For short films, character layouts are often the responsibility of the director. Character layout artists will determine the major poses for the characters in the scene and will make a drawing to indicate each pose. It is here that the background layout artists determine the camera angles, camera paths, lighting, and shading of the scene. Layout begins after the designs are completed and approved by the director. Bar sheets show the relationship between the on-screen action, the dialogue, and the actual musical notation used in the score. If a film is based more strongly in music, a bar sheet may be prepared in addition to or instead of an X-sheet. An exposure sheet (or X-sheet) is created this is a printed table that breaks down the action, dialogue, and sound frame-by-frame as a guide for the animators. Background stylists will do similar work for any settings and locations present in the storyboard, and the art directors and color stylists will determine the art style and color schemes to be used.Ī timing director (who in many cases will be the main director) will take the animatic and analyze exactly what poses, drawings, and lip movements will be needed on what frames. Small statues known as maquettes may be produced so that an animator can see what a character looks like in three dimensions. The model sheets will often include "turnarounds" which show how a character or object looks in three-dimensions along with standardized special poses and expressions so that the artists have a guide to refer to. When storyboards are sent to the design departments, character designers prepare model sheets for any characters and props that appear in the film and these are used to help standardize appearance, poses, and gestures. Some studios, most notably Fleischer Studios, continued to post-synch their cartoons through most of the 1930s, which allowed for the presence of the "muttered ad-libs" present in many Popeye the Sailor and Betty Boop cartoons. In the case of Japanese animation and most pre-1930 sound animated cartoons, the sound was post-synched the soundtrack was recorded after the film elements were finished by watching the film and performing the dialogue, music, and sound effects required. The scratch track used during animation typically contains only the voices, any songs to which characters must sing-along, and temporary musical score tracks the final score and sound effects are added during post-production. A completed cartoon soundtrack will feature music, sound effects, and dialogue performed by voice actors.
Given the slow manner in which traditional animation is produced, it is almost always easier to synchronize animation to a preexisting soundtrack than it is to synchronize a soundtrack to pre-existing animation. Storyboard artists will have regular meetings with the director and may redraw or "re-board" a sequence many times before it meets final approval.īefore animation begins, a preliminary soundtrack or scratch track is recorded so that the animation may be more precisely synchronized to the soundtrack. The images allow the animation team to plan the flow of the plot and the composition of the imagery. A storyboard has an appearance somewhat similar to comic book panels, and is a shot by shot breakdown of the staging, acting and any camera moves that will be present in the film.
Process Writing and storyboarding Īnimation production usually begins after a story is converted into an animation film script, from which a storyboard is derived. 1.6 Traditional ink-and-paint and camera.
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