Editing Traditional animation (section)

==Modern process==
===Digital ink and paint===
The current process, termed "digital ink and paint", is the same as traditional ink and paint until after the animation drawings are completed;{{sfn|Laybourne|1998|p=233}} instead of being transferred to cels, the animators' drawings are either [[image scanner|scanned]] into a [[computer]] or drawn directly onto a computer monitor via [[graphics tablet]]s, where they are colored and processed using one or more of a variety of software packages. The resulting drawings are composited in the computer over their respective backgrounds, which have also been scanned into the computer (if not digitally painted), and the computer outputs the final film by either exporting a digital [[video]] file, using a [[Videocassette recorder|video cassette recorder]] or printing to [[film]] using a high-resolution output device. Use of computers allows for easier exchange of artwork between departments, studios, and even countries and continents (for most low-budget US animated productions, the bulk of the animation is [[Outsourcing of animation|done by animators working in other countries]], including [[South Korea]], [[Taiwan]], [[Japan]], [[China]], [[Singapore]], [[Mexico]], [[India]] and the [[Philippines]]). As the cost of both inking and painting new cels for animated films and TV programs, and the repeated usage of older cels for newer animated TV programs and films, increased and the cost of doing the same digitally went down{{Vague|date=February 2024}}, eventually, the digital ink-and-paint process became the standard for animated movies and TV programs.

====Implementation====
[[Hanna-Barbera]] was the first American animation studio to implement a computer animation system for digital ink-and-paint usage.<ref name="digital ink and paint">{{Cite book |last=Jones, Angie. |url=https://www.worldcat.org/oclc/228168598 |title=Thinking animation : bridging the gap between 2D and CG |date=2007 |publisher=Thomson Course Technology |isbn=978-1-59863-260-6 |location=Boston, MA |oclc=228168598}}</ref> Following a commitment to the technology in 1979, computer scientist [[Marc Levoy]] led the Hanna-Barbera Animation Laboratory from 1980 to 1983, developing an ink-and-paint system that was used in roughly a third of Hanna-Barbera's domestic production, starting in 1984 and continuing until replaced with third-party software in 1996.<ref name="digital ink and paint" /><ref>{{Cite web |title=1976 Charles Goodwin Sands Memorial Medal |url=http://graphics.stanford.edu/~levoy/sands_award.html |first1=Marc |last1=Levoy |access-date=2020-08-20 |website=Computer Graphics at Stanford University }}</ref> It was first tested in the ''[[Pac-Man (TV series)|Pac-Man]]'' episodes "Nighty Nightmares" and "The Pac-Mummy". In addition to a cost savings compared to traditional cel painting of 5 to 1, the Hanna-Barbera system also allowed for [[multiplane camera]] effects evident in H-B productions such as ''[[A Pup Named Scooby-Doo]]'' (1988).<ref>{{Cite web |last=Lewell |first=John |date=Mar–Apr 1985 |work=Computer Pictures |title=Behind the Screen at Hanna-Barbera |url=https://excelsior.biosci.ohio-state.edu/~carlson/history/PDFs/hanna-barbera.pdf |archive-url=https://web.archive.org/web/20170703033828/https://excelsior.biosci.ohio-state.edu/~carlson/history/PDFs/hanna-barbera.pdf |archive-date=2017-07-03 |access-date=2020-08-20 }}</ref> The computer files for these projects were not archived and the shows themselves were printed to videotape, making [[Remaster|remastering]] difficult due to their lack of high resolution.<ref name="h206">{{cite web | last=III | first=Randy Miller | title=Hanna-Barbera's Superstars 10: The Complete Film Collection Blu-ray (Yogi's Great Escape / Scooby-Doo Meets the Boo Brothers / The Jetsons Meet the Flintstones / Yogi Bear and the Magical Flight of the Spruce Goose / Top Cat and the Beverly Hills Cats / The Good, the Bad, and Huckleberry Hound / Rockin' with Judy Jetson / Scooby-Doo and the Ghoul School / Scooby-Doo and the Reluctant Werewolf / Yogi and the Invasion of the Space Bears | website=Blu-ray.com | date=February 20, 2024 | url=https://www.blu-ray.com/movies/Hanna-Barberas-Superstars-10-The-Complete-Film-Collection-Blu-ray/353219/ | access-date=June 23, 2024}}</ref>

Digital ink and paint has been in use at [[Walt Disney Animation Studios]] since 1989, where it was used for the final rainbow shot in ''[[The Little Mermaid (1989 film)|The Little Mermaid]]''. All subsequent traditional Disney animated features were digitally inked-and-painted (starting with ''[[The Rescuers Down Under]]'', which was also the first major feature film to entirely use digital ink and paint), using Disney's proprietary [[Computer Animation Production System|CAPS]] (Computer Animation Production System) technology, developed primarily by [[Pixar|Pixar Animation Studios]]. The CAPS system allowed the Disney artists to make use of colored ink-line techniques mostly lost during the xerography era, as well as multiplane effects, blended shading, and easier integration with 3D CGI backgrounds (as in the ballroom sequence in the 1991 film ''[[Beauty and the Beast (1991 film)|Beauty and the Beast]]''), props, and characters.<ref>{{cite journal|journal=Computer Graphics World|last1=Robertson|first1=Barbara|title=Part 7: Movie Retrospective|date=July 2002|volume=25|issue=7|url=https://www.cgw.com/Publications/CGW/2002/Volume-25-Issue-7-July-2002-/Part-7-Movie-Retrospective.aspx|quote=December 1991 Although 3D graphics debuted in earlier Disney animations, Beauty and the Beast is the first in which hand-drawn characters appear in a 3D background. Every frame of the film is scanned, created, or composited within Disney's computer animation production system (CAPS) co-developed with Pixar. (Premiere: (11/91) |url-status=live |archive-url=https://web.archive.org/web/20230327075527/https://www.cgw.com/Publications/CGW/2002/Volume-25-Issue-7-July-2002-/Part-7-Movie-Retrospective.aspx  |archive-date= Mar 27, 2023 }}</ref><ref>{{cite journal|journal=Computer Graphics World|url =https://www.cgw.com/Publications/CGW/2012/Volume-35-Issue-6-Oct-Nov-2012-/Timeline.aspx|title=Timeline|date=Oct–Nov 2012|volume=35|issue=6|quote = DECEMBER 1991: Beauty and the Beast is the first Disney film with hand-drawn characters in a 3D background. Every frame is scanned, created, or composited within CAPS. |first1= Karen |last1=Moltenbrey |url-status=live |archive-url=https://web.archive.org/web/20220929173400/https://www.cgw.com/Publications/CGW/2012/Volume-35-Issue-6-Oct-Nov-2012-/Timeline.aspx |archive-date= Sep 29, 2022 }}</ref> Rival studios in the 1990s also adapted to digipaint processes, using softwares like [[Cambridge Animation Systems|Animo]],<ref name="v430">{{cite web | title=TEN-TON TOON | website=Computer Graphics World | url=https://www.cgw.com/Publications/CGW/1999/Volume-22-Issue-11-November1999-/TEN-TON-TOON.aspx | access-date=June 23, 2024}}</ref> [[USAnimation]],<ref name="t849">{{cite web | title=USAnimation in Action | website=Animation World Network | date=March 6, 2001 | url=https://www.awn.com/animationworld/usanimation-action | access-date=June 23, 2024}}</ref> [[Toonz]],<ref name="w119">{{cite web | last=Amidi | first=Amid |author-link=Amid Amidi | title=Toonz Software Used by Studio Ghibli and 'Futurama' Being Made Free and Open Source | website=Cartoon Brew | date=March 19, 2016 | url=https://www.cartoonbrew.com/tech/toonz-software-used-studio-ghibli-futurama-made-free-open-source-138111.html | access-date=June 23, 2024}}</ref> and [[Pegs'n Co|Pixibox]].<ref name="p021">{{cite web | title=Gallic cartoon software pro-Euro | website=Variety | date=April 25, 1994 | url=https://variety.com/1994/digital/news/gallic-cartoon-software-pro-euro-120473/ | access-date=June 23, 2024}}</ref>

Over time, many studios switched over to digital ink and paint, though many television projects took longer. Many filmmakers and studios did not want to shift to the digital ink-and-paint process because they felt that the digitally colored animation would look too synthetic and would lose the aesthetic appeal of the non-computerized cel for their projects. Many animated television series were still animated in other countries by using the traditionally inked-and-painted cel process as late as 2004, though most of them switched over to the digital process at some point during their run. The last major feature film to use traditional ink and paint was [[Satoshi Kon]]'s ''[[Millennium Actress]]'' (2001); some of the last major animation productions in the west to use the traditional process were [[Nickelodeon]]'s ''[[SpongeBob SquarePants]]'', both [[Fox Broadcasting Company|Fox]]'s ''[[The Simpsons]]'' and ''[[King of the Hill]]'', [[Cartoon Network]]'s ''[[The Powerpuff Girls]]'', ''[[Dexter's Laboratory]]'' and ''[[Ed, Edd n Eddy]]'', the latter of which is also the last cartoon to switch to Digital Ink and Paint in the west, and [[PBS Kids]]' ''[[Dragon Tales]]'', all of which switched to digital paint between 2000 and 2004,<ref>{{cite web|url=http://zepy.momotato.com/2007/08/29/the-last-one-standing-in-japanese-cel-animation/|title=The last one standing in Japanese cel animation |date=August 29, 2007 |publisher=Momotato Daioh |website=Canned Dogs |access-date=1 January 2017 |url-status=usurped |archive-url=https://web.archive.org/web/20120224125250/http://zepy.momotato.com/2007/08/29/the-last-one-standing-in-japanese-cel-animation/ |archive-date= Feb 24, 2012 }}</ref> while the last major animated production overall to abandon cel animation was the television adaptation of ''[[Sazae-san]]'', which remained stalwart with the technique until September 29, 2013, when it switched to fully digital animation on October 6, 2013. Prior to this, the series adopted digital animation solely for its opening credits in 2009, but retained the use of traditional cels for the main content of each episode.<ref>{{Cite web |date=2024-05-12 |title=Sazae-san is Last TV Anime Using Cels, Not Computers |url=https://www.animenewsnetwork.com/news/2007-08-29/sazae-san-is-last-tv-anime-using-cels-not-computers |first1= Egan |last1=Loo |website=Anime News Network |language=en |url-status=live |archive-url=https://web.archive.org/web/20240205212909/https://www.animenewsnetwork.com/news/2007-08-29/sazae-san-is-last-tv-anime-using-cels-not-computers |archive-date= Feb 5, 2024 }}</ref> Minor productions, such as ''[[Hair High]]'' (2004) by [[Bill Plympton]], have used traditional cels long after the introduction of digital techniques. Most studios today use one of a number of other high-end software packages, such as [[Toon Boom#Harmony|Toon Boom Harmony]], [[Toonz]] (OpenToonz), Animo, and [[RETAS]], or even consumer-level applications such as [[Adobe Flash]], [[Toon Boom|Toon Boom Technologies]] and [[TVPaint Animation|TV Paint]].