Similar to Art Shift, but instead of styles blending it's the blending of animation/filming techniques used to tell a story.
This can come in a lot of flavors like live-action in cartoons, animated segment, or animation warping.
Live-action in cartoons is pretty straightforward; it just means there's a filmed part in a cartoon with live actors. An animated segment is the exact opposite, where a live-action show or movie gets a part that's given some traditional 2D, 3D, or stop-motion part. Animation warping technically keeps an animated show animated, but with a different style than the norm, like traditional 2D animation into 3D. It's probably easier to just list them all as Medium Blending for the moment, as some examples can get tricky with multiple different varieties.
This is the exact opposite of how traditional special effects are used. Instead of supplementing a medium with material of a different source that is meant to blend in, this is meant to stand out. Proper examples of Medium Blending make it blatantly obvious it is different, and it sticks out on purpose.
This can happen with a dose of Medium Awareness sometimes, as well.
See also Animated Credits Opening, Roger Rabbit Effect and Sudden Videogame Moment. Compare Conspicuous CG and Sprite/Polygon Mix.
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A UK Beck's commercial featured a stop-motion character, a string puppet, a hand-drawn character and a real human being all performing the same simplistic dance with the slogan "only ever four steps".
There's a whole live-action sequence used in the credits in which Haruko's yellow Vespa moped is seen riding itself around a city. (It actually belonged to character designer Yoshiyuki Sadamoto.)
There also two short scenes in which the animation reverts to manga.
And a shift to South Park-style cutouts when Amarao gets a haircut.
Amaro's eyebrows aren't drawn like everything else, they're made by scanning processed seaweed and digitally adding them to his face.
The End Of Evangelion features bits and pieces of live-action where the camera is supposed to follow around real versions of some of the characters around a city, but it just ends up being broken up without much narrative to it. That is because the actual narrative was cut. There's a Director's Cut version where you can see the live-action section in all its melodramatic glory. Apparently, Asuka lives with Toji, Rei is a normal Office Girl who's possibly sleeping with her boss, and so on.
In the Gainax Ending to the series, some of the photos shown as Shinji's self-hate is discussed are also live-action.
Desert Punk has a bizarre live-action opening wherein some guy cosplaying as the title character cavorts about a sandy landscape with apparent glee.
The opening sequence of Puni Puni Poemi features Poemi's seiyuu Yumiko Kobayashi singing along to the opening song, dancing, and running along the beach, intercut with animated scenes.
The Gravitation television series begins its first episode with a live-action sequence following the main character as he runs somewhere. It lasts for only about ten seconds before switching to the anime version of the scene, and is never used again.
Kare Kano is notable for this. One episode showed everyone as puppets.
The last episode also has Panty and Stocking's ultimate attack: the live-action lower half of a women (possibly their mother) wearing lingerie coming down through the clouds to stomp Corset to death. Unlike the ghost explosions, this was shown together with the animation, which a DVD extra shows was quite difficult to produce.
Dinosaur War Aizenborg was a collaboration between Tsuburaya Productions and Sunrise, utilizing both anime and suitmations/models. Same goes for Dinosaur Squadron Bornfree.
The Venus Wars animated movie has a few outdoor landscape scenes where the landscape is actual live action landscape with the animated characters driving through it.
Lilpri has the second opening and ending themes. Both feature the live action idol group the show is based on.
In K, the show's preview clips had quite an impact for their art, most notably the different mediums. There's the traditional stop-motion anime style for characters and objects in the foreground, but there are also live-action segments for some backgrounds and certain motion sequences. The styles blend in a strangely appropriate way and are conducive to the somewhat ephemeral and uncanny premise of the show.
Cool World is kind of the poor man's perverted Roger Rabbit, which featured a cartoon character who wanted to become real and succeeded by having sex with a real person to do it.
The Pagemaster is all about a real boy who got seemingly trapped in an animated storybook world where he not only experiences common fantasy elements of childrens' stories, but has GENRES follow him around in the embodiment of living books.
Mary Poppins has the main characters interact with animated characters inside Bert's paintings.
Pete's Dragon has the Dragon animated while the rest of the movie is live-action.
The Phantom Tollbooth begins as real-life footage, then switches entirely to an animated movie, only returning to real life all the way at the end.
Shinya Ohira's anime sequence in Kill Bill Vol. 1, that details the violent Back Story of O-Ren Ishii.
Horton Hears a Who!! shifts from CGI to Dr. Seuss-style cel animation when Horton imagines the people living on the speck, and then to Animesque (or, more accurately, Teen Titans-esque) when Horton imagines that he's a heroic ninja.
WALL•E is another variation. The videos we see of humanity's past are in straight live-action. The future humans of the Axiom, obese and with barely any bone mass due to a completely sedentary lifestyle, are CGI.
It's also worth noting that the CGI used in the above scene is of lesser quality than the 1998 film. Take that as you will.
The film version of James and the Giant Peach starts out as live action, then switches to stop-motion when James goes inside the peach. It returns to live action in the end, with only the bug characters done in stop-motion. Furthermore, there are hand-drawn effects animation, and a Dream Sequence done in cut-out animation.
Song of the South has the animated segments for "Brer Rabbit Runs Away", "The Tar Baby", "Brer Rabbit's Laughing place", and the end of the film.
Bedknobs and Broomsticks involves the lead witch characterthe youngest of the little kids transporting the main characters into a cartoon fantasy world where they were still live-action. The effects in this film won the Oscar that year for Special Visial Effects.
The Happiness of the Katakuris is a live-action film that switches to claymation during at least one action sequence.
In 9 to 5, Lily Tomlin, Jane Fonda and Dolly Parton get stoned and fantasize about killing their boss. All three fit the Art Shift trope, as the fantasies are filmed in distinctly different styles from the rest of the movie, but Lily Tomlin's features adorable animated wildlife surrounding her in the office kitchen as she poisons his coffee.
In Waltz with Bashir, the majority of the film is in two-tone, dreamlike animation until the protagonist remembers encountering a procession of women lamenting their slain husbands and children. At that point, the film switches to real footage of the aftermath of the Sabra and Shatila massacre, making it all too real for both the protagonist and the audience.
An unusual example in the French movie The Brain (Le Cerveau, 1969). The eponymous Brain (played by David Niven) is exposing to his henchmen his plan for a future train heist... with the projection of a short animated film, starring himself. The real heist go much less smoothly that the one shown in animation, of course.
In the film of the musical for Reefer Madness, there was an animated sequence where Jimmy sings about how special his brownie is.
The very first case of a movie blending live action with CGI is, of course, Disney's TRON. Note that, given the limitation of computers at the time, a good part of said animation was still hand-drawn or hand-colored.
The Kick-Ass movie references its origins by integrating some comic book aesthetics. There are occasional caption boxes on the screen saying stuff like "Meanwhile..." and Macready's backstory is told entirely in drawings, which is framed as a character reading a comic-book adaptation of the tale.
Dinosaur, Disney's first non-Pixar CGI-animated film, actually used CGI for mostly characters and props, and live action for the backgrounds (though with some CGI objects added).
Ghatothkach is usually in 2D but some musical numbers in the movie is rendered with CGI.
Monty Python and the Holy Grail, just like Flying Circus, has a few segments animated by Terry Gilliam. Sometimes the animated elements interact with the live action, as with God or the Legendary Black Beast of Aaaaarrrrrrggghhh.
In Jean-Jacques Annaud's The Bear, after the bear cub eats some dubious mushrooms, the ensuing Mushroom Samba is a Dream Sequence in stop-motion animation.
Happy Feet is mostly CGI, but near the end, live-action humans are superimposed into the scenes.
The animated Raggedy Ann & Andy: A Musical Adventure (1977) includes a live-action wraparound featuring Marcella.
Dreamworks Animation's upcoming Me and My Shadow puts CGI and hand-drawn animation together, with handdrawn animation representing shadows and their realm.
The Disney animated film Treasure Planet, in the same vein as other animated works at the start of the new millenium such as Titan A.E. and Atlantis: The Lost Empire, utilized both traditional and computer generated animation in almost equal measure to truly impressive effect. While nearly all of these movies bombed at the box office, few would argue it was due to their animation not looking nice enough. What made Treasure Planet particularly remarkable was that the character of Cyborg John Silver had all his cybernetic parts like his leg, arm, and eye, rendered in CG while the rest of him was traditionally animated. The end result is nothing short of breathtaking. Sadly, due to the collapse of the theatrical hand drawn animation market that took place soon thereafter, the concept of blending pure CG with hand drawn animation never really had a proper chance to prove itself.
The Yatterman live-action film turns animated for a little while, oddly referencing another anime series and not itself: Tonzura's dream is a parody of Tiger Mask and one of his most famous fights, the one against Mr. NO (renamed Mr. YES for the occasion).
1958 Czechoslovakian film The Fabulous World of Jules Verne (original title Vynález zkázy—A Deadly Invention) based on Facing the Flag and actively borrowing from other works of Jules Verne. It often put live actors in the same shot with hand-drawn objects in the style of 19th century engravings. The film looks a lot like contemporary illustrations to Verne's books. Hugo Award nominee for Best Dramatic Presentation in 1962.
At the end of Princess the deceased protagonist can be seen on a beach with his sister and niece in live action.
Live Action TV
Monty Python's Flying Circus roughly alternates between animated and live segments. On average, there's probably more continuity between adjacent segments when they're of different media than when they're not.
Life On Mars has a claymation sequence where Sam and Gene appear in the '70s children's show Camberwick Green.
In an episode of Red Dwarf, the characters were temporarily done in Claymation-style.
This also happened in an episode of My Name Is Earl, where Randy accidentally took a hallucinogenic substance and started seeing everybody in claymation style.
This was also done a lot in episodes of Big Bad Beetleborgs. Most nobably the some of transformation sequences from the first season and Metalix. Also done whenever Flabber brings one of Art Fortune's drawings to life.
The Farscape episode "Revenging Angel" not only has several Warner Bros.-esque full animation sequences, it also mixes animated characters with live action (e.g. the Genie-like morphing Aeryn). Thanks to Crichton having a semi-lucid dream while in a coma, and Scorpius is not amused at being turned into a Looney Toon with anvils dropped on his head.
House season 6 episode 3, "Epic Fail", has a 3D-video-games designer as Patient of the Week, and thus features several sequences animated in full CGI. Notably a Deep-Immersion Gaming moment between Thirteen and Taub, with their in-game avatars seen discussing the diagnostic while blasting monsters. Later, the patient also hallucinates the decors and characters of his game supplanting the hospital and staff, respectively.
In the Fringe episode "Lysergic Acid Diethylamide", Walter, Peter and William Bell enter Olivia's mind. The world switches from live-action to a rotoscoped, cel-shaded cartoon as soon as Walter and Peter reunite with William Bell.
One episode of Home Improvement has a dream sequence done in stop-motion with wooden figures.
In the That '70s Show episode "Afterglow", the scene in the circle is animated in the style of 70's Scooby-Doo after Fez says that he wishes that he was like Scooby-Doo.
Zoboomafoo is typically a live-action wildlife show, however, the segments where Zoboo describes his adventures in Zobooland are stop-motion animated with clay models, and the "Who Could It Be" segments are in hand-drawn animation.
Played with a few times in 30 Rock. Every once in awhile, we'll see the world through the eyes of various characters, with Kenneth seeing everyone as a happy puppet. He also appeared as a puppet in a HD camera, playing with his overly happy to an inhuman level attitude.
One episode of Warehouse 13 had rotoscoped segments when the characters entered a video game.
The Doctor at Large episode "Change Your Partners" switches to panels from a soap operatic comic book for a confrontation between Mike Upton and Dick Stuart-Clark over the latter's romantic interest in the former's employer's daughter.
The music video for Dire Straits' Money For Nothing switches between a (very primitive) CGI cartoon and a live performance of the band itself with added rotoscoped effects.
The Gorillaz video clips make heavy use of Medium Blending from the very beginning.
The first one, "Tomorrow Comes Today", uses real backgrounds behind the 2D characters.
Later clips, starting with "Clint Eastwood", mix traditional animation with many CG elements. In "19-2000", the Gorillaz themselves are in 3D for wide shots, though still 2D for close-ups.
Likewise, "Rock the House" has several CG-animated characters, including Del the Ghost Rapper and the inflatable gorilla cheerleaders.
"Feel Good Inc.", "Dare" and "Dirty Harry" add live-action to the mix (with guest stars De La Soul, Shaun Ryder and Bootie Brown, respectively).
Later clips have the characters more and more often in 3D, including for "live" performances. The MTV European Music Awards 2005 in Lisbon had the three-dimensional Gorillaz on stage, thanks to an updated version of the old Victorian parlour trick named "Pepper's Ghost". Repeated for the Grammy Awards 2006 in Los Angeles, this time alongside Madonna as guest-star.
In the latest phase, the clip for "Stylo" is almost entirely live-action with just three of the Gorillaz in quasi-realistic 3D (and Bruce Willis as the antagonist).
"On Melacholly Hill" returns the characters to 2D (save for Cyborg-Noodle who stay CG-rendered, to keep her appart from the real Noodle) amongst plenty 3D vehicles, creatures and backgrounds.
The Pink Panther pinball combines the cartoonishly iconic Pink Panther with a more realistic-looking female jewel thief.
Brütal Legend's pre-title screen (and title screen-slash-menu) are live-action starring Jack Black (presumably as himself in this case) showing you the Brutal Legend album. The rest of the game uses a stylized style.
Max Payne uses graphic novel panels for between-level cutscenes.
Metal Gear Solid will often make use of live-action clips due to its storyline's engagement with political history.
As for the two PSP titles, the cutscenes are depicted in comic book-style so they wouldn't take up as much space on the UMD as 3D ones would.
Mirror's Edge makes use of 2D Flash animation in its cutscenes, which also serve as loading screens, just before each level, which tends to come across as a sharp contrast to the actual in-game character designs and first-person cinematics.
Lollipop Chainsaw's artstyle tries to look like a 70's or 80's comic book as much as possible, and succeeds in doing so. All character models have outlines around them, and the game uses a very unique and stylish shading technique in order to achieve this look. Several times, the game even shifts to a comic book illustration, like on the menus, loading screens, game over screen, character profile cards, etc.
InFAMOUS adopts a comic-book style for its cutscenes.
Homestar Runner uses several different varieties of Art Shift meant to resemble different techniques, but most of them are all still just animated in Flash and don't count. The most notable genuine example of Medium Blending would have to be the puppet segments. Also, the Peasant's Quest Movie Trailer and Strong Mad's claymation short "Doug the Dino" in the email "the facts".
Used in the season 2 finale of The Misfortune of Being Ned, after Ned stumbles into Orange's kitchen.
Erfworld is almost entirely drawn in 2D - except for the Arkentools, which are rendered in 3D CGI.
Homestuck is usually a normal comic (at least in terms of art), but often shifts into animated GIFs, Flash animations, and the occasional RPG-like interactive sequence. The latter two have "[S]" before the page name; seeing [S] in an update usually indicates an inbound Wham Episode.
One episode of Mountain Time has 2D, black-and-white stick figures turning into 3D, full-color clay models. (Their speech is still in 2D text bubbles, but it's Japanese.)
This Is Not Fiction uses digitally painted panels for its pages, but the chapter covers are all photographs of hand-drawn paper cut-outs of the characters.
morphE is designed with this in mind. It's a webcomic made to click through (and occasionally play like) a visual novel. The reason why is that the creators envisioned the project as a visual novel but wanted to make the project a gradually updating medium. The compromise was to make a visual novel that updated 3 times a week and add interactivity elements where possible. Recently they added their first "cut scene" cinema sequence.
The Cartoon Man is mostly live action, but features a number of animated effects. There are various cartoon props, portals to a cartoon dimension, one character's cartoon eyes, and more.
Mario Brothers blends 16-bit and 8-bit sprites with layers in Flash animation.
The Amazing World of Gumball (pictured above) has this as a founding artistic element: Some characters are traditional hand-drawn, some are CGI, some are stop motion, some are Paper People, and there's even a couple people that are in some way live action (one character is a chinface, for example), etc. The backgrounds are photographs with some alterations added in CGI, while vehicles and objects may be CGI or drawn animation. Footage shown in-universe is sometimes completely live-action.
The famous "Homer3" segment on the Halloween Episode "Treehouse of Horrors VI", where Homer winds up in the "third dimension" where he's animated differently in 3D CGI. The episode ended in Homer getting teleported to the real world, while still being computer-animated. It should be noted "Homer3" aired before Toy Story came out, and was animated by future Pixar rival Pacific Data Images.
One of the Couch Gags in a later season was the normal title sequence filmed in live action, which was originally a commercial made for the syndicated broadcast on the U.K. channel Sky1 (the parts with the car were flipped so they were in line with the way cars and roads are in America).
Another was Maggie's dream in the 2010 Christmas Episode, with the Simpson family and Mr. Burns as Muppets, and Katy Perry appearing live-action.
The special LEGO episode "Brick Like Me" combines CGI (mimicking stop-motion photography) with the show's usual traditional animation.
Fleischer Studios also invented the "Stereoptic Process" in the 1930s to allow panning across 3-dimensional backgrounds in their cartoons — they constructed physical models on a rotating table, which was photographed with cels held in front of it one frame at a time. For an example of the effect, watch Popeye The Sailor meets Sindbad[sic] the Sailor.
Chowder has examples of this in every episode with puppets, traditional stop motion, and stop motion with food for scene changes.
Not to mention there's an episode that featured the voice cast getting filmed going from the sound studio to a car wash so they could make enough money to afford being animated again.
There's also an episode with a constantly-dancing 3D CGI character that all the other characters found really creepy. Making Chowder have an example of animation and filming from nearly every major technique.
Family Guy has used live-action on numerous episodes like with Conway Twitty; Peter freaking out at the sight of himself in live-action, Alyssa Milano telling her lawyer to sue the show for a "cheap shot", and a live-action man repeating what Brian said to Meg while shouting. Also, at the end of the Y2K episode — "What's Family Guy?"
They also took the dancing Jerry scene directly from Anchors Aweigh and replaced Jerry with Stewie.
Peter also once met Scrat the squirrel from Ice Age, rendered in 3D as usual.
While South Park uses real photographs of people every now and again (like Saddam), one could argue it's still in the same pseudo paper cut-out technique as the rest of the show.
There was a two-part episode that featured live-action guinea pigs attacking cities in an obvious Cloverfield parody.
In the episode where Tweek fights Craig, the shop teacher's late girlfriend is seen in flashbacks as a live-action actress.
In "Funnybot", Funnybot is cel-shaded.
The "Faith Hilling" episode has a live-action cat saying "Oh long johnson". (The clip was borrowed from America's Funniest Home Videos, of all shows.)
"I Should Have Never Gone Ziplining" has the last segment done as a Dramatization by live actors, and the X-ray/inner body shots are made with CGI.
In some episodes, the houses look as if they are 3D.
Also season 2's "The Mexican Staring Frog of South Park", which uses live-action historical Stock Footage of Vietnam for Mr. Garrison's Imagine Spot and Stock Footage of helicopters for Jimbo's rather... bizarre recollection of the Vietnam War.
The main gimmick of The Jimmy Timmy Power Hour and its sequels: Given that The Fairly OddParents uses Thick-Line Animation and The Adventures of Jimmy Neutron is CGI, characters are Medium Blended when crossing into the "other" show's universe. This is referenced through Timmy's usage of the adjective "bulgy" in Jimmy's world (itself a Shout-Out to the above-mentioned "Homer3") and Jimmy and Sheen falling like cardboard pop-ups upon arriving in the FOP world.
This culminates in the third Jimmy Timmy Power Hour, where the Big Bad of the movie creates "Retrodimmsdaleville", which is depicted as a bizarre mix of both animation styles; that is, the FOP art style in a papery 2˝D void.
The Fairly OddParents: Channel Chasers features scenes made with cel animation (the show is made with Flash), paper cut-outs, anime, cel-shaded stop motion, and puppetry.
SpongeBob SquarePants uses live action from time to time as a gag. Basically, anything that takes place in, or comes from, the surface world is live-action, while everything underwater is animated.
In the episode "Pressure", for instance, all the characters become live-action puppets when they come out of the water and step onto land.
In The Movie (Which was originally intended to be the Grand Finale), SpongeBob and Patrick are still animated when they venture on land, but only become "real" when they are dried out under a souvenir maker's heat lamp. Conversely, they and all the other dried-up fish turn back into cartoon characters when the sprinklers go off in the stand.
In "Sandy's Rocket", "Big Pink Loser", "Bubble Troubles" and "Squidward the Unfriendly Ghost", the characters remained animated when they emerged from the ocean's surface.
In "Spongeguard on Duty", SpongeBob goes to the beach, where he get's jealous of the lifeguard there. He imagines what it would be like if he were a lifeguard, cutting to live-action footage of someone in a SpongeBob mascot suit in a lifeguard tower.
SpongeBob: That would be SO COOL!!
"Truth or Square" has a new, very trippy opening sequence, remade in stop-motion, and with a new rendition of the theme by Cee-Lo (However it was made for that episode only).
Another episode, "New Student Starfish," ended with a live action baby chick hatching out of an animated egg.
In "Frozen Face-Off" the characters are pursued by a stop-motion monster.
Let us not forget Spongebob and Patrick's escape through the perfume department in "Shanghaied."
And then there's Painty The Pirate.
And, of course, the live-action man in a gorilla suit from the end of "I Had an Accident".
Jackie Chan Adventures has an intro with a live-action Jackie Chan getting spliced into the animation. Not to mention each episode ended with Jackie answering questions in the flesh.
Robot Chicken has a very bouncy live-action woman act alongside the show's traditional stop motion. The Excitebike, parts of the Pacman/Matrix, and Space Invaders parodies were all done in ways that looked close, if not identical to their video game counterparts.
The Golf Jam sketch combines a stop-motion Tiger Woods with 2D DiC characters.
The Boglins sketch has the creatures themselves as live-action puppets, while the other characters are stop-motion.
Courage the Cowardly Dog has an episode where Muriel get sucked into a computer, and when Courage goes in to save her, the first segment of the computer world has Courage animated in CGI.
Drawn Together had an inversion of the typical "live-action show enters magical cartoon kingdom" thing, with Wooldor finding a cow in "The Live-Action Forest". The cow then proceeds to wreak havoc all over the cartoon world, eventually getting into a "fight" with the "Live-Action Squirrel with Big Balls".
In the KaBlam! episode, "The Best of Both Worlds!", Henry and June want to go into the real world (a.k.a. "The Legendary Third Dimension"), and when they make it there, the show becomes live-action, with Henry and June being played by actual kids (their voice actors did them speaking to avoid viewer confusion).
An episode of Harvey Birdman, Attorney at Law has the staff being seen through surveillance footage, which was all live-action footage. Some other episodes also have short live-action sequences, mostly featuring Birdman.
An American Dad! episode has a shift from traditional animation to CGI after Roger the Alien ate a bird (which sent him on a drug trip).
The 2003 incarnation of Strawberry Shortcake, for the Sweet Dreams Movie, shifted the series from 2D animation to 3D CGI.
Each episode of Popetown has a live-action introduction featuring some catholic school class before the animated part. Theoretically tied-in with the episode content, but rather pointless.
The cartoon version of Paddington has the title character animated using a stop motion puppet, the other characters were coloured paper dolls, and the backgrounds were black and white static drawings.
The Pixar ShortDay and Night uses hand-drawn animation for the two title characters and CGI for the landscapes visible inside them.
Your Friend the Rat, from the RatatouilleDVD, has CGI for the framing scenes of Rémy and Émile and traditional animation for the rest, with a stop-motion scene and a couple of live-action Stock Footage shots.
Robert Mandell was a pioneer of this back in the early and mid 1980's, mixing CGI in with cel animation in both Thunderbirds 2086 and Adventures of the Galaxy Rangers. The CGI was justified by having it be on computer terminals and as the avatar of A.I. units.
The Nick Jr.'s show Bubble Guppies have characters with CGI bodies and Flash-animated facial features. It also has some segments with Flash characters and backdrops.
The episode "A Friend in Deed" of My Little Pony: Friendship Is Magic features a segment of Pinkie's imagination, animated in felt. In the very next (normally animated) scene, she holds up a piece of felt from the animation.
In "Pinkie Pride", a song duel includes two live-action cutaways (the first one to a rubber chicken dancing on strings, and the second one to a serene baby alligator).
Arthur had some instances of this play into effect. For example, the episode where D.W. manages to trick Arthur into taking her to a science museum had her and The Brain watching the TV educational documentary Nova (produced by the same company, WGBH) that had live action sequences on the animated TV screen.
Also, the special "It's Only Rock And Roll" opens with Muffy and Francine watching a live-action Backstreet Boys music video. Strange, since in the special, the group is caricatured as anthropomorphic animals.
Something similar happened in Doug, where Skeeter, while staying at Bebe Bluff's house as part of a Trading Spaces bet among the friends, watches the TV at her house and notes that she has a lot of channels (at least one of which is distinctly shown in live-action).
Team Umizoomi regularly has live actors interacting with the computer-animated characters and environments.
The Powerpuff Girlswas to have had an episode, "Deja View," in which the girls are transported to an alternate version of Townsville where they are the bad guys and the alternate Mojo Jojo is the hero. The alternate universe scenes were to have been in CGI. But it went over budget and was running into deadline issues, so the story was given to DC Comics to be made into issue #50 of the PPG comic book.
Teenage Mutant Ninja Turtles (2012) tends to mix 2D and 3D animation (such as flashbacks being done entirely in "motion comic" format), and the show's camera angles, effects, shading, and character designs are reminiscent of comic books.
The 2013 Mickey Mouse short Get a Horse involves the characters emerging from their 2D black-and-white world and into our color CG world beyond the theater screen.
In the early 1980s, Disney planned to make a featurette version of Where the Wild Things Are that would have had traditionally animated characters moving around in a computer-animated environment. The plans fell through due to costs, but a 30-second test of What Could Have Been can be seen here.
The 1992 Disney short Off His Rockers has the settings and objects, including the rocking-horse character, be computer-animated while the young boy is traditionally-animated.