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Mechanical distortions of movement

The motion in the film is an optical illusion of a lenticular lens. Today's cameras record motion at twenty-four frames, or images per second. That is, there are twenty-four independent still images that are photographed every second. When the film is shown on a cinema projector at the same speed (these static photographic images are mixed in the human eye simultaneously), it gives us the illusion of movement, a phenomenon known in cinema as (continuity of the spectrum). By manipulating the timing of the automatic device in a camera or projector, the film-maker can distort the "natural" motion on the screen. Even since the beginning of the century, Milliers was conducting experiments on different types of filming with tricks, and although most of these experiments were nothing but tricks and clever acrobatics, the directors who came after him used these discoveries with great artistic results. There are five distortions. The first type is animation, the second is to speed up the movement, the third is to slow down the movement, the fourth is to reverse the direction of the movement, and the fifth is to freeze the movement. basic than

There are two main differences between animation techniques They are sketches of when and how to film the live action acted out by actors). In animation clips, each frame is filmed separately, not continuously, at twenty-four frames per second. The other difference is that animation, as the meaning of the expression implies, does not usually include depictions of subjects moving by themselves. Illustrated topics in general. or static materials. Thus, in the animated film, we find thousands of frames depicted separately, and each frame differs from its neighbor to an infinite degree in its smallness. A sequential clip of these frames is displayed at a speed of twenty-four frames per second, so the illusion that results is that the drawings or objects are moving, hence the term animation.

The common factor in both the animated film and the regular film of the live event is in the process of using the camera and the filming process. Animation is related to the graphic arts (etchings (for example) while regular films are related to regular theater. But in both cases the camera plays the role of mediator between the subject and the audience. But even animated films have different points of emphasis. Many of Walt Disney's feature films, for example On the other hand, we find that some of the excellent animated films by Canadian director Norman McLaren and the Yugoslav school of Zagreb are almost impressionistic paintings. abstract

on celluloid.

One of the common misconceptions about animated films is that they are intended primarily for children's entertainment, perhaps because this field was for many years under the control of Walt Disney. Television also published naive animated films designed specifically for children. Movies have the same capacity as live-action movies. The works of Disney and the Muppet films of the Czech director Jerry Turnka appeal to both adults and children. Possibly some great Yugoslav animated films One of the films that adults respond to in the first place. There are also some cartoons rated (X) that are forbidden to those under the age of eighteen, most notably Ralph Bakshi's films (Cat Fritz) prepared on the cartoon character created by Robert (Cramp), as well as the movie (Traffic Jam) (3- ( 28) Some of the calculator-animated films are John and James and Tiny, which are so complex that they are spinning in the head and will probably not attract children, as are Jordan Nelson's obscure and semi-abstract films.

Another common mistake about animated movies is that they are easier to make than live-action movies. The opposite is usually the case. for every second of Screen Time Twenty-four separate graphics are filmed, although most animators use one animation for every two frames. Thus, in a long film of ninety minutes, we find more than the 648,000 drawings normally necessary. In addition, some film animators use transparent plastic sheets (called a “cell”), which he places on top of each other in order to give us depth in his drawings. Some of these frameworks contain three or four layers of cells. Needless to say, most animated films are short for this very reason, which is that it is very difficult to produce all the necessary graphics for a feature film The assembly known in mass production, using dozens of animators who draw thousands of independent frames, the animated film about beetles known as Yellow Submarine, was drawn by different artists, although the general direction was taken by Canadian director George Danisk and designer Heinz Edelmann (293).

Animated films may technically be just as complex as live-action films. The same technical techniques can be used in both forms of filmmaking such as follow-up shots, zooms, angles, different lenses, editing, progressive interlacing, etc. The only difference is that film animators mostly draw these elements into their images, although camera movement is also possible in animation.