Traditional Animations

Each frame of traditional animation—also known as classical animation, cel animation, or hand-drawn animation—is created by hand using an animation technique. Up until the end of the 20th century, when the industry began to move towards computer animation, particularly 3D computer animation, this method dominated cinematic animation.

Writing and storyboarding
After a story is turned into an animation film script, which is then used to create a storyboard, animation production often gets underway. A storyboard is a shot-by-shot analysis of the staging, acting, and any camera movements that will be included in the movie. It looks something like comic book panels. The animation team can plan the narrative's flow and the imagery's composition thanks to the photographs. Storyboard artists may "re-board" (or redraw) a sequence multiple times before receiving final clearance. They will meet with the director on a frequent basis.

Voice recording
In order to better accurately match the animation to the soundtrack, a preliminary soundtrack, sometimes known as a scratch track, is recorded prior to the animation starting. It is nearly always easier to synchronize animation to existing music than it is to synchronize a soundtrack to previously created animation, owing to the comparatively sluggish production process of conventional animation. Voice actors will provide dialogue, sound effects, and music for a finished cartoon soundtrack. The voices, any songs that the characters have to sing along to, and any temporary musical score tracks are usually all on the scratch track used during animation; the final music and sound effects are added during post-production. For Japanese animation and the majority of sound-animated cartoons produced before 1930, sound was post-synchronized; the soundtrack was created by watching the film and creating the necessary dialogue, music, and sound effects after the picture's parts were completed. For the majority of the 1930s, certain animation studios—most notably Fleischer Studios—kept their cartoons post-synchronized, which made it possible for the "muttered ad-libs" that appeared in numerous Popeye the Sailor and Betty Boop cartoons.

Layout, timing, and design
Character designers create model sheets for all characters and props that feature in the movie when storyboards are delivered to the design departments. These sheets are used to help standardize appearance, poses, and motions. In addition to established special poses and expressions, the model sheets frequently include "turnarounds," which depict how a character or object appears in three dimensions, to provide the artists with a reference. Maquettes, or are little statues, are made to show an animator what a character will look like in three dimensions. The art directors and color stylists will choose the color schemes and visual style, and background stylists will perform comparable work for any settings and locales included in the storyboard. 

Using the animatic, a timing director—who is frequently the primary director—will determine precisely which stances, drawings, and lip movements are required for which frames. The action, speech, and sound are broken down frame-by-frame in an exposure sheet, also called an X-sheet, which serves as a guide for the animators. A bar sheet might be created in addition to or instead of an X-sheet for a movie when the music is a major plot point.[2] The relationship between the language, the action on screen, and the actual musical notation utilized in the score is depicted in bar sheets.

Layout begins after the designs are completed and approved by the director. It is here that the background layout artists determine the camera angles, camera paths, lighting, and shading of the scene. Character layout artists will deter

mine the major poses for the characters in the scene and will make a drawing to indicate each pose. For short films, character layouts are often the responsibility of the director. The layout drawings and storyboards are then spliced, along with the audio, and an animatic is formed (not to be confused with its predecessor, the Leica reel).

The backgrounds for each animated sequence will be painted by background painters while the animation is being created. Although some animated productions have included backgrounds created with watercolor or oil paint, these backdrops are typically created with gouache or acrylic paint. The work of color stylists and background layout artists is typically collected into a workbook for the convenience of background artists, who closely monitor it to ensure that the final backdrops are in harmony with the character designs.

Animistic
An animatic or story reel is typically produced prior to the start of full animation, following the recording of the soundtrack. Walt Disney Animation Studios is credited with creating the term "animatic" initially. An animatic usually consists of storyboard images that have been timed and synced with the music. This enables the directors and animators to resolve any writing and timing problems that might arise with the storyboard as it stands. If necessary, the storyboard and music are revised, and until the storyboard satisfies user needs, a new animatic may be made and discussed with the director. Scenes that would be cut from the film cannot be animated if the film is edited during the animatic stage. putting together scenes that will be removed through editing from the finished.