Traditional Animation: The Return

[wwfpooh]

Yes, exactly! It's because it's on a different layer than the background, which is obviously stationary. With computer colouring you can't tell anymore, which isn't quite as fun.

The upside is that computer coloring makes it all the more realistic.

 

[Sgt Floyd]

I never did like it when shows made the switch from hand to computer. It seems like it just looses the quality. I dunno, thats just me.

 

[frogboy4]

Computer painting of traditionally drawn animation cancels-out the original production cel market too. There's something about owning an actual piece of film history like that (in stead of a limited edition reproduction).

I get why hand drawn animation is now colored on the computer. While some spark is lost, but some shine is gained. It's interesting to note when the Simpsons and other programs made the change over to computer painting. I suppose my taste for it depends upon the world and style of a particular project.

By the way - the new Batman: Gotham Knight DVD movie coming out this July? It supposedly has several different stories in different animated styles kind of like the Animatrix.

 

[Ilikemuppets]

Yeah! I mis that Ruff animation style that Klasky Csupo did in the early days of the Simpsons. But I think the style of the charters has it's benefits now days too.

 

[Drtooth]

I'm with Sgt Floyd... they're just something special about cell animation. Like how in the old 80's cartoons you can tell if something is going to move, like a landslide or something because of the colour of it as opposed to the rest of the background. *giggles*

There's a marked difference between theatrical animation and made for TV animation. They have more time with the film, higher budget, etc. Plus, they only have to show it once to make a fortune. A TV show has to air anywhere from 13 to 65 episodes a year, less budget, and shorter deadlines.

And let me stress this about the film....

No matter what kind of animation they use, it does NOT automatically mean it will be a great script or plot. As I said before, you can have beautiful animation, but when you have a lame plot and script, it don't mean a thing.

Look at Bullwinkle. The animation was terrible (unless they used the Hollywood studio. I thought that had some good looking limited animation for the times), but the plots were so funny, the voice actors were so terrific, it just didn't matter.

 

[Ilikemuppets]

There's a marked difference between theatrical animation and made for TV animation. They have more time with the film, higher budget, etc. Plus, they only have to show it once to make a fortune. A TV show has to air anywhere from 13 to 65 episodes a year, less budget, and shorter deadlines.

Yeah, makes me miss the resurgence of Disney television animation in the eighties. It was like the best of eveything.

 

[wwfpooh]

Look at Bullwinkle. The animation was terrible (unless they used the Hollywood studio. I thought that had some good looking limited animation for the times), but the plots were so funny, the voice actors were so terrific, it just didn't matter.

Same for the similarly-done Underdog. The fact that Shoeshine Boy was the Clark Kent to Underdog's Superman (with Sweet Polly Purebread being the Lois Lane & Simon Bar Sinister being the Lex Luthor) didn't matter to fans, because the campy style made the show "humble and loveable" BEFORE the corporate suits at the Mouse House wrapped their hands around the franchise and basically put Underdog down, to to speak.

 

[wiley207]

Yep. From Mary Poppins, to The Jungle Book, to my user-namesake...the Shermans rock.

I remember the Shermans also scored for the 1972 Peanuts film "Snoopy Come Home." I enjoyed their "At the Beach," "Do You Remember Me," and "Gettin' It Together." But I wasn't really fond of "Fundamental Friend Dependability," mainly because of the psychotic little girl singing it. Was she the precursor to Elmyra Duff?

And I am not too big on Randy Newman, either. I DID like "You've Got a Friend in Me" and "Strange Things" and "When She Loved Me," and I liked his "Toy Story 2" score, but that's about it. I hope Disney gets their act together and re-hires Alan Menkin to do the scores. I LOVED his "Little Mermaid" and "Beauty and the Beast" music scores.

I also heard that Pixar is planning on a Disney-esque fairy tale movie in the near future, "The Bear and the Bow." If they can pull it off without the typical Pixar humor (or worse, doing DreamWorks-style humor!), then it might be good. And I saw a trailer for "Wall-E." It looks rather promising, especially coming after the dull "Ratatouille."
*an audience boos loudly, and tomatoes go hurling into my face!*

 

[wwfpooh]

I remember the Shermans also scored for the 1972 Peanuts film "Snoopy Come Home."

They also scored for the animated, 1970's version of Charlotte's Web.

 

[Drtooth]

Same for the similarly-done Underdog. The fact that Shoeshine Boy was the Clark Kent to Underdog's Superman (with Sweet Polly Purebread being the Lois Lane & Simon Bar Sinister being the Lex Luthor) didn't matter to fans, because the campy style made the show "humble and loveable" BEFORE the corporate suits at the Mouse House wrapped their hands around the franchise and basically put Underdog down, to to speak.

By then, the Mexican studio had enough time to develope, perfect itself, and even get good equiptment. The first episodes of Bullwinkle had abhorent animation. Of course, the studio had abhorent conditions when it opened up.

But I guess it was better they outsourced the animation to Mexico, and not the Japanese firm they were going to go with. They didn't even HAVE a studio yet, and planned on using the money from Jay Ward's contract to build the studio.