1. Stop Motion Animation

It is a style where physically the animators manipulate objects, which makes it look like these objects are moving by themselves. So an exact sequence is played back, generating an image of movement and action.

2. 2D Animation

This is the traditional way of drawing for animation. Its function is to produce storyboards, backgrounds and characters in an environment of two dimensions. Now due to computers, it is mostly done on software. But earlier, everything was hand drawn. Though 3D is on the rise, 2D is still in demand.

3. 3D Animation

This is a revolutionary technique. In this style, objects appear in three dimensions. They have the ability to move and rotate. 3D animation is used in feature and short films, television commercials, brand or corporate videos, etc.

4. Mechanical Animation

This is utilised to show assemblies, modus-operandi and configuration of mechanical products. Explaining the functions of machines using this style of animation makes it easier to understand.

5. Cutout Animation

This animation is a form of stop motion. They move paper cutouts under the lens to tell a story. But with innovations in the industry, computers can now easily cut and animate images.

6. Animatronics

This is a robotic animation. This idea belonged to Walt Disney Imagineering, which they created to welcome guests at their theme parks. Many companies later began using this style of animation for their brand’s purposes.

7. Whiteboard Animation

It is also known as an explainer video. Due to its minimalistic design, it allows your audience to keep his/her focus on what is being shown on the screen without getting distracted by the visual effects. In this animation, a story will be told using a whiteboard to the audience using drawings. It is good for an educational purpose.

8. Clay Animation

A kind of stop motion were pieces of clay are used to form various characters. Here water based or oil based clay are used. It is a time-consuming process. That is why clay animated movies are much shorter than other animated ones.

9. Rotoscope Animation

In this technique, the footage is software-traced using the rotoscoping tool. It’s an early animation style. This equipment was developed by Max Fleisher, a Polish-American. Although computers create this animation now, it is still known by its previous name.

10. Typography Animation

In this style, there is both motion and text. This is used in cinematography during the title scene of the movie. If creating font faces is what you like, then this could be your favourite animation style.

At Magic Elements Studios, we are on a mission of making this world a better place, one film at a time.

We are proud to announce the launch of a new logo as part of the ongoing evolution of our brand. With the new vision to be the foremost Indian animation house that develops ideas from script, through to finished piece.
We continue working with advertising and digital agencies, as well as direct with brands, entrepreneurs and companies. We love working on anything that moves with character- TV commercials, brand idents, web banner ads, online explainer videos. We have the facility to produce it all- from concept to delivery.

And we also produce our own short films.

Producing any Commercial, TV Show or Movie is like building a house. There are many elements to design! And in order for the house to stand, all the elements need to work together.

Every house needs blueprints before it can be build and blueprints are the architect’s vision. You can tell someone what kind of house you want, but everyone will see it differently in their head. What kind of floors you want? what are the doors? Where do you want the bathrooms? There are a thousand details of building a home, that needs to be detailed in order to get the construction crew know what to do.

Storyboards are the blueprints of any production, and the director is the architect.

Where do we put the camera? How much of the set are we seeing? What do you want the special effects to do? Which door do they go through? The Storyboards answers these questions so everyone knows what they need to do.

Every department relies on storyboards to prepared for their of the production. Budgeting and scheduling of many scenes are completely dependent on storyboards. A Script may describe what may seemed like a simple action. But the director’s vision may be bigger than what has been described on the page.

For example: a mere two-three lines of script can turn into a huge action sequence. There is no way the production department can plan without a storyboard to work from. Once that scene is storyboarded the art director then knows what needs to be designed. The set crew will know what needs to be build and dressed! The props crew will know what they need to purchased and rig, and the wardrobe department would know whether they need extras of certain outfits or to rig for tearaways! The stunt crew would need what they need to get prepared for ! The Special effects crew know what to expect and can provide the producer an estimate of both time and cost. And the camera crew could of course could know what equipment they need for the shots.

During the process of storyboarding, the story artist would know how the director and the crew-heads plan to accomplished the various elements of the production. And the notes on the storyboards needs to contain details to share it with the entire crew. Once the production team has all the information from various departments, they can finalized a production schedule and a budget. And none of this is possible without completely planning the stunts, special effects and hard to achieved shots with the storyboards.

A single problem on the set could easily costs the production thousands of rupees an hour or over and a good storyboard can save any production from many of these potential problems. STORYBOARDS CAN SAVE THE PRODUCTION MUCH MORE THAN THEY COST.

To sum up there more efficient storyboards are the more efficient the storyboards will be! They are a guarantee against the crores of investment put in to any production. And for getting just that you can get a quote from us here.

The omnipresent question every animation wannabe faces.

In all Practicality…..

The job assurance which the institutions gives is again depends upon the quota they get from the studios requirements. These institutions impose this quota on the students who are categorized as per the quota list. Unfortunately not according to the students aspirations, molding them into mere production making workers in this creative industry.

You’ll be wasting a lot of money as well time as most of them dictate what is better for you. Rather than what you like the best even if you are not good at it, learning is always an option.

You better back off from doing any course at such a place.

The artist is reduced to a piece of frustration, after all the years of toiling hard to excel and gathering accolades from peers and mentors he now has to face this bit of reality. We can simply start blaming that the client has no appreciation for art, has no taste, etc, etc. While all of this is true, we also have to bear with the fact that we still have to come face to face and confront this situation and stop ranting about it.

However irritating this might be we need to widen our scope of thinking for our own sake, if not for art. After all we Artists can create art at any given time which we know from deep below has the subtlety, fundamentals and more over one which you enjoyed doing.

As human beings, we live in a story all of the time. Story is as natural and essential to us as breathing. We all have stories to tell, but telling our personal stories on a daily basis and constructing a story from scratch are two very different things. Usually when we tell stories on a daily basis, we are relating events to one or two other people. On the other hand, when constructing story, we are trying to communicate with a mass audience. When we tell stories to a friend it is because it’s important to us or to them. We are connected and moved emotionally because it is personal. When we construct story, we are moving not just an individual, but an audience. The goal then becomes to make the personal universal.

But what is a Story?
As Karl Iglesias put it “A story has someone who wants something badly and is having trouble getting it”.
The above determines three elements: character, character goal, and conflict. Without these elements, any story cannot exist.
1. Character: The Hero, whom the story is about and through whose eyes the story is told.
2. Goal: This is the physical object the hero wants to obtain: the princess, the
treasure, the girl, the recognition, and so on.
3. Conflict: Conflict is what is between the character and his goal. There are three forms
of conflict:
• Character vs. Character
• Character vs. Environment
• Character vs. Self
Conflicts create problems, obstacles, and dilemmas that place the hero in some form of danger, either physically, mentally or spiritually. This means that there will be something at stake for the hero if they do not overcome the conflict.

Then there are Linear and Non Linear Stories.

An artist of great significance and impeccable integrity.

An artist of the 1950s Progressive movement, who veered away to find his own expression of abstraction. An artist so deeply distrustful of labels that he refused to title his artworks. An artist who said he thought of paintings in terms of music….”i hear colors.”

A son who snapped ties with his family and never looked back. Piecing together the life of India’s foremost abstract artist….and now the most expensive, after his jewel-like painting, an abstract landscape sold for Rs. 23.7 crore (USD 3.7 million) at Christie’s first auction in India last month. the highest price an Indian painting has fetched….brings one up against many walls of silences and accounts of connections lost. long before the art market began to realise his worth, Gaitonde had shut out the world, preferring the life of a recluse.

Much like his art, the life of Vasudeo Gaitonde, India’s foremost abstract artist, is an Enigma to those unable to see beyond the obvious.