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Timing for Animation

Book Description

Written by two internationally acclaimed animators, this classic text teaches you all you need to know about the art of timing and its importance in the animated film. This reissue includes a new foreword by John Lasseter, executive vice president of Pixar Animation Studios and director of 'Toy Story', 'Toy Story 2', 'A Bug's Life' and 'Monsters Inc.' He sets the wealth of information in this classic text in context with today's world of computer animation, showing how this is a must-have text if you want to succeed as a traditional drawn, or computer animator.

Learn all the tips and tricks of the trade from the professionals. How should the drawings be arranged in relation to each other? How many are needed? How much space should be left between one group of drawings and the next? How long should each drawing, or group of drawings, remain on the screen to give the maximum dramatic effect? The art of timing is vital.

Highly illustrated throughout, points made in the text are demonstrated with the help of numerous superb drawn examples. 'Timing for Animation' not only offers invaluable help to those who are learning the basis of animation techniques, but is also of great interest to anyone currently working in the field and is a vital source of reference for every animation studio.

John Halas, known as the 'father of animation' and formerly of Halas and Batchelor Animation unit, produced over 2000 animations, including the legendary 'Animal Farm' and the award winning 'Dilemma'. He was also the founder and president of the ASIFA and former Chairman of the British Federation of Film Societies.

Harold Whitaker is a professional animator and teacher. Many of his former students are now among some of the most outstanding animation artists of today.

Table of Contents

  1. Cover
  2. Half Title
  3. Title Page
  4. Copyright
  5. Contents
  6. Foreword by John Lasseter, Pixar
  7. Preface to 2nd edition
  8. Preface to 1st edition
  9. Acknowledgements
  10. Part I
    1. Introduction: General Principles of Timing
      1. Timing for TV Series
      2. Timing for Full Animation
      3. Timing in General
      4. What is Good Timing?
    2. The Storyboard
      1. Traditional Storyboards
      2. Digital Storyboards
      3. Additional Storyboard Effects
    3. Responsibility of the Director
    4. The Basic Unit of Time in Animation
    5. Timing for Television vs. Timing for Feature Films
    6. Slugging
    7. Bar Sheets
    8. Timing for Traditional Animation: Exposure Charts or Exposure Sheets
    9. Timing for an Overseas Production
    10. Timing for a 2D Digital Production
    11. Timing for a 3D Digital Production
    12. Timing for an Actor-Based Program (Performance or Motion Capture)
    13. Animation and Properties of Matter
  11. Part II
    1. Movement and Caricature
    2. Cause and Effect
    3. Newton’s Laws of Motion
    4. Objects Thrown Through the Air
    5. Timing of Inanimate Objects
    6. Rotating Objects
      1. Irregular Inanimate Objects
      2. Animate Objects–Characters
    7. Force Transmitted Through a Flexible Joint
    8. Force Transmitted Through Jointed Limbs
    9. Spacing of Drawings—General Remarks
    10. Spacing of Drawings
    11. Timing a Slow Action
    12. Timing a Fast Action
    13. Getting Into and Out of Holds
    14. Single Frames or Double Frames? Ones or Twos?
    15. How Long to Hold?
    16. Anticipation
    17. Follow Through
    18. Overlapping Action
  12. Part III
    1. Timing an Oscillating Movement
    2. Timing to Suggest Weight and Force—1
    3. Timing to Suggest Weight and Force—2
    4. Timing to Suggest Weight and Force—3
    5. Timing to Suggest Weight and Force—4
    6. Timing to Suggest Force: Repeat Action
    7. Character Reactions and ‘Takes’
    8. Timing to Give a Feeling of Size
    9. The Effects of Friction, Air Resistance and Wind
    10. Timing Cycles—How Long a Repeat?
      1. A Waving Flag
    11. Multiple Character Scenes
    12. Digital Crowd Scenes
    13. Effects Animation: Flames and Smoke
    14. Water
    15. Rain
      1. Water Drops
    16. Snow
    17. Explosions
    18. Digital Effects
      1. The Aesthetic in Effects Animation
  13. Part IV
    1. Repeat Movements of Inanimate Objects
    2. Timing a Walk
    3. Types of Walk
    4. Spacing of Drawings in Perspective Animation
    5. Timing Animals’ Movements
      1. Horses
    6. Other Quadrupeds
    7. Timing an Animal’s Gallop
    8. Bird Flight
    9. Drybrush (Speed Lines) and Motion Blur
    10. Accentuating a Movement
    11. Strobing
    12. Fast Run Cycles
    13. Characterization (Acting)
    14. The Use of Timing to Suggest Mood
    15. Synchronizing Animation to Speech
  14. Part V
    1. Lip-Sync—1
    2. Lip-Sync—2
    3. Lip-Sync—3
    4. Timing and Music
    5. Traditional Camera Movements
    6. 3D Camera Moves
    7. Peg Movements in Traditional Animation
    8. Peg Movements in 3D Animation
    9. Editing Animation
    10. Editing for Feature Films
    11. Editing for Television Episodes
    12. Editing for Children’s Programming
    13. Editing for Internet Downloads
    14. Games
    15. Conclusion
  15. Index