(White, 33) And it was rightly found in a life form which we encounter daily in our real lives- insects. Rightly, insects possess the shape, form as also the texture that aligns perfectly within the realm of computer technology and the restricted movement was also not a vital challenge to the evolving medium of animation. This started with "A Bug's Life." From then onwards, the Pixar Studio has gone even more into the details of character design which were not believed to be possible till that period, like fantasy monster, fishes and cartoon superheroes. Like the 2D animation prior to that, 3D is yet to defeat the human form in any means in which the characters are able to act in a natural manner and no look like models made of plastic or wooden sculptures in the absence of the life form inside them. (White, 33)

The initial stage of phasing out cell animation was the computerization of coloring and animated motion even though working in two dimensions. Presently, animation is performed with 3D imaging software like Autodesk. Maya developed by Alias Systems Corporation and presently owned by Autodesk that was released in 1998. Computer animation entails modeling, generation of motion, addition of surfaces, and thereafter moving them a series of frames with some aspects of the image verified. It is important to note that animation is not drawn or painted; rather the animators choreograph movements and facial expressions with the software available in each scene. 3D programs move through three dimensions with an intricacy which is impossible in the moving parallel planes in which the foreground moves faster compared to the background under the conventional and 2D animation. In the initial stages heavy camera movements was utilized to display the same, however it lacked ingenuity and it was decided for movement needed by the story instead of the needless display of technical wizardry. The creation of Disney's Bambi carried in a perfect manner as animators attempted to make antlers crawl on a turning head appearance seem realistic. However, the rotation of the antlers through the use of computer CG is comparatively easy and with motion that looks life like. (Collie, 74)

Paradoxically...

On the other hand stop motion goes on as a boutiques animation option with clay animation or popularly known as claymation in which clay or a similarly pliable material like Plasticine is given shape and thereafter animated one frame after another within a small set of construction. It is a labor intensive task but it comes with immediate outcome. Besides, inherent advantages of real life like lighting can be had. It is seen that movies sometimes have 3D shoots for games and DVDs as a constituent of their back-end exploitation. In fact a technical rivalry is there between animation and gaming, like which existed between film and videotape. (Collie, 74)
Productive character animation needs some delving into the structure and functioning of both human and animal physical bodies. In case 3D character is to be applied in interactive settings like game or educational program, it has to be built with a minimum of detail at the same time keeping its form and personality. Creating 3D scenes for film needs an increased level of detail to be fit for viewing the same on a big screen. Whereas videos and pre-rendered game sequences sometimes use a medium resolution such as 640 x 480, films normally use a wide screen format with a higher resolution such as 4096 x 3112. (Cusson; Maffei; Discreet Logic Inc., 11)

References

Belgrave, Tito a. Applying the 12 principles to 3D animation. July, 2003. http://features.cgsociety.org/story_custom.php?story_id=1429

Collie, Craig. The Business of TV Production.

Cambridge University Press. 2007.

Cusson, Roger; Maffei, Pia; Discreet Logic Inc. 3ds Max 7 Fundamentals and Beyond Courseware. Focal Press. 2005.

Desowitz, Bill. Chicken Little & Beyond: Disney Rediscovers its Legacy through 3D

Animation. November, 2005. http://mag.awn.com/?article_no=2684&ltype=Special+Features

White, Tony. Animation from Pencils to Pixels: Classical Techniques for the Digital

Animator. Elsevier. 2006.