ANIMATION GLOSSARY

Terms and phrases used in animation

Sourced from: POAMAT (Principles of Animated Motion and Timing) CD, 1999

Griffith Film School

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Griffith Film School Animation Glossary

Animatic
This is a film that is basically the photography of a storyboard, which usually
includes camera movements such as trucks, pans, zooms etc. In most cases the
backgrounds, dialogue, and sounds are included. An animatic is used to
demonstrate in abbreviated form the expected look of a finished animation.

Animation movements
An old term describing the mathematical tables of figures guiding the mechanical
counters on the rostrum camera. Virtually redundant now due to the use of
computer controls.

Anime
The French word for animation, but is now a term that is widely recognized to
mean Japanese animation.

Anticipation
A preliminary action taken by a character or object that precedes and
emphasizes the main action in an animation.

Appeal
One of the key ingredients in a successful animation production is character
appeal. This means creating characters whose appearance and personality
generate audience interest.

Arcs
A principle of animation whereby an action is plotted or guided along a curved
line.

Armature
A skeletal supporting frame of wire, metal rods, balls and other materials used in
stop-motion animation. The frame usually supports other materials of cloth,
wood, rubber foam or modeling clay for the puppets used in the animation.

Assistant animator
A person (or position in an animation studio) who is usually attached to an
animator to carry out breakdown drawings, in-betweening, or clean-up duties.
Occasionally used as another term for in-betweener.

Background
1. A layer in cell animation that is usually the bottom most, upon which all other
layers are placed.
2. The rear walls, apparatus, and props in stop-motion animation.

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Breakdown drawing
Usually a drawing at the mid point between two key drawings which is used as a
guide for in-betweens.

Camera chart
A chart with a number of vertical columns used to organize the animation timing,
shooting and layering order of animation drawings, as well as the camera
movements. (Another name for exposure sheets, dope sheets, and x-sheets).

Caricature
Used for humorous effect a caricature is a representation of a person, usually a
drawing, which exaggerates their characteristic traits, zeroing in on the details
which make an individual recognizable.

Cell
The abbreviated form for celluloid, a transparent sheet of acetate, serving as a
support or overlay for animation drawings. Animated drawings are usually
created on the front of the cell and then painted on the reverse side.

Cell animation
A method of animation production using transparent cells on which a character or
object is painted. Because cells are transparent, an animated scene can contain
one or more cell levels.

Cell level
A number assigned to each of the separate layers of cell which are stacked on
top of each other when being photographed in cell animation.

CG animation
Computer Generated animation, a term which can be variously used to describe
the use of a computer in the creation and/or post production of an animation.
(see 'CGI')

CGI
Computer Generated Images are images that are created entirely by computer.
Most often associated with 3-D computer images, it also includes 2-D images
that are drawn directly into the computer.

Character
A person (or animal) represented in an animation or film. Created by a character
designer during the production process, a character is a reflection of the
personality traits and physical characteristics it displays in the animation script.

Cinematic
Pertaining to the cinema, and the art or business of making films.

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Clean-ups
The process of making finished layout and animation drawings from roughs, and
cleaning dirt and excess ink from cells.

Contrapposto
A visual arts term, contrapposto is the asymmetrical arrangement of the human
figure with the shoulders, hips, and legs in different planes (ie. the chest and
shoulders being turned at an angle to the trunk). Devised by the Greeks and
utilized by artists such as Donatello in the Renaissance, it helps to create a
feeling of dynamism in a character.

Cushioning
This is the settling of a character or object into its final resting pose after it has
performed some kind of action.

Cut-outs
Are paper or cardboard cut-outs of characters or objects that are then animated
directly under the camera as seen in stop-mo animation.

Cycle
A sequence of drawings of a character s movements that can be repeated or
cycled to create an on-going movement, as in walk sequence.

Dialogue
The lines spoken by the characters in an animation, which are the
prerecorded voices of actors performing the animation film script.

Dissolve
This is a camera effect where one image disappears or dissolves into the next. It
is created by superimposing a fade-out over a fade-in. As with most camera
effects, it can be simulated in computer animation software. Sometimes called a
'mix'.

Dope sheet
See 'camera chart'

Drag
This is related to the weight of a character or object and the forces of gravity that
affect it. Large characters and objects will have more drag than a lighter
character, and this needs to be accounted for when animating their movements.

Ease-in / ease-out
The motion performed at the start or finish of an action, where a character or
object moves gradually up to full speed, and slows down gradually to the end of
an action. This animation principle is also known as taper-in/taper-out or slow-
in/slow-out.

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Exaggeration
The distortion of a character, usually in its movement or facial expression, used
in animation to create extra emphasis and impact.

Experimental animation
Animation that is produced to explore the possibilities of a particular medium,
(especially one that has not been used extensively in animation previously)
rather than for entertainment or commercial purposes.

Exposure sheet
See 'camera chart'

Expression
The communication, via a character, of mood, emotion, intention etc.

Fade in (F.I.)
The gradual exposing of film during the shooting of an animated film, where an
image or scene starts with an unexposed frame (black) and over a number of
frames becomes fully exposed. This process can be simulated with computer
animation software.

Fade out (F.O.)

The reversal of the fade in procedure, a fade out starts with the full exposure of
an image or scene, and over a number of frames the film is less exposed until it
is completely unexposed and the image appears to be black.

Field, camera
The area being filmed by the animation camera at any given time. Field sizes
may vary from a 1-field to a 22-field, with the numbers referring to the width of
the field in inches.

Field guide
A sheet of cell or paper which is marked with the various camera field sizes. It is
used as a guide by animators and camera operators to position characters and
artwork correctly within the camera field area.

Flipbook
A small book containing an image on each page which, when flipped, gives the
illusion of character motion as seen in other animation techniques.

Follow-through
In animation, follow-through is a secondary action which occurs after a primary
action. For instance, a dog screeches to a halt (primary action) and his ears
continue the forward movement (secondary action) before settling into their final
position.

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Fps
Frames Per Second, which is a frame rate measurement.

Frame
One independent image or exposure on a videotape or reel of film.

Frame rate
The rate at which video or motion picture film captures and plays back
independent frames or images each second.

Full animation
Is the process of animating an object or character with the maximum number of
drawings per second (usually twelve to twenty-four). It also implies that a
character is not broken up into separate levels, where various parts of its body
can be independently animated as it is in limited animation.

GUI
Graphical User Interface. This is the series of menus or icons in a computer
program which assist the computer user to operate the program.

HDTV
High Definition Television sets are designed for the display of video output from a
computer. Standard televisions are not designed to handle a computer s digital
signals, so video that is output to these must be converted to analogue signals
first. HDTV is designed for digital signals, so no conversion to analogue is
required.

Hold
A hold means using a single drawing for a number of frames of film. This can
occur when a character ceases moving momentarily, so the same image is re-
shot until the character begins moving again. (See also 'moving hold')

In-between
In-betweens are the fill-in drawings that are placed between the key drawings
and breakdown drawings.

In-betweener
A person (or position in an animation studio) who completes the in-between
drawings.

Key
A position within an action which usually marks the point at which a character s
movement starts, stops or changes direction. It is sometimes known as an
extreme position.

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Key drawing
A drawing, usually created by an animator, of a key position in a movement. The
drawings between the key drawings are the in-betweens.

Layout
The design or arrangement of a scene. Background, characters, and overlays
are shown in their correct sizes on separate cell levels, and camera movements
are usually indicated.

Leica reel
A reel of film composed of pencil tests, completed segments, sketches, and
roughs at various stages of production. This gives the animation director an
indication of how the film is developing. (Sometimes used in the same way as an
animatic)

Light box
A drawing board consisting of a translucent plastic or glass drawing surface
which is lit from underneath, enabling the tracing of drawings. For animation, the
translucent portion is in the shape of a disc, which can be rotated, and has peg
bars attached for registering animation paper.

Limited animation
The process of breaking a character up into separate levels so that only the body
parts which are performing a movement need to be animated.

Line-of-action
An imaginary line, running through the centre of a character, which indicates the
figure’s direction or thrust, even when standing still.

Line-test
A preliminary test of an animator s roughs, captured by a film camera and then
output to film or computer. This film is then viewed (usually by the director), and
any errors in the animation can be identified and corrected prior to clean-up and
final filming. (Same as 'pencil-test')

Lip-synch
The synchronization of lip movements in a character to the dialogue provided by
the voice actor.

Manga
The Japanese word for comic book, and also the name of a major distributor of
Japanese animation or anime as it is commonly known.

Mix
1. The combination of various soundtracks into a single track.
2. Another term for a dissolve).

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Model sheet
A reference sheet of a character s physical structure, features, clothing and
other pertinent information. This is used as a guide by animators and assistants
to ensure that the form of the character remains consistent throughout the
animation production.

Modelling clay
A generic term for oil-based clay that is used in the production of clay animation,
(a form of stop-mo animation). It is easily shaped, doesn’t dry out under hot film
lights, stores well, and comes in a variety of colors. (refer to 'Plastilino', 'Sculpy')

Motion blur
A blurring effect seen around fast moving objects in photographs. This effect is
sometimes replicated in cell animation on fast movements to indicate the speed
of the movement, and to prevent strobing from occurring.

Motion capture
This is a computer controlled method of capturing live action into a computer.
The motion data is usually applied to 3D computer animated characters.

Moving hold
A term used mostly in computer animation, a moving hold occurs when a
character or object is essentially at a pause in an action but moves very slightly.

NTSC
National Television Standards Committee, which adopted a standard video frame
rate of 30 fps. This is the standard adopted in the United States and Japan.

Off-model
A term used to describe character drawings that have deviated from the example
character shown on the model sheet.

On-model
A term used to describe character drawings that have remained consistent with
the example character provided on the model sheet.

Overlay (cell)
A cell level that may contain an object or prop that is placed on top of the
background and character levels.

Overshooting
This is an animated action deliberately used when an object or character,
'overshoots' a mark and then settles into the final position. A character, for
example, may be quickly pointing with a finger. The character's finger springs out
further than the final position (overshoots) and then cushions into a hold.

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Pacing
The timing of the passage between one pose or action to the next, with sudden
changes in pace creating the most excitement in an audience.

PAL
Phase Alternating Line, a video standard that specifies a video frame rate of 25
fps. This is the standard adopted in Australia and much of Europe.

Pan
During the animation filming process, a pan is the horizontal or vertical
movement of the animation stand compound bearing the animation artwork. It is
also the shortened version of the film term 'panorama', meaning a camera sweep
across a given area.

Peg-bar
A metal or plastic bar on the camera stand and on the animators' light boxes
which holds the registration pegs.

Pegs
Fixed metal pins on animators' light boxes and on the camera stand compound to
which the animation artwork is held in registration.

Pencil-test
The North American term for line test.

Persistence of vision
A human physiological phenomenon which allows us to perceive the illusion of
movement when viewing motion picture film. This phenomenon occurs because
an image that is flashed at the eye is retained in the brain momentarily after the
eye has viewed it.

Phenakistoscope
Invented in 1832 by Frenchman Joseph Plateau, the phenakistoscope is a
spinning wheel that bears a series of drawn images and viewing slits that frame
the viewer's vision of the drawings. As the disc is spun, animated movement is
perceived by sighting through the viewing slits.

Pixilation
This is a technique of animating people, similar to stop-mo animation. A camera
photographs a person in a stationary pose, and before the next exposure is
taken, the subject moves into a new pose.

Pose-to-pose
One of two main approaches to producing animation, the other being straight-
ahead animation. In pose-to pose, the animation is completed by creating a
series of key poses, and then drawing the in-betweens between the keys.

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Praxinoscope
Invented around 1892 by Frenchman Emile Reynaud, the praxinoscope contains
a series of mirrors which spin in the centre of a revolving drum. As the drum
turns, a band of images painted inside the drum are reflected in the mirrors,
creating the illusion of animated movement.

Principles of animation
A set of proven rules, techniques, and guidelines that, when followed, provide an
effective foundation in the production of successful animation. Some important
animation principles are stretch and squash, line of action, and anticipation.

Registration
The positioning of animated drawings or cells, background, and overlays on the
registration pegs on the light box or camera stand compound.

Replacement animation
The separate animatable items used in object, cell, or computer animation.
These items, as part of a set, are individually removed and replaced frame by
frame to create the illusion of animation. For example, various mouth shapes can
be replaced with each other on a character's head to create lip-sync.

Rostrum
This is a camera stand used in the filming of animation. At its most basic, the
rostrum should contain a compound (platform) with registration pegs for holding
the artwork in place, a column mount for a camera, and lights to illuminate the
artwork.

Rostrum camera
A motion picture camera with single-frame and reverse capabilities for animation
work. It can be mounted on columns and suspended directly over the artwork to
be filmed, enabling the camera to move vertically in relation to the artwork.

Roughs
A 'rough' drawing made by the animator or other artist in the studio, which, after
line testing, is cleaned up by the clean-up artist prior to inking and painting and
final filming.

Scratch film
An animation technique used extensively by Norman McLaren of the National
Film Board of Canada. It involves scratching off areas of unexposed film or black
film leader to create a series of images. When the film is projected, the images
appear to be moving.

Sculpey
This is a widely-used brand of animation modelling clay.

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Secondary action
A secondary action occurs after a primary action. For instance, a dog screeches
to a halt (primary action) and his ears continue the forward movement
(secondary action) before settling into their final position.

Shooting
The process of frame-by-frame filming of an animation sequence.

Shoot-on-twos
This animation filming procedure involves the shooting of two frames of film for
each image or pose.

Silhouette
1. The clearly shaped pose of a character that reads easily for the audience.
2. An animation technique used widely by Lotte Reiniger in the early part of this
century. It involves the use of cut-outs of figures and scenery from black card,
which is usually back-lit, creating a silhouette effect. The figures are then
animated frame-by-frame as in stop-mo animation.

Special effects
Any effect that is achieved through methods other than conventional animation
techniques. Special effects are often used to render rain, snow, lightning, waves,
wind, etc, and may involve the use of a computer or other device.

Staging
This is the presentation and display of the action taking place in an animation or
film. Effective staging requires that figures are positioned and perform in such a
way as to be easily 'read' by an audience. Charlie Chaplin was a master of this.

Stop-mo
Short for stop motion, this method of animation requires that a pose be
maintained while the camera takes the required amount of exposures. Before the
next exposures are taken, the pose is changed. This method can be used to
animate people, clay, cut-outs, or other objects. (See also 'modeling clay')

Storyboard
Introduced by Walt Disney, the storyboard is a series of consecutive drawings
representing key images and scenes from an animated film production. These
images, along with captions of dialogue and sound, are displayed on a board
where they can be observed by members of the production crew, assisting them
in the on-going planning and development of the film.

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Straight-ahead animation
One of two main approaches to producing animation, the other being pose-to-
pose animation. In the straight-ahead method, the animation is completed by
drawing a starting pose, and drawing each consecutive frame of movement until
the end pose is reached.

Stretch and squash

An important principle in animation that allows for distortion of a character's
structure, but does not change the volume of the character. Stretch and squash
will usually occur when there is an impact of some kind, such as a character or
object landing on the ground.

Strobing
This is an uncontrolled 'jumping' or 'jittering' effect that can occur in animation. It
is most often detected when a character has been moved some distance from its
previous position so that no overlapping of positions occurs. This is difficult to
avoid when a character is moving quickly or when filming more than two frames
for each drawing. For this reason, motion blur may be used to avoid the strobing
effect.

Take, the
The cartoon take is used to indicate a character reaction of surprise or shock.
This usually involves some distortion or stretch and squash of a character as it
anticipates the take, launches into the extreme position, then settles into a
resting pose.

Taper in/taper out

This is the motion performed at the start or finish of an action, where a character
or object moves gradually up to full speed, and slows down gradually to the end
of an action. This animation principle is also known as 'ease-in/ease-out' or 'slow-
in/slow-out'.

Tempo
The pacing of the overall action in the animation.

Thaumatrope
A simple optical toy developed in the early nineteenth century. It comprises of a
disc with an image painted on either side. String attached to the right and left
sides of the disc is held between the thumb and forefinger of each hand. When
the string is twirled, the images appear superimposed on each other because of
the phenomenon of persistence of vision.

Tilt
Is a movement of the animation artwork on the rostrum camera compound. To
create, for example, a shaky effect of the artwork to indicate an explosion, the
compound can be tilted or moved in various directions during the filming process.

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Timing
In animation, timing is the amount of change in position between one drawing (or
pose) and the next. Small changes in position create a slower motion, while
larger changes create the illusion of fast movement.

Truck-in / truck-out ( T.I. / T.O. )

These are camera movements. A truck-in makes a character or object
progressively larger (a close-up) as the camera moves closer to the artwork with
each frame captured. A truck-out works the opposite way, making a character
progressively smaller as the camera gradually moves away from the artwork.
(See 'Zoom')

Turnaround
1. A series of drawings of a character on a model sheet, which demonstrates
views of the character from all sides.
2. The length of time it takes to complete an animation project from the go-ahead
to delivery.

Twinning (twins)
This is an undesirable symmetry that occurs in animation when, for example,
characters of similar size and appearance are placed together in a scene. If they
strike similar poses, a twinning effect occurs. It also occurs when a character's
limbs are drawn in similar positions. Variety of pose and position is required in
these cases to create more effective staging.

Underlay (cells)
These are objects or background features that may need to be moved or
animated at some point in a scene. They are painted on cel and placed on a level
underneath the character animation and overlays.

Weight
For more effective animation, the weight of the character or object being
animated must be accounted for. Larger characters have more drag and will
move more slowly and land more heavily than a smaller character.

X-sheet
See 'camera chart'.

Zoetrope
Invented around 1860 by Frenchman Pierre Devignes, the zoetrope is a
revolving drum which contains a series of images on paper that are placed inside
the drum. Around the outside of the drum are evenly spaced viewing slits. By
looking through these slits as the drum spins, the viewer is able to catch
glimpses of the images, which appear to be moving.

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Zoom
Technically, this is a camera lens operation (zoom in / zoom out) where the
camera remains stationary but the field of view changes. This is opposed to a
camera truck where the camera's lens angle remains the same but the camera
itself moves. Occasionally used to describe a camera movement that is a fast
truck-in or truck-out.

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