COMPUTER TECHNOLOGIES (COMTECH) Inc.

CODL UP! Learning Module

1st Quarter
S.Y. 2020-2021

SUBJECT & GRADE LEVEL: 2D Week Number: 5 Email: cyriljseguerrabalboa@gmail.com

Animation
Topic: THE ANIMATION PROCESS Learning Competency: • Teacher: Ms. Cyril-J S. Balboa
1. CG: Producing Cleaned-up and In-betweened
Drawings (CI).
2. TR: Produce traditional cleaned-up key
drawings. TLE_ICTAN912CI-IIa-j-1 CP #: 09533929012

KAMUSTA
Kamusta ka? I hope you are feeling great today! Last week you have
learned. Are ready for our next lesson? Let’s go and let’s learn
together!

The Traditional Animation Process

.

1. Story Sketch.
It is the first and the most important stage. It is also called the film script, but it differs from the live-action film
script as dialog is less important and complicated dialog should be avoided as much as possible. The story sketch should
show characters, attitudes, feelings, entertainment, expressions, type of action, as well as telling the story of what is
happening. The story sketch staff is usually an artist who has a special interest in illustration, design, appearance, and
character. His/her staging influences the layouts that will follow, his/her approach will establish a style for the picture, and
his /her arrangement of the scenes and story value will serve as a guide to the cutting and presentation of the ideas in the
final output.
2. Storyboard.
This is the stage where the director produces the storyboard. A storyboard is a series of drawn images that
graphically portrays the action described in the script. Often, when a director works on the storyboard, deficiencies in the
structure and format of the story are detected and corrected. The director makes the decisions but is aided by his layout
man, supervising animators, and possibly, the story sketch man stand by to quickly make changes when needed. If the
animation takes more than 30 seconds, a “think tank” comprised of all the contributors involved is set up and the story,
content, and ideas are finally polished.
3. Recording. Animation relies totally on perfect synchronization of the picture to the soundtrack, the animator will not be
able to time the action accurately without it. It is very close their eyes and listen to the voice. When the action is in sync
with the music, it is possible to record a simple guide tract to indicate the essential beat and the basic melodies.
4. Track Breakdown.
After the soundtrack has been made, an editor assembled it into the predict working length of the film and then breaks
down the track. A cartoon cutter’s job is concerned with keeping, marking, and storing all of the simplest film with four
tracks: two dialogs, sound effects, and music. The breakdown is a simple process of analyzing the dialog phonetically (by
sound) and documenting the precise position of each sound in relation of the films frames. The assistant director takes the
selected lines after recording and with cutter, splices them together so they will play like a radio script. The bar sheets are
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 COMPUTER TECHNOLOGIES (COMTECH) Inc.
CODL UP! Learning Module
1st Quarter
S.Y. 2020-2021

charts on paper of everything on the reels and on the greys as discussed in the previous lesson. If the bar sheets are
accurate, the assistant director does not have to spend time in the Cutting Room. The cutter will just have to follow what is
in the sheet. However, in reality, it is seldom easy. What works on paper may sound right to the ear, and after trying a little
change and shifting one track to a new location; somehow nothing may seem to fit together anymore. It is a long process
5. Designs.
During the track breakdown, the director selects one or more file designers to produce visual interpretations of all
the characters featured in the film. After approval, each character is drawn from a multitude of angles and placed on a
single sheet of paper, called the model sheet. This will become reference for all animators. Also, the background styling for
all the main sequences in the film is produced.
6. Story Reel.
Under the supervision of the director and using the bar sheets and storyboard, the layout artist proceeds with the
story reel of the whole film. In traditional animation, a Leica reel is produced. A Leica reel or animatic is a filmed storyboard,
which can be projected in synchronization with the final soundtrack. Instead of filming the storyboard drawings, the layout
artist carefully draws each scene to the size at which it will eventually be animated. Also, the layout artist carefully draws
the characterization in the precise style as how the film designer has created. When all scene has been completed, the
director (using the bar sheet timing list) has each shot on film.
During the process, changes both sound and picture are made. This is the beginning of the continuing changes and
they are erased, patched, and revised as the tracks are repaired to match the new drawings that will condense some
actions and expand others. The Leica reel viewing is often the last chance the director has to change the film without
affecting time and money costs on what is normally a tight schedule and budget. The name “Leica reel” is derived from the
German maker of cameras called Leicas, which was used to make filmed storyboards in the early animation days.
7. Line Test.
After the approved Leica reel from the director and producer, the animators finally become involved in the film
and begin to produce a line test of each scene. Line tests are animation drawings produced in pencil on paper, filmed to the
precise timings of the scene, as indicated on the bar sheet. Sometimes, it is necessary to modify the animation several times
in a particular scene if the line test shows that the action is not quite working.
The animator works back and fourth through his/her scene till he/she has made the drawings that control the
movement. He/she might make a drawing for every frame on film depending on the particular action. Usually, the line test
works the first time and the scene can be cut into the Leica reel by the editor and replace the drawings originally produced
by the layout artist. Gradually, as each pencil-animated scene is added, a line test of the whole film becomes available for
viewing and for fine adjustment. Any major changes from this stage onward may changes from this stage onward may
prove extremely damaging to the overall film budget.
8. Clean-up.
This stage is ideal on a major production to have a team of clean-up artist on staff or sometimes called assistant
animator. They take all the animation drawings and clean them up, to give them a consistent style. It is their skill that makes
their pictures look so fine. This is important especially when many animators are working on a same character and there is
an inevitable variation in the look of the character. After the entire cleanup is completed, it is best line test the drawings
again, just to check that no additional mistakes have slipped in,
9. Trace and Point.
After a cleaned-up line test is finally approved, each drawing is transferred to a thin sheet of celluloid or acetate
(acel) and painted in colors of the original design. In the early days, artists carefully traced each drawing required in a varied
range of line techniques. Today, one can quickly photocopy a drawing on a cel or for the cleanup artists and animators to
draw directly on the cel itself, avoiding the pencil stage altogether. Of course, now that computers are readily available,
animation applications can easily do this. After the animated images is on cel, and the reverse side of the drawing, thus
keeping the paint from going over the lines and producing flatter, smoother colors.
10. Backgrounds.
Another team of artist produces the background while the animation is being traced and painted. They are
responsible for everything behind or in front of the moving characters that do not move. Each background artist must be
consistent in producing his/her drawing task as it needs to be identical to the original film design.
11. Checking.

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CODL UP! Learning Module
1st Quarter
S.Y. 2020-2021

After the finished animation cels and backgrounds are completed scene by scene, they are forwarded to the
checker who makes sure that everything is correctly drawn, traced, painted, and prepared for the cameraman who is to
finally film it. The checker must be efficient in examining incomplete or incorrect output produced.
12. Final Shoot.
This is the final stage in the actual filming procedure related to the artwork. After the checker’s approval’ it will be
passed on the to shoot the complete scene.
13. Rushes.
Viewing for possible errors. If any are found, the problem must be identified and rectified, and have the scene reshot. If, on
the other hand, everything is fine, the rushes are cut by the editor into the final film, replacing the existing line test scenes.
14. Dubbing.
This is the process of combining all the soundtracks onto a single track, which will be printed on the film along with
the picture. Dialog, sound effects, and music should be dubbed together without losing any of the special values tat each
has brought to the picture. When the chosen sound effects are laid in perfect synchronization with the action, the editor
and the director will go to the dubbing theater, where the voice track, music and sound effects are all mixed in one
complete soundtrack.
15. Answer Print.
This is the final stage where sound and picture are merged in one piece of a film. It is now ready for viewing as this
serves as the final product. It may be a 30-second animation or longer, the process of the animation should follow certain
structured procedures. If these procedures are carefully followed, then all will be well. In contrast, failure to respect the
guidelines can be very costly in time and money.

Steps in Animating a Scene

1. Envision
Ask yourself, why is this scene in the story? What should I do with this character? How can I best show it? Make
sure that you know exactly what you are going to do before you start. Do not start animating before the idea is worked out.
2. Sketch
Note the ideas by making small sketches or thumbnails of the scene. Check the continuity and be familiar with the
whole sequence so you know how your scene fits in the entire film.
- Carefully plan the camera shot or angles as to which character it should be focused on;
- Plan if the camera shot is a long shot or a close-up;
- Avoid too many scenes; and
- Change angle when it is possible or applicable on the scene.
3. Perspective and Scale
Be sure that the perspective matches the layout. Like if two characters are in a scene, have a good eye
contact if they are looking to each other.
4. Blow up Sketches
Draw your mini sketches on a film scale for line testing. Rough out the key positions of the scene using your mini
sketches as guide.
5. Be Creative
Give life to the action. After the big draft, start focusing on the individual actions, timing, and expressions of each
character.
Animation is a costly procedure in both time and money. If the audience only knew all that is involved in any animated production,
their respect for probably one of the most creative art forms would increase. On a large-scale production team includes a director,
producer, a number of animators and assistant animators, team of in-betweeners, clean-up artists, tracers, painters and renderers,
and special effects artist plus several checkers, editors, and cameramen.

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CODL UP! Learning Module
1st Quarter
S.Y. 2020-2021

Let’s check your progress!

B. Direction: Arrange the following steps in animating a scene. Write the letter of the correct sequence of
steps in animating a scene.
STEPS ANIMATING A SCENE
A. Blow up Sketches Rough out the key positions of the scene using your
mini sketches as guide.
B. Be Creative Give life to the action. After the big draft, start focusing on
the individual actions, timing, and expressions of each character.
C. Sketch Note the ideas by making small sketches or thumbnails of the
scene. Check the continuity and be familiar with the whole sequence so you
know how your scene fits in the entire film.
D. Envision Ask yourself, why is this scene in the story? What should I do
with this character? How can I best show it? Make sure that you know
exactly what you are going to do before you start. Do not start animating
before the idea is worked out.
E. Perspective and Scale Be sure that the perspective matches the layout.
Like if two characters are in a scene, have a good eye contact if they are
looking to each other.

2D Animation 4 | P a g e
 COMPUTER TECHNOLOGIES (COMTECH) Inc.
CODL UP! Learning Module
1st Quarter
S.Y. 2020-2021

GOOD JOB!
STAY SAFE AND HEALTHY ALWAYS 😊
SUBJECT & GRADE LEVEL: 2D Week Number: 5 Email: cyriljseguerrabalboa@gmail.com
Animation
Topic: THE ANIMATION PROCESS Learning Competency: • Teacher: Ms. Cyril-J S. Balboa
1. CG: Producing Cleaned-up and In-betweened
Drawings (CI).
2. TR: Produce traditional cleaned-up key
drawings. TLE_ICTAN912CI-IIa-j-1 CP #: 09533929012

Kamusta ka? I hope you are feeling great today! Last week you have
learned. Are ready for our next lesson? Let’s go and let’s learn

The Traditional Animation Process

Lesson and exercises part

Let’s check your progress!

Assessment Part

2D Animation 5 | P a g e
COMPUTER TECHNOLOGIES (COMTECH) Inc.
CODL UP! Learning Module
1st Quarter
S.Y. 2020-2021

GOOD JOB!
STAY SAFE AND HEALTHY ALWAYS 😊

2D Animation 6 | P a g e