production. Toonz has additional software for line tests and storyboarding, the same as Toon Boom another software by the company.
The studio appears to have a flexible production pipeline that allows them to come up with inventive solutions for each shot. Some of their scenes are puppeted, while others use full animation techniques. Considering how many artists are decrying Flash (now adobe animate) nowadays in favor of other animation programs such as Toon Boom and TVPaint, it’s nice to know that Flash can still be used to create amazing looking animation. The reason people decry Flash these days in favor or Toon Boom or TVPaint is because Flash is a very clunky piece of software that crashes a lot and was never built as a character animation program. It’s essentially web design software being forced to do character animation.
Scooby-Doo! Where are you?
As was the case with all television animation in the late 1960s, “Scooby-Doo, Where Are You!” was created through a process called “limited” or “planned” animation, which was devised a decade earlier by Bill Hanna and Joe Barbera. Unlike full animation, limited animation does not require an entirely new drawing for every frame of film. Only the part of the character that absolutely has to move — say, an arm or head or leg — actually moves, while the rest of the figure remains stationery. This is accomplished by splitting up the character onto different “cels” — sheets of acetate or celluloid onto which the figures are painted and then photographed. The bottom cel may contain the character’s body, while the cel laid over it contains the arm or head, or whatever part is required to move.
Many of the early Hanna-Barbera characters wore neckties or collars so that the separation between the body cels and the head cels would not be apparent, and their faces were often designed to have muzzles so that the mouth could be animated on a separate cel. But in “Scooby-Doo, Where Are You!” none of the characters had that kind of facial separation. The director passes the work onto the animators, who draw the scenes and lip-sync the mouths of the characters to the voice tracks. Today, virtually all television animation use overseas studios, and the style is much less limited than it used to be. The studio for “Shaggy & Scooby Get A Clue!” is Digital eMation, Inc., based in Korea.