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Animation can be used to inform, educate, advertise and express emotions just as live action can by using the same techniques; such as the use of colour, film language and sound. The NSPCC advert by Russell Brooke on television is a good example of how animation can be more effective than live action. There is no limit to how much a situation or an action can be exaggerated but still remain to be convincing. In the advert if a real child was being thrown around it would be extremely controversial and although it is actually what is going on behind closed doors it would be too much for some people to watch. The animated character is created in a way that portrays the child in a way that will get the message across. This example shows how valuable a tool animation really is, that it is not just a media form to entertain young children. It is also a good vehicle to show that cartoon violence can be used to a positive end.



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On the other hand cartoon violence can be quite aggressive and graphic like the 'Grand Theft Auto' video games series and some Manga features involve a lot of violence and gore but created in a quite realistic way, not suitable for a young audience where as cartoons adapted from Marvel comics such as 'Spiderman' and the 'X-Men' are primarily orientated around fighting but done in a less bloody way. The fight sequences involve a few kicks and punches and a superhuman power is used which doesn't normally inflict much gory, physical damage on the opponent, instead the loser is left with a scratch or two on their face with a trickle of blood oozing from their mouth.



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The fights, realistic as they may be, are not overly graphic, otherwise they would have to be shown after the watershed, but they are descriptive enough to express what is going on within the story. Most important of all is the fact that good always triumphs over evil in these cartoons. This does not justify the fighting but neither does it encourage it. Fisticuffs in a live action feature is always more violent than fighting in cartoons as it involves real people who can get hurt whereas cartoon characters feel nothing, making the fighting seem less realistic than a live action fight sequence.



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The belief that animation is a media form directed mainly at children is not necessarily true, but in some situations this can be used to the advantage of the producers. A good example of this is the recent 'DairyLea' commercials, created in a 3D Stop Motion technique it shows some talking cows encouraging children to eat their product, not just on its own, but with mashed potato. The advert shows that 'DairyLea' can be mixed with other foods and the format is more memorable to children (the talking cows), therefore they are more likely to ask their parents to buy them some. Another good example of animation aimed at children is the 'Green Cross Code' (stop, look and listen).



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This informative commercial shows hedgehogs crossing a road in an animated and musical way, encouraging children to do as they do and they will be safe. This format was chosen so children will remember how to safely cross the road as told by singing hedgehogs-which would not have been possible in real life through a live action format. The advert offers an interesting, memorable alternative to mundane, forgettable, live action instructions.



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Since animation is made popular by children, (for example, the phenomenon of the 'Pokemon' series) there are a number of ways producers can capitalise on the launch and success of a series. The producers see many ways of making more money from a successful cartoon because they know that children will do anything to get their hands on elements of merchandise, for example the 'Pokemon' battle cards. Merchandise does not just stop at playing cards though; there is stationary, cutlery, bags, toys, clothing, books, posters and video games.



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It is this side of animation that results in adults distancing themselves from the genre because of the fact that the cartoon series is blatantly aimed at children and so this is enough to put them off watching. Formerly the animation format adopted a biased approach aimed solely at a younger audience. In the early days animation it was fascinating concept, a drawing that was moving. Since it was a new concept people of all ages took an interest.



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Now the omnipresence of the format through the years that people find it entertaining up to a point in their lives then just stop watching animation as they get older, then when they have kids of their own the viewing process starts again. It is because of this misconception of the format and its association with youngsters that successful attempts have been made to break this mould. Since some adults have an interest in animation specific titles and series' have been aimed at an adult specific audience, these include the '2DTV' series, some 'Manga' titles, Comedy Central's 'South Park', 'The Simpsons', 'Futurama' and the Japanese 'Hen-Tai'. To conclude this point, John Serpentelli writes in an article, that "The connection between children and animation seems simple enough.



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To a child, anything is possible and the same is true for animation." The animation format is also able to inadvertently teach children about the artistic side of animation, as John Serpentelli says, "Since animation is an art form that can involve almost all other art forms and children can directly encounter the art world in an unfiltered manner."



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A recent comeback of 80's animation has shown resurgence in popularity of classics such as 'The Clangers', 'Bagpuss' and 'The Magic Roundabout'. Adults who viewed these animations when they were younger tune in to see these classics of their day, and their children join in. Some adults are required to watch animated videos in the workplace, on issues of safety. Having to watch, follow and understand irritatingly obvious and drab pieces of animation could be enough to put some adults off the format, believing the genre is as bad as the video they had to view.



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This also shows that animation can be as realistic and informative as live action, but simpler to understand, where as on the other hand cartoons aimed at children, however unrealistic, sometimes incorporate a moral or advice at the end of the episode, in an effort to teach the youngsters watching what is right and what is wrong. The reason being for this is that if children see their favourite cartoon character doing something or telling them to do something then they might be encouraged to do as they say. This just shows that if done correctly animations can be as entertaining as they are informative or educational for a range of audiences.



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Within video games the games character which the player controls is brought to life by using animation. The character would be lifeless if it was not animated and so the use of animation is crucial. The incorporation of animation does not stop there as FMV's (Full Motion Videos) are also used to tell a story within a video game. This is a good example of how animation can make the impossible possible; by giving inanimate objects and characters life.



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Animation is a priceless tool for all types of media when the impossible is required to become possible. For example, there are no limits to action or comedy in an animated feature, and animation provides these additional effects in a live action feature, effects that would not be possible to recreate safely or due to the limitations of a human actor. An example of such effects that are used in the movies is in the film 'The Mask' starring Jim Carrey to allow the face of the mask wearer to become very rubbery, distorted and very flexible. Animation allows the actor's face to become very pliable, allowing things to happen to it that are not humanly possible. The animation techniques incorporated within films are normally used in the special effects areas.



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This has been true as far back as movies such as 'Sinbad' where Ray Harryhausen's 3D stop motion monsters were revolutionary in their day and opened up a whole new unchartered area of the world of film. As painstaking as the monsters were to bring to life the end results were astounding and very effective, adding a whole new atmosphere and dynamic to a movie. Examples of the use of this technique in films are: 'Robocop' and the ED-209 machine and the stone gargoyles in the film 'Ghostbusters' to name but two of many. The use of 3D stop motion within a live action movie did not get left behind though in favour of the technologically advanced effects that computer graphics offered. Animation can have a unique manipulative effect on objects as it can turn normally innocent lifeless objects into dark sinister beings In contrast, animation can turn toys into what children want them to be if they could come to life, as for example in Disney's 'Toy Story'. Again here is that element of target audience, depending upon what age group is being targeted animation can be as dark or as cheerful as required.



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In the world today it is becoming increasingly clear how popular and widespread animation has become. The production of an animated feature or series is carried out in an almost identical process to that of a live action feature or series. For instance, both formats need a good story, as this will hold the attention of the audience. The story is then required to be storyboarded, just as a live action feature is. Correct use of film language is essential in both formats whether to create an action, suspense or an emotional sequence. Characters are incredibly important to both formats. The audience need to like, relate to or in the 'bad guys' case, hate them. If the cast lack the attributes then the audience just will not care what happens to the characters, will not feel involved in the feature and lose interest.



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Since a live action feature casts real life and famous actors to attract the audiences, animation is also taking advantage of this element but because the animated features involve computer generated characters, not real life actors it is just as important to give that character a personality, to convince the audience that a computer generated character can have just the same effect on them as a real life star. This is why Disney features are increasingly using big-name Hollywood actors and actresses within them to create believable and likable characters, as well as the fact that recognizable voice talent brings in bigger audiences just as live action films with well known stars attract bigger audiences. An example of this is 'Toy Story' where actors such as Tom Hanks, who provides the voice for 'Woody', have been involved with the feature and this in turn makes the genre more popular as it will encourage more people to see the film if they can recognize a voice or the film is associated with successful and famous actors.



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There are many important similarities in the process of making a live-action feature and producing an animated feature. For example whether the character is animated or is a real person, they both have to convincingly portray emotions, express body language and provide an effective dialogue and realistic expressions. As well as the characters, aspects such as film language are important in both features to allow a situation to be suspenseful, emotional or to create an effective action sequence. As well as the visual aspect, the audio, too, has to be able to convince an audience and to add atmosphere to a scene. These are common similarities between producing an animated feature and making a live action feature. For example there is a much broader scope to what can be achieved in an animated feature over a live action movie, as live action tends to have a realistic edge since the actors are real people and props are real and so on An animated feature can be realistic or unrealistic and the situations and characters are in the hands of the animators. In live action however there are limits to what human actors can do. Also there is no need for stuntmen or stunt doubles in an animated feature, and animated characters are more flexible than real life actors since they don't question working hours and make no wage demands! As technology has shown there could be no need for real actors soon as computer generated characters are becoming more and more realistic, one only needs to view recent animated features such as 'Final Fantasy: The Spirits Within'. Even though the media forms of animation and live actions differ, the bottom line is best said by Professor Nina Martin, "The history of animation is in tandem with live action film. You cannot understand the history of live action narrative film without including animation".



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Despite there being many comparisons between live action film and animation, essentially both are the same, since"...the definition of cinema is rooted in the ability of its basic technology to present a series of representational images (and perhaps sounds) that create the illusion of movement where of course there is nothing but still images flashing at a prescribed speed." An extract from 'The Cinema Book 2nd Edition'. This emphasises the fact that both live action and animated films are created in the same ways but the only difference being the way in which they are expressed, live action as live action and animation as a primarily drawn medium but both forms consist of multiple images to create a sense of movement within the piece. To break this down even further, animation has been described by some critics as "Cinema at its purest" also from 'The Cinema Book 2nd Edition'. "Since animation creates movement where there was never any 'real' motion at the pre-filmic stage".


As more people become aware of how animation can be used and what it can do, it is increasingly being incorporated within live action films. For example it can be used to recreate dangerous stunts without putting anyone's life at risk by using the 'Green Screen' technique, most recently seen it the box office hit film 'Spiderman' where the character is seen swinging high up from building to building, without actually having to in real life. An alternative use of animation is when something impossible for a human actor to do is done via animation, for example in the movie 'The Mask'.


It is not just recently that movie crossovers have become popular. However they were also used in features such as 'Mary Poppins', where the human actors were sharing a world with animated creatures that interacted with each other. Since then films such as 'Who Framed Roger Rabbit', 'Space Jam' and 'Rocky and Bullwinkle' have each used this genre crossover successfully. The purest form of this technique is 'direct on film', where animation is created on film reels, specifically one medium is created on another medium. An extract from 'The Cinema Book 2nd Edition' explains that, "Such animation makes the fullest use of the medium as it foregrounds the entire process of making, projecting, and finally perceiving movement where none ever existed."


The advancements in computer technology have enabled the animation format to go a step further, creating frighteningly realistic films and film effects. Paul Wells shows in an article from 'Art and Animation', "Live action and 'animation' are once more converging in ways that make one indistinguishable from the other, and servicing a new orthodoxy in 'realism' in many feature films like 'Jurassic Park' and 'Twister'." As the genre becomes ever more popular and more widely recognized as 'Disney' is a household name, just as Steven Spielberg is known for making great live action movies, Disney makes great animated features, as well as Warner Brothers, Hanna-Barbera and more recently Matt Groening. As a tool, animation is becoming used more often as it becomes more flexible as animation becomes more technologically advanced and ever more ground-breaking.


Such an example is the use of animation within video games which enables realistic visuals to be used in a computer generated, fictional world. 'The Getaway' on the PlayStation 2 shows how games are becoming more like interactive movies. The setting, London, is a real location recreated in painstaking detail. Vehicles have been created to resemble them in real life and the game uses real actors that have been created to look like their real life counterparts. The actors were motion captured and scripts were recorded, the same processes which an animated feature is produced. They were then used in the game to make the characters more convincing and believable. The game shows how animation can be pushed to its technological limits, proving that animation can be as real or as unrealistic as it needs to be. The game offers such an element of realism that the actors involved have actually been offered roles in popular television shows, for example the Joe Rice who plays the police officer in 'The Getaway' has recently been in 'EastEnders', showing that the live action and animation cross over are becoming more popular. Advancements in computer capability and its technology have enabled animation to have even more uses than ever before, but as Sean Wagstaff says from his Book 'Animation on the Web', "There's no question that the art of 3D has not yet fully evolved, and in the hands of far too many users, it is still a science more than an art."

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This article describes the history of animation in the United States of America since the late 80's until the early twenty-first century. This period is often called the renaissance of American animation, during which many large American entertainment companies reform and reinvigorate its animation department after the decline suffered in the 60, 70 and 80.




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In the mid 80's, the American animation industry fell into disgrace. Toy commercials masquerading as entertainment programs cartoons dominated the evening and the morning of Saturday, and the only experiment was carried out by independent developers. Even animated films were projected in theaters at times, but the glory of the old days was gone. Even the animation giant Disney, which had fought a corporate acquisition in the 80's, was considering abandoning the production of animated feature films.



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Both the enthusiastic audience, critics, and the animators were taken by surprise when the long-awaited renaissance of animation began in the oldest and most conservative corporation, Disney.



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Disney had a drastic change in the 80, its new chief Michael Eisner the company relocated to his feet, returning to its roots and revitalizing their studies. With great fanfare, in 1988 the study worked with Steven Spielberg to produce the animated film Who Framed Roger Rabbit, directed by Robert Zemeckis. The film was a success, and gave to the animation industry awaited push for that time. Roger Rabbit not only earned him a pile of money for Disney, but also sparked the popularity of the classic animation that continues to this day. The history of animation suddenly became an object of study (and their fans). Several directors, business legend, such as Chuck Jones and Friz Freleng were suddenly in the spotlight, being acclaimed after decades of being virtually ignored by audiences and industry professionals.



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Disney continued the success of Who Framed Roger Rabbit? with "The Little Mermaid", the first of a series of animated films that seemed to recapture the magic of the golden age of Walt Disney himself. The studio invested heavily in new technology of computer animation for such purposes, but could do super-productions like "Beauty and the Beast" and "Aladdin," which attracted audiences that were not seen in decades, and Once provided a visual feast that has not been exceeded since the 40. The peak of the hit Disney was in 1994 when his film "The Lion King" exceeded all expectations of the study to become one of the most successful of all time. Even later Disney films as "Pocahontas," "The Hunchback of Notre Dame", "Hercules," "Mulan" and "Tarzan" was blockbusters.



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Disney has also made inroads into the neglected area of the animated TV series. With the success of shows like "The New Adventures of Winnie the Pooh", "The Adventures of the Gummi Bears Disney" and "Duck adventures", the "new" Disney made his mark in TV pictures. Through association and repetition, Disney can provide high quality animation for TV. A series of large diffusion was conducted in mid-nineties, with some critics designating "Gargoyles" as the Disney animation project for TV's most ambitious and best done artistically. The soundtracks of each of these animated films were an important part of its success, because Disney was including in each of these projects a loud voice from the world of music, such as Elton John (The Lion King), Luis Miguel (The Hunchback of Notre Dame), Ricky Martin (Hercules), Christina Aguilera (Mulan), Celine Dion (Beauty and the Beast), Ricardo Montaner (Aladin), Jon Secada (Pocahontas), among others.



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While Disney gave new life to animation, Steven Spielberg was making his own way. Animation amateur life, Spielberg was also interested in making high quality animation, and worked with his rival, Don Bluth animation producer to produce "Fievel and the New World." The box office success of this and Bluth's next film, "In The Land", Hollywood made him realize that Disney did not hold a monopoly on animated features. The other Hollywood studios resumed production of its own animated features, but still falling into the trap of trying to imitate Disney's 1997 film Don Bluth, "Anastasia", produced by Fox, is mentioned as the one launched the Fox Animation Studios and Disney's rival, however, these studies failed to succeed after "Anastasia" and closed in 1999. Like most successful productions of Disney, "Anastasia" was attended by Thalia, who played the central theme of the soundtrack in its versions in Spanish, English and Portuguese.



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Spielberg, meanwhile, switched to TV and worked with animation studio Warner Bros. to produce "The Tiny Toon Adventures," a high quality animated series that paid homage to the great cartoons of Termite Terrace. "The Tiny Toon Adventures" had a good rating thanks to its young viewers, which inspired the Warner Bros to resurrect his dying animation studio and once again a contender in the field of animation. The Tiny Toon Steven Spielberg were continued by presenting "Animaniacs" and "Pinky and the Brain". The latter not only attracted new viewers to Warner Bros., but also captured the attention of viewers adolescents and adults.



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Ralph Bakshi, director of innovative animated films like "Fritz the Cat" and original "Lord of the Rings", returned to animation after making a brief stop in the mid 80's. In 1985, he teamed up with the young Canadian animator John Kricfalusi and the legendary British band "The Rolling Stones" to make an animated music video for "The Harlem Shuffle", which was completed in early 1986. Although the music video did not talk much, he built a production team "Bakshi Animation" project continued with the short-lived but well received, "The New Adventures of Mighty Mouse." Bakshi & Co, worked on numerous projects at the end of the 80, but the biggest project was "Cool World: a blonde between two worlds", which premiered in 1992. The production got out of hand and ended up being severely criticized and forgotten by almost everyone.



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The main reason for increasing the quality of American animation is the ability to outsource the heavy lifting to cheaper animation houses in the South and Southeast Asia gaining a large number of frames at low cost. The script, character design and storyboarding is done in American offices. The storyboard, models and color books are mailed abroad. Sometimes causes problems because no final product can be completed until the frames are mailed to the U.S.. Although budgets have been reduced, foreign productions houses are chosen per episode, or even per scene, depending on the amount of money available at that time. As a result there is a big difference in quality from one episode to another. This is particularly evident in shows like "Gargoyles" and "Batman": The Animated Series where, sometimes, the characters seem completely different from one episode to the dismay of its directors.



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In the 90's came a new wave of animated series whose primary aim was the adults, after an absence in the genre over a decade. In 1989, "The Simpsons," an animated short based on the "The Tracey Ullman Show," became the first animated series in prime time since "The Flintstones" and captivated a large part of the audience. It was the first hit series for the fledgling Fox, caused little sensitivity, entering popular culture and gaining wide acceptance. In 2008, "The Simpsons" seem to show no signs of stopping, and could surpass "Gunsmoke" as the fiction program on the air longer the history of American television. In 2007 have released their first film, titled "The Simpsons: The Movie", dubbed in Spanish and Chinese.



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In 1991, Nickelodeon premiered "The Ren and Stimpy Show," "Ren and Stimpy" was a quirky series run riot violated all the traditional restrictions of correct drawings of Saturday morning and instead favored the quirky style of the short the golden era. Moreover, the series creator, John Kricfalusi, who had worked as an animator during the downturn of Saturday morning, was much influenced by the classic works of Bob Clampett.




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Alongside mainstream animation nineties there was a strange and experimental movement. In a short animation festival in 1989, organized by Craig Decker and Mike Gribble Spike (known as "Spike & Mike") and originally located in San Diego. It all started with the representation of a collection of thematic short, known as the Classic Festival of Animation, in places of business meetings and trade throughout the country.



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The collections were made mostly by Oscar-nominated short, works of students of the Institute of the Arts in California and experimental work of the National Film Board of Canada. The first festival included works by John Lasseter, Nick Park and Mike Judge. Judge's work, "Frog Baseball" marked the first appearance of their franchise characters Beavis and Butthead.


However, the festival gradually became a film program called Spike and Mike's Sick and Twisted Festival of Animation and turned into an underground movement of adult humor and subject matter.



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In 1994, Cartoon Network gave consent to a new series called "Space Ghost" coast to coast with a particular postmodern turn, showed live interviews with celebrities, mixed with cartoon animations original "Space Ghost." The series made the leap with the production of Hanna-Barbera, now owned by Cartoon Network. It was the beginning of a common practice used old Hanna-Barbera characters for new productions, as the surreal "Underwater Laboratory 2021", based on the cartoon short early 70's "Sealab 2020." Also, Harvey Birdman, attorney, on a mediocre superhero, Birdman which was originally the star of Birdman and Galaxy trio had become a lawyer. Its customers, like many of the characters in the series, came completely from old Hanna-Barbera characters.



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In addition to large animation files old and cheap, independent animators also began to benefit from new digital technologies. An artist with sufficient technical skills could explore new styles and forms with much more freedom. The traditional animation skills of drawing and painting had given way to digital manipulation and aggressive use new techniques of animation.



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Along with these new programs, the American audience, particularly in geographic areas influenced by fusion with the cultures of the Pacific coast, began to adopt Japanese cartoon, or anime, 80. This growing market for anime videos satisfy the public child and adolescent, with a large number of Japanese series translated into English. Initially access was limited to videos, but the anime as it became a mainstream found its way into the film department stores throughout the U.S.. As the animation occupies a different place in Japanese culture, including a range of issues not addressed by the American animation.




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"Adult Swim" is a block of animation for adults that is issued at the start of primetime on Cartoon Network, leads the adult industry and has the latest technology in animation. Adult Swim, which originally aired on Sunday night in 2006 was in the air until 5:00 AM, and was broadcast every night except Friday. The series, which is produced exclusively for Adult Swim, as "The Brak Show," "Aqua Teen Hunger Force" and "Tom Goes to the Mayor", tend to be surreal and bizarre, but also considered fresh and original. Adult Swim reissued series "Futurama" and played an important role to avoid the cancellation of "Family Guy". In addition, it also issues numerous popular Anime series such as "FLCL", "Lupin III" and "Inuyasha."


Other drawings for adults


Other TV stations also experimented with animation for adults. MTV has produced several animated series especially for young and adult audiences, "Liquid Television" and "Beavis and Butthead". Even USA Network program found a cult following with his "Duckman show". But the adult animated series of the 90 most successful was "South Park" which premiered in 1996 as a cartoon pirate on the Internet.


The more fast-paced animation and disturbingly clandestine saw the light, the more dominant force in television animation was, led to an increasingly frenetic territory and perhaps eschatological, for example in "The Tick and Duckman."


In 2005, adult animation pioneer Ralph Bakshi said he would work on another film, "The Last Days of Coney Island" which he would finance and produce independently.


The decline of the Saturday Morning


After spending nearly a coma for over two decades, the American animation industry experienced a sudden growth in the 90. Several new studies appeared keen to take risks, and found a large number of markets to sell their talent. Along with the animated TV series, the animation used in television commercials, video games and music videos. The small animation studios challenged "Hanna-Barbera Productions" in the market for TV animation.


In fact, Hanna-Barbera could not compete with the new varieties of animation on the market. During the time that dominated the entire spectrum of pictures of the Saturday morning Hanna-Barbera had virtually no competition, causing a deterioration in the quality of its series. In the 90's, the study could only offer fried as "A Pup Named Scooby-Doo" and "Tom and Jerry Kids Show" to compete with "Fox Kids" and the new "WB Television Network" from Warner Bros. Hanna-Barbera stayed behind and found himself completely bought by Turner Broadcasting.


Hanna-Barbera not only had problems adapting to the changes that are spread all over the TV. The "Big Three" networks (ABC, NBC and CBS) found its loyal audience being eroded by competition from new channels, including new strains of "Cable TV" as Nickelodeon, Disney Channel and Cartoon Network. Video games and movies available on video also helped change the market, to the point that for a time gave NBC cartoons altogether. The ABC was bought by Disney, and Disney turned the grill on Saturday in a series of Disney animated productions.


While the series animated in large networks seemed mediocre, the cable television cartoon achieved several successes. Nickelodeon did see light cult hits like "Doug," "Rugrats," "Ren and Stimpy," "Rocko's Modern Life," "SpongeBob," "Invader Zim" and "The Fairly OddParents." Meanwhile, a new owner of Hanna-Barbera, Time Warner, the study focused on the creation of new drawings for the Cartoon Network. Hanna-Barbera was an influx of fresh blood and a new generation of drawings of Hanna-Barbera cartoon was born as "Dexter's Laboratory," "Johnny Bravo", "Cow and Chicken", "Powerpuff Girls" and " Courage the Cowardly Dog. "


Still, each new piece of animation was not a gold mine. The Disney animated films began to suffer in quality to late 1990, after the producer Jeff Katzenberg left the studio and team up with Steven Spielberg and David Geffen to form DreamWorks. Also, several animated films were released in the 90 trying to imitate the success of Disney, but as in the Years 1930 and 1940, the animations of 20th Century Fox and Warner Bros could not catch a considerable market segment Disney movies that had been dominant. In particular, Warner Bros, had a string of failures "Cats Do not Dance", "The Magic Sword" and "The Iron Giant" (the latter being praised by critics and audiences, but virtually being ignored by most the public) died at the box office. Warner Bros. also tried to recreate the success of "Roger Rabbit" to "Space Jam", an attempt to combine the popularity of Bugs Bunny with basketball superstar Michael Jordan.


In addition, the market trend of children continued during the 90's, almost as ubiquitous as a decade earlier. Two major events dominated toy many children's programs in the afternoons of the weekend: "Mighty Morphin Power Rangers" in the mid-90 and "Pokemon" from the latter half of the 90's to mid Years 2000. Until the animation suffered another revival in the 2000s, a great deal (and many dollars spent) continued to spend on merchandising.


The growth of computer animation


Yet another wild card is added to this crowded and competitive atmosphere with the emergence of a new wave of "Computer Animation". The decade of the 90 experienced an exponential improvement in the use of computers to enhance animated sequences and special effects. This new form of entertainment soon dominated the world of special effects in Hollywood (the film "Terminator 2": "The Judgement" and "Jurassic Park" included impressive computer-animated sequences), and was only a matter of time to find a film produced entirely with computers.


Once again it was Disney who led this area. Disney animators had introduced computer-generated sequences gently in his movies, as in early 1991 in "Beauty and the Beast." A computer-generated magic carpet played a significant role in "Aladdin." In 1995, Disney produced with Pixar "Toy Story", the first completely computer generated film. The film was a huge success and created a new movement, other studies investigated produce their own computer-animated films (CGI).


Perhaps because it first developed as a new method of creating special effects, computer animation was not seen as a form of "children's entertainment." After decades as related but separate industries, the line between animation and special effects are eliminated by the popularization of computer special effects, to the extent that the use of computers in Hollywood movies has become a natural. The best special effects are often so subtle they go completely unnoticed. The winner of the Oscar for best special effects with "Forrest Gump" (1994) relied heavily on computer special effects to create the illusion of realism, to the extent that the actor Tom Hanks was seen shaking hands with U.S. President John Fitzgerald Kennedy. The movie "Titanic" used computer graphics to bring each scene in three hours, which produced a level of realism that helped the film itself to become the biggest movie box office tax collection so far.


The computer animation has also made forays into television. The series of Saturday morning "ReBoot" gained much popularity among adults, this was the first of many CGI series like "Beast Wars," "War Planets" and "Roughnecks". The quality of computer animation has improved considerably with each new series. Many non-animated TV series (especially science fiction "Babylon 5") invested heavily in CGI production, producing special effects of a higher quality of its predecessors could dream at a relatively low cost.


Other studies with Disney tried their luck with computer-animated films and discovered their weaknesses to the monopoly that was putting animated Disney box office successes. While DreamWorks with "Antz" and "Small Soldiers" paled in comparison with the productions of Disney-Pixar's "Bug" and "Toy Story 2", finally got a big hit numbers with "Shrek" in 2001. "Shrek" was a huge box office success, attracting the public on the production and mastering summer of that year, "Atlantis". Even 20th Century Fox pulled the oil when it conducted a CGI animated film in early 2002 entitled "Ice Age". Not all studies were successful at the box office with computer animation, Paramount with "The Adventures of Jimmy Neutron: Boy Genius" released in 2001 they did so well at the box office, but received a nomination from the Academy and later found success with the television series based on the film which was awarded the following year.


But the real star of the CGI revolution seemed to be Pixar. Even before "Toy Story" The study made a name producing amazing animation shorts (his short "Tin Toy" won an Oscar) and when Disney tried to create a CGI film on its own without Pixar ("Dinosaur") the result was notably disastrous.


Despite this success, the computer animation continues to rely on characters drawn and stylized. In 2001, living first attempt to create a world completely animated using "human actors" digital "Final Fantasy: The Spirits Within," which found a moderate critical acclaim but did good box office.


The CGI special effects increased to such an extent that in 2002 science fiction film "Star Wars Episode II: Attack of the Clones" was considered by its director, George Lucas, as the first animated film that used real actors. In fact, the CGI effects have become so common that it is difficult to distinguish computer-animated real life. A growing number of films begin using completely computer created characters interact on screen with real parts, as Jar Binks in "Star Wars Episode I: The Phantom Menace" Gollum in "Lord of the Rings: The Two Towers" and the main character in "Hulk." While computer-generated characters have become acceptable actors, fully animated movies with virtual actors seem to lack a few years.


Disney seemed ready to lead the decline in hand-drawn animation, despite the box office success of "Lilo & Stitch", the failure of its hyped summer "Treasure Planet" seemed to assure that there would be further reductions in the study of Disney animation. The loss was most damaging to Disney in 2002 when the Oscar for Best Animated Film went to the artist (by hand) by Hayao Miyazaki, "Spirited Away" Disney inflicting a second defeat followed the Academy Awards.


Disney settled all their desks and Dreamworks Animation also announced it would abandon the traditional drawn animation and focus exclusively on computer-generated productions from 2003 onwards. While frame traditional animation is likely to remain supported by the TV cartoon and TV ads in the near future. The schools of animation history believe that "the era of classic American design," which began with the Walt Disney film "Snow White" is about to end. Others disagree, pointing a moderate success of traditionally animated film "Brother Bear" and the fact that Pixar has announced it will produce traditional animation films in their own attempt to revive this art form.


In 2004, he premiered the movie "Sky Captain" and "The world of tomorrow." Note that the entire film was shot against a blue screen with the background completely computer generated and all were real actors. Robert Zemeckis film "Polar Express" starring Tom Hanks with five characters is done entirely with CGI animation, but uses motion capture technology to animate the characters.


In July 2005, Disney announced it would close their studies in Australia in 2006. That study, responsible for video sequels like "The Lion King III" was the last bastion of hand-Disney artists. However in 2006, Pixar creative chief John Lasseter, told Time magazine that could restore traditional animation unit of Disney, saying that "of all studies should be doing 2-D animation, it should be Disney."


In December 2009, the last great animated film that has gathered huge profits at the box office is "Avatar" from 20th Century Fox, directed by James Cameron, has received high praise for the quality of special effects are really impressive.


Animation Awards


The animation has become so widely accepted that at the beginning of the XXI Century (2001), the Academy of Motion Picture Arts and Sciences introduced the Oscar for best animated film. The two main rivals for the first year of this award were two CGI films: "Shrek" from DreamWorks and "Monsters Inc." Disney-Pixar. The award was for "Shrek." However, there were complaints that the award seemed to be geared more toward family movies to animated films, "The Adventures of Jimmy Neutron: Boy Genius" was the third nominee, not the innovative and critically acclaimed adult film "Waking Life" or visually innovative "Final Fantasy: The Spirits Within." Hayao Miyazaki's critically acclaimed "Spirited Away" won in 2002 and the Disney-Pixar film "Finding Nemo" received the award in 2003.


The Annie Awards were presented at the Los Angeles branch of the International Animation Society (Association international du film d'animation or ASIFA), known as ASIFA-Hollywood, the month of February competing animation for film and TV.

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One of the biggest concerns for lawyers when embarking on a forensic animation is whether or not they will be admitted into a court of law. There have been several cases where an animation was rejected by a court due to it being highly prejudicial or inaccurate in its display of events, however today, it is quite rare to hear about an animation which has not been accepted in court. This raises the possibility that either courts have become more accepting of animations or more forensic animators are adhering to the admissibility guidelines for demonstrative evidence (or both).



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Below is a set of questions that an attorney should ask about the preparation of a forensic animation. These questions should always be addressed when opting to enter a forensic animation as demonstrative evidence. Failing to adhere to one or more of these rules may not immediately mean an animation will be rejected, however it does increase the likelihood that the animation will be thrown out or the weight of evidence will be respectively applied.



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1. How is the forensic animation relevant to the case?
Relevance is a key factor to getting a forensic animation entered into a court of law. There should be a clear objective for the animation as it can help to drive home a key point or demonstrate the timing of an event that could otherwise be difficult to do in words alone. Often, it is important to get a witness to testify that the animation is a good representation of what occurred or in the case of an expert witness, that the animation can better communicate the written testimony/report of the expert witness.



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2. Who actually prepared the forensic animation? Is the evidence produced from a reliable source?
A forensic animation may be prepared by one person or several persons in a company. In every case, it is imperative to understand the qualifications of those who actually created the animation. Today, it is still very common to have a dedicated forensic animator who may or may not work in direct contact with the expert witness. In each case, the role of the expert witness in preparing and reviewing the animation should be confirmed in order to establish authenticity.




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The software, process and methods used to create the forensic animation should be discussed. Depending on what is being demonstrated, there could be experimental or new techniques used which may not be verifiable.



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3. Does the forensic animations' probative value outweigh the risk of prejudice? Does it aid the trier of fact in the search for truth?
One must always consider the impact that an animation may have on the jury. For example, many times, the events leading up to a traffic collision are the most important to understand. The subsequent impact and following events are a result of what happened prior to impact. Therefore, it is often only necessary to demonstrate the events leading up to impact. It may not be necessary to show how vehicle occupants were injured since it may not be a point of dispute.



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Of course, there are different approaches in the legal community as to the level of graphic detail that is necessary in a forensic animation. Sometimes it is a result of being the prosecution or defense and what will prompt the "best" response from a jury. However, the best advice is to stick to the facts and do not be overzealous in the display of gore and special effects. Having a realistic forensic animation that is visually appealing is certainly acceptable, however, "hyper-real" graphics are not.



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Also, when presenting a forensic animation in court, there should not be any sound or editorial comments other than the usual titles and descriptors.



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4. What was used as the basis of the animation and how can it be verified for accuracy? Did someone check the data? Was the data entered correctly?
The accuracy of a forensic animation is critical since inaccuracies can lead to the animation being inadmissible in court. There should be substantial data for the placement and position of objects in a scene. For example, if a crime had taken place in a room, there should be sufficient data available to recreate the room as a 3D model to the same dimensions, scale and environment. This may be based on photos, total station measurement data, witness testimony or subsequent visits to the scene.



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Verification of the forensic animation data is also very important to establishing accuracy. The animator should be able to prove that the animation is based on data, reports and testimony provided to him. Also, the supplied data should be independently admissible. The forensic animation should be shown to be in agreement with witness or expert witness testimony. In many cases, the witness or expert witness is required to be a vital part of the verification process. There is very little room for the animator to be creative and "add" his own interpretation of events as this leads to inaccuracies and inconsistencies.




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5. Has the animation been prepared in time to allow for adequate disclosure?
The other side needs an opportunity to evaluate the forensic animation and respond accordingly. And although it may seem obvious, the animation must be completed prior to trial. Ensure that the animator has ample time to prepare, verify and then package the animation such that it can be served in advance of the due date. Edits, changes, different scenarios and additional work need to be taken into consideration for the delivery.



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As more forensic animations make their way into the courtroom, it may cause some to take liberties with the admissibility guidelines. In fact, the pendulum seems to have swung the other way and there have been a variety of animations that often push the limits of these guidelines.



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Each case has its own set of conditions and there may be cases where the guidelines are bent. Nonetheless, a strong case also needs strong evidence that adheres to some of the fundamental principles of demonstrative evidence.



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Eugene Liscio is the owner of AI2- 3D Animations which specializes in forensic animations for litigation support.



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AI2 actively promotes the use of Forensic Animations, 3D Virtual Models, photogrammetry and other visual strategies for the courtroom.



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Eugene is a registered engineer in the province of Ontario, Canada.



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Article Source: http://EzineArticles.com/1386029

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