rotoscoping


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ro·to·scop·ing

 (rō′tə-skō′pĭng)
n.
1. An animation technique in which frames or cels are traced from a live-action movie.
2. The technique of converting a live-action movie into one that appears to be drawn or painted using a computer algorithm.

[After the Rotoscope, a device for tracing from live-action movies invented in 1915 by Max Fleischer (1883-1972), American animator.]
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References in periodicals archive ?
an artist rotoscoping every frame) or requires a studio environment with a green screen for real-time background removal (a technique referred to as chroma keying).
Creating complex shapes in Avid Media Composer, rotoscoping in half the time and creating automated garbage masks for witness protection are now all available in Mocha inside the Continuum and Sapphire suites.
Enter MTV, who aired a unique, experimental music video for the song that featured lead singer Morten Harket, combining animation and reality through the technique of rotoscoping to bring to life the romantic story of a woman who falls in love with a handsome comic book hero, leaving his comic book to enter our world and be with her.
Additionally, Edwards avoiding using green screens and opted to do a lot more Rotoscoping, which involved shooting actors on location and later swapping out the physical items instead of shooting everything against a flat screen.
He has released three short films so far, two of which fall under the rotoscoping animation genre.
Produced with rotoscoping, "Manang Biring" is a rare animated film produced in the Philippines and the first animated feature from the country to screen at Annecy.
Rotoscoping means that motions and live-action images, previously traced by ink and paint, are now sketched by software (10).
Mocha has become the industry standard for motion tracking and rotoscoping but does the new version live up to its reputation, investigates Alistair Rankine
Rotoscoping is an animation technique, to display the successive frames of a scene.
Rotoscoping is a technique whereby you can create smooth and polished cartoon animation by tracing over video footage.
The second section of the work addresses subjects such as color correction and keying, Rotoscoping and paint, camera effects and optics, and HDR, and a final set of chapters explores creative examples such as light improvements, changing scene backgrounds, and environments and the addition of explosions and pyrotechnics.
In films such as Gulls and Buoys (1972), Fuji (1974), and TZ (1978), he made incomparable new use of the tired-out and nearly forgotten animation technique of rotoscoping, using felt-tip markers to trace the successive contours of movements caught in film footage.