Animation from pencils to pixels: Classical techniques for digital animators
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Amsterdam u.a.
Focal Press
2006
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XVIII, 499 S. zahlr. Ill. CD-ROM (12 cm) |
| ISBN: | 0240806700 |
Internformat
MARC
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| 100 | 1 | |a White, Tony |e Verfasser |4 aut | |
| 245 | 1 | 0 | |a Animation from pencils to pixels |b Classical techniques for digital animators |c Tony White |
| 264 | 1 | |a Amsterdam u.a. |b Focal Press |c 2006 | |
| 300 | |a XVIII, 499 S. |b zahlr. Ill. |e CD-ROM (12 cm) | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 650 | 4 | |a Animation (Cinematography) | |
| 650 | 4 | |a Computer animation | |
| 856 | 4 | 2 | |m GBV Datenaustausch |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=014908198&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |3 Inhaltsverzeichnis |
| 999 | |a oai:aleph.bib-bvb.de:BVB01-014908198 | ||
Datensatz im Suchindex
| _version_ | 1804135521973174272 |
|---|---|
| adam_text | TONY WHITE ANIMATION FROM PENCIE5 TO PIXELS CLASSICAE TECHNIQUES FOR
DIGITAL ANIMATORS M ELSEVIER FOCAL PRESS IS AN IMPRINT OF ELSEVIER
AMSTERDAM * BOSTON * HEIDELBERG * LONDON * NEW YORK * OXFORD PARIS * SAN
DIEGO -SAN FRANCISCO * SINGAPORE * SYDNEY * TOKYO CONTENTS
ACKNOWLEDGMENTS XIII FOREWORD XV INTRODUCTION XVI ^A DEVELOPMENT IDEA
CREATION 2 INTELLECTUAL PROPERTY AND COPYRIGHTS 3 PURCHASING OR
OPTIONING THE RIGHTS 5 PUBLIC DOMAIN MATERIAL 7 PROTECTING YOUR OWN
IDEAS 7 PROOFOFOWNERSHIP 8 CONFJDENTIALITYAGREEMENTS 8 WORKS CREATED FOR
YOUR EMPLOYER 10 ENDANGERED SPECIES 11 EVOLVING A STORYLINE 12 THE
HERO S JOURNEY: STORY STRUCTURE 14 SUMMARIZING THE STORYLINE 16
ENDANGERED SPECIES 16 SCRIPTWRITING 17 ENDANGERED SPECIES 25 C%
CHARACTER DESIGN THE EVOLUTION OF 2D CHARACTER DESIGN 31 THE EVOLUTION
OF 3D CHARACTER DESIGN 32 ANIMATION STYLE 34 GUIDELINES FOR CHARACTER
DESIGN 36 SHAPE AND PROPORTION 36 HEAD HEIGHTS 37 MODEL SHEETS 38 COLOR
MODELS 39 FOREGROUND/BACKGROUND COMPATIBILITY 39 ENDANGERED SPECIES 40
CONCEPT AND ENVIRONMENT DESIGN 41 ENDANGERED SPECIES 43 ^ PROJECT
FINANCING ANIMATION MARKETS 46 MOVIES 47 TELEVISION 47 TELEVISION SERIES
AND SPECIALS 48 TELEVISION ADVERTISING 49 GAMES 50 THE WEB 50
DIRECT-TO-MARKETS 52 ENDANGERED SPECIES 53 SCHEDULING AND BUDGETING 53
FIGURING THE CASH FLOW 54 CONTINGENCY PLANNING 56 INVESTMENT, MARKETING,
AND DISTRIBUTION POSSIBILITIES 57 PRE-SALE DISTRIBUTION OUTLETS 60
ENDANGERED SPECIES 62 THE REALITIES OF SECURING PRODUCTION FINANCE 63
ADVICE ON SALES AGENTS 67 LEGAL ADVICE 69 PRESENTATION PACKAGES 71
LOGLINE 71 STORYLINE SYNOPSIS 72 FIRST-DRAFT SCRIPT 72 KEY CHARACTER
DESIGNS AND CONCEPT ART 73 SAMPLE SEQUENCE STORYBOARD 74 ANIMATED TASTER
75 DEVELOPMENT BUDGET 76 EVIDENCE OFOWNERSHIP OF RIGHTS AND INTELLECTUAL
PROPERTY 77 KEY PERSONNEL 78 PROJECT WEB SITE 79 PRESENTATION OF THE
PRESENTATION PACKAGE 79 SHORT AND INDEPENDENT FILM DEVELOPING 80
PRESENTATION PACKAGES 82 STORY SYNOPSIS 82 SERIES BIBLE, FIRST-DRAFT
SCRIPT, OR GAME PLAN 82 KEY CHARACTER DESIGNS AND CONCEPT ART 84 A
SAMPLE SEQUENCE STORYBOARD 84 VUEI CONTENTS ANIMATED TASTER
ORFILMMAKER S SHOWREEL 84 PROJECT BUDGET AND SCHEDULE 85 EVIDENCE
OFOWNERSHIP OF RIGHTS AND INTELLECTUAL PROPERTY 87 KEY PERSONNEL 87
ENDANGERED SPECIES 87 J^ RULES OF FILMMAKING CAMERA POSITIONS 94
ULTRA-WIDE SHOT 94 WIDE SHOT 94 MID SHOT 96 CLOSE-UP 96 EXTREME CLOSE-UP
97 COMBINING CAMERA POSITIONS IN A SCENE 98 CAMERA LENSES 103 STANDARD
LENS (50-100MM FOCAL LENGTH) 103 WIDE-ANGLE LENS (20-35MM) 103 LONG LENS
(85-600MM) 104 ZOOM LENS (28-80MM; 18-35MM; 70-300MM) 105 FISHEYE
LENS(6-16MM) 106 LIGHTING AND FILTERS 107 CAMERA MOVES 108 FIXED (LOCKED
DOWN) SHOT 109 TRACKING (PANNING) SHOT 109 ZOOM SHOT 110 DOLLY (CRANE)
SHOT 111 STAGING 113 THE RULEOFTHE LINE 119 SHOOTING DOWN THE LINE 122
GETTING AROUND THE LINE 123 THE CUT-AWAY SHOT 124 MOVING THE CAMERA 124
MOVING THE ACTORS 125 TWO SHOT, PROFILE 126 TWO SHOT, THREE-QUARTER 127
ONE SHOT, THREE-QUARTER FRONT 127 ONE SHOT, THREE-QUARTER FRONT CLOSE-UP
128 EYELINE 129 THREE OR MORE CHARACTER SHOTS 130 ENDANGERED SPECIES
130 SCENE-TO-SCENE TRANSITIONS 131 THE CUT 131 THEDISSOLVE 131 THE FADE
132 THEWIPE 132 THE RIPPLE AND OTHER SPECIAL EFFECTS DISSOLVES 133
ENDANGERED SPECIES 133 SCREEN ASPECT RATIOS 134 ENDANGERED SPECIES
135 X SOUNDTRACK RECORDING AND EDITING TALENT SELECTION 138 VOICE
RECORDING 140 RECORDING FOR ANIMATION 143 RECORDING AND CATALOGING
DIALOGUE 144 NON-VOICE RECORDING 145 MUSIC TRACK RECORDING 149 FINAL
WORKING TRACK 153 THE TRACK BREAKDOWN 153 FILM SPEEDS AND CONVERSION
RATIOS 154 ENDANGERED SPECIES 156 ^ STORYBOARDING AND ANIMATICS
STORYBOARDS 160 STORYBOARD FORMATS 162 CREATING THE STORYBOARD 164 TIPS
FOR STORYBOARDING 168 REUSING DRAWINGS 168 PANNING SEQUENCES 170
NUMBERING FRAMES 172 FINISH THE STORYBOARD 172 ENDANGERED SPECIES 173
THE ANIMATICFOR LEICA REEL) 173 CREATING THE ANIMATIC 175 ENDANGERED
SPECIES 181 ^ L DIGITAL DESKTOP PRODUCTION STAGESOF ANIMATION
PRODUCTION 184 ANIMATION (2D AND 3D) 184 BACKGROUNDS (2D) 186
ENVIRONMENTS (3D) 186 SPECIAL EFFECTS (2D AND 3D) 187 CHECKING(2D) 188
SCANNING(2D) 189 COLORING(2D) 190 COMPOSITING (2D AND 3D) 192 EDITING
(2D AND 3D) 194 FINAL DUB (2D AND 3D) 194 DIGITAL TO FILM TRANSFER (2D
AND 3D) 195 PRODUCTION TEAM AND WORKFLOW 196 DIRECTOR(2DAND3D) 196
PRODUCER (2D AND 3D) 197 PRODUCTION MANAGER (2D AND 3D) 197 CHARACTER
MODELER (3D) 197 PRODUCTION DESIGNER (2D AND 3D) 198 ANIMATOR (2D AND
3D) 198 ASSISTANT ANIMATOR (2D) 199 INBETWEENER (2D) 199 CLEAN-UP ARTIST
(2D) 200 ENVIRONMENTAL MODELER (3D) 200 BACKGROUND ARTIST (2D) 200
CHECKER (2D) 201 SCANNER/ROSTRUM CAMERAMAN (2D) 201 LNKER(2D) 202
COLORIST(2D) 202 TEXTURER (3D) 203 LIGHTING ARTIST (3D) 203 COMPOSITOR
(2D AND 3D) 203 SOUND EDITOR (2D/3D) 204 PROJECT MANAGEMENT 204 PROGRESS
CHARTS 204 ROUTE SHEETS 206 ENDANGERED SPECIES 207 CONTENTS IX ^P
PRINCIPLES OF ANIMATION KEY POSES, BREAKDOWNS, AND INBETWEENS 210 TIMING
213 CHARTS 215 SLOWING-INAND SLOWING-OUT 217 EXTREME POSITIONS 220 ARES
AND PATHSOF ACTION 221 HOLDS 223 EMPHASIS 224 ANTICIPATION 226 WEIGHT
AND WEIGHTED MOVEMENT 227 FLEXIBILITY AND FLUID JOINT MOVEMENT 232
OVERLAPPING ACTION 233 GENERIC WALKS 234 KEYS 235 PASSING POSITION 235
INBETWEENS 236 WALKCYCLES 241 PERSONALITY WALKS AND TIMING 242 RUNS AND
RUN CYCLES 244 PERSONALITY RUNS AND TIMING 245 SILHOUETTING 248
DIALOGUEAND LIPSYNC 249 LAUGHTER 256 TAKES 259 EYES AND EXPRESSIONS260 X
CONTENTS ANIMATING STEP BY STEP KEYPOSES 266 ATTITUEDE AND DYNAMICS 270
INBETWEENS 272 ADDING MOUTHS 274 STAGING AND CAMERA ANGLES 275 WORKING
WITH CHARACTERS 277 EXTREME ACTION 277 CLEAN-UP 278 ENDANGERED SPECIES
282 DRAWINGFOR ANIMATORS 284 DRAWING TERMINOLOGY 287 POINT OF VIEW (POV)
287 HORIZON 288 PERSPECTIVE 288 VANISHING POINT 289 FORESHORTENING 289
PLANE 290 DRAWING UPON LIFE 290 2D ANIMATION OVERVIEW IT S ALL ABOUT
PENCILS AND PAPER 296 SCRIPT 297 STORYBOARD 298 SOUNDTRACK 298 TRACK
BREAKDOWN 299 DESIGNS 299 ANIMATIC (LEICA REEL) 300 LAYOUTS 300 DOPE
SHEETS AND PRODUCTION FOLDERS 301 PENCIL TESTS 302 POSE TESTS 304
CLEAN-UP 305 INKAND PAINT 306 BACKGROUNDS 306 CHECKING 307 FINAL
SHOOT/COMPOSITE 308 FINAL EDIT AND DUB 308 THE TOOLS OFTHE TRADE 309
LIGHTBOX 309 PEG HOLES AND PEG BARS 310 FIELDSIZES 312 FIELD GUIDES 314
FIELD SIZE LIMITATIONS 319 OVERLARGE FIELD SIZES 320 TV CUT-OFF AND SAFE
TITLING 322 TV CUT-OFF 323 SAFE TITLING 323 ENDANGERED SPECIES 324 TY
2D ANIMATION BASICS KEYS, INBETWEENS, AND TIMING 332 CHARTS AND
INBETWEEN COUNTING 336 STRAIGHT-AHEAD ANIMATION 338 SLOWING-IN AND
SLOWING-OUT 339 WORKING INTHIRDS 341 HOW TO INBETWEEN 342 PATHSOF ACTION
345 SUPERIMPOSITIONS 346 MULTIPLE SUPERIMPOSITIONS 347 DOPE (EXPOSURE)
SHEETS AND PRODUCTION FOLDERS 349 THE DOPE SHEET 349 FRAME LINES 350
ANIMATOR S NOTES 352 AUDIO BREAKDOWN 353 ANIMATION LAYERS 354 SHOOTING
OR CAMERA INSTRUCTIONS 355 RULES FOR DOPE SHEETS 356 THE PRODUCTION
FOLDER 358 SPECIAL INSTRUCTIONS 358 MATERIAL USED FROM OTHERSCENES 359
MATERIAL USED IN OTHER SCENES 359 ATTACHED DOPE SHEET 359 FLIPPING AND
PEG BARS 360 USING PEG BARS 360 TOP PEGS VS. BOTTOM PEGS 361 BOTTOM PEGS
FLIPPING 362 TOP PEGS FLIPPING 363 WHOLE SCENE FLIPPING 364 CONTENTS XI
$ FINESSING 2D ANIMATION TRACEBACKS 368 ECCENTRIC MOVEMENT AND STAGGERS
370 TAKES 370 SQUASH 371 STRETCH 372 STAGGERS 373 PANNING AND CAMERA
MOVES 375 PANNING ANDTRACKING 375 SIDE PEG PANS 378 CURVED OR ARCED PANS
378 REPEATPANS 379 PANNING CHARTS 382 ZIP PANS 383 CAMERA SHAKE 384 PAN
SPEED AND STROBING PROBLEMS 384 SHADOWS AND EFFECTS 385 ROTOSCOPING 390
^J2D VECTOR ANIMATION THE VALUEOF LIMITED ANIMATION 394 THE BASIC
APPROACH 394 WRITINGFORTHEWEB 395 STORYBOARDINGFORTHEWEB 396 WEB
CHARACTERS 396 SOUNDTRACKS 397 THEANIMATIC 398 VECTOR FILM PRODUCTION
399 ANIMATION 400 DESIGN 400 BACKGROUNDS 402 INBETWEENING 403 LIP SYNC
404 FINE TUNING 405 BEING RESOURCEFUL 406 NON-WEB VECTOR ANIMATION 407
GAMES PRODUCTION 409 ^^THE PAPERLESS ANIMATION STUDIO WHEN THE ANIMATOR
IS READY, THE SOFTWARE WILLCOME 412 THE TECHNOLOGY 413 MIRAGE 415 CINTIQ
416 THE IMPORTANCEOF DRAWING 417 2DORNOT2D? 418 ^E*3DOVERVIEW THE
IMPORTANCEOF DRAWING 421 CARTESIAN SPACE 424 CHARACTER DESIGN 425
POLYGONS 426 PRIMITIVES 427 CHARACTER MODELING 429 MODELING TO SUIT
STORY REQUIREMENTS 431 RIGGING AND WEIGHTING 432 FORWARD AND INVERSE
KINEMATICS 433 CREATING THE BONE HIERARCHY 434 ADDING CONTROL POINTS 435
MANIPULATORS AND NULLS 435 WEIGHTING 436 LIGHTING AND TEXTURING 436
ENVIRONMENTAL MODELING 440 ENDANGERED SPECIES 442 ^ CREATING 3D
MOVEMENT BLOCKING OUT 444 KEY POSES 444 INBETWEENS 446 FINE TUNING 447
TIMING, TIMELINES, AND F-CURVES 449 CONSTANT TESTING 451 TRADITIONAL
PRINCIPLES OF MOVEMENT 452 THE VALUE OF CARICATURE VS. MOTION CAPTURE
454 SLIDERS AND LIP SYNC 455 XUE CONTENTS ENDANGERED SPECIES 458 SCENE
70 459 V-01: BLOCKING IN 459 V-02:ADD THE UPS ON EACH PASSING POSITION
460 V-03: FOOT ADJUSTS 460 V-04: INCREASED UP ON PASSING POSITION 461
V-05:FOOTJIDYUP 461 V-06: SIDE-TO-SIDE SWAY 461 V-07: ROTATION ON BODY
462 V-08: BLOCKED-IN ARM ACTION 462 V-09: LEFT ARM SEND 462 V-10:
INCREASED BODY ACTION AND START HEAD TURN 463 V-11: RIGHTARM TO MATCH
LEFT 463 V-12: LIGHTING ADJUST AND FINAL RENDER 463 SCENE 71 464 V-01:
BLOCKING OUTPOSITIONS 464 V-02: RIGHTARM BLOCKING OUT 464 V-03: BODY
ADJUST 465 V-04: LEFT ARM BLOCKING ADJUSTMENTS 465 V-05: BODY ADJUST 465
V-06: RIGHT FOREARM ADJUST 466 V-07: LEFT FOREARM ADJUST 466 V-08: HANDS
ADJUST 466 V-09: RIGHT HAND FINETUNE 466 V-10: LEFT HAND FINE JUNE 466
V-11: LEFT FINGERS FINE JUNE 467 V-12: RIGHT FINGERS FINE JUNE 467 V-13:
LEFT HAND ADJUST 468 V-14: BALANCE HAND ACTIONS 468 V-15: LIGHTING
ADJUST AND FINAL RENDER 468 IN CONCLUSION 469 OH, I ALMOST FORGOT... 471
JOB-HUNTING ADVICE 472 SHOWCASING YOUR WORK 472 DRAWING PORTFOLIO 472
SHOWREEL 473 WEB SITE 474 FINDING THE JOBS 475 NETWORKING 475
RECRUITMENTOFFKERS 475 THE RIGHT STUFT 476 THE VALUEOF EXPERIENCE 477
THE VALUEOF FAMILIARITY 477 WORDS OF ENCOURAGEMENT477 J^GLOSSARY 479
INDEX 493
|
| adam_txt |
TONY WHITE ANIMATION FROM PENCIE5 TO PIXELS CLASSICAE TECHNIQUES FOR
DIGITAL ANIMATORS M ELSEVIER FOCAL PRESS IS AN IMPRINT OF ELSEVIER
AMSTERDAM * BOSTON * HEIDELBERG * LONDON * NEW YORK * OXFORD PARIS * SAN
DIEGO -SAN FRANCISCO * SINGAPORE * SYDNEY * TOKYO CONTENTS
ACKNOWLEDGMENTS XIII FOREWORD XV INTRODUCTION XVI ^A DEVELOPMENT IDEA
CREATION 2 INTELLECTUAL PROPERTY AND COPYRIGHTS 3 PURCHASING OR
OPTIONING THE RIGHTS 5 PUBLIC DOMAIN MATERIAL 7 PROTECTING YOUR OWN
IDEAS 7 PROOFOFOWNERSHIP 8 CONFJDENTIALITYAGREEMENTS 8 WORKS CREATED FOR
YOUR EMPLOYER 10 "ENDANGERED SPECIES" 11 EVOLVING A STORYLINE 12 THE
HERO'S JOURNEY: STORY STRUCTURE 14 SUMMARIZING THE STORYLINE 16
"ENDANGERED SPECIES" 16 SCRIPTWRITING 17 "ENDANGERED SPECIES" 25 C%
CHARACTER DESIGN THE EVOLUTION OF 2D CHARACTER DESIGN 31 THE EVOLUTION
OF 3D CHARACTER DESIGN 32 ANIMATION STYLE 34 GUIDELINES FOR CHARACTER
DESIGN 36 SHAPE AND PROPORTION 36 HEAD HEIGHTS 37 MODEL SHEETS 38 COLOR
MODELS 39 FOREGROUND/BACKGROUND COMPATIBILITY 39 "ENDANGERED SPECIES" 40
CONCEPT AND ENVIRONMENT DESIGN 41 "ENDANGERED SPECIES" 43 ^ \ PROJECT
FINANCING ANIMATION MARKETS 46 MOVIES 47 TELEVISION 47 TELEVISION SERIES
AND SPECIALS 48 TELEVISION ADVERTISING 49 GAMES 50 THE WEB 50
DIRECT-TO-MARKETS 52 "ENDANGERED SPECIES" 53 SCHEDULING AND BUDGETING 53
FIGURING THE CASH FLOW 54 CONTINGENCY PLANNING 56 INVESTMENT, MARKETING,
AND DISTRIBUTION POSSIBILITIES 57 PRE-SALE DISTRIBUTION OUTLETS 60
"ENDANGERED SPECIES" 62 THE REALITIES OF SECURING PRODUCTION FINANCE 63
ADVICE ON SALES AGENTS 67 LEGAL ADVICE 69 PRESENTATION PACKAGES 71
LOGLINE 71 STORYLINE SYNOPSIS 72 FIRST-DRAFT SCRIPT 72 KEY CHARACTER
DESIGNS AND CONCEPT ART 73 SAMPLE SEQUENCE STORYBOARD 74 ANIMATED TASTER
75 DEVELOPMENT BUDGET 76 EVIDENCE OFOWNERSHIP OF RIGHTS AND INTELLECTUAL
PROPERTY 77 KEY PERSONNEL 78 PROJECT WEB SITE 79 PRESENTATION OF THE
PRESENTATION PACKAGE 79 SHORT AND INDEPENDENT FILM DEVELOPING 80
PRESENTATION PACKAGES 82 STORY SYNOPSIS 82 SERIES BIBLE, FIRST-DRAFT
SCRIPT, OR "GAME PLAN" 82 KEY CHARACTER DESIGNS AND CONCEPT ART 84 A
SAMPLE SEQUENCE STORYBOARD 84 VUEI CONTENTS ANIMATED "TASTER"
ORFILMMAKER'S SHOWREEL 84 PROJECT BUDGET AND SCHEDULE 85 EVIDENCE
OFOWNERSHIP OF RIGHTS AND INTELLECTUAL PROPERTY 87 KEY PERSONNEL 87
"ENDANGERED SPECIES" 87 J^ RULES OF FILMMAKING CAMERA POSITIONS 94
ULTRA-WIDE SHOT 94 WIDE SHOT 94 MID SHOT 96 CLOSE-UP 96 EXTREME CLOSE-UP
97 COMBINING CAMERA POSITIONS IN A SCENE 98 CAMERA LENSES 103 STANDARD
LENS (50-100MM FOCAL LENGTH) 103 WIDE-ANGLE LENS (20-35MM) 103 LONG LENS
(85-600MM) 104 ZOOM LENS (28-80MM; 18-35MM; 70-300MM) 105 FISHEYE
LENS(6-16MM) 106 LIGHTING AND FILTERS 107 CAMERA MOVES 108 FIXED (LOCKED
DOWN) SHOT 109 TRACKING (PANNING) SHOT 109 ZOOM SHOT 110 DOLLY (CRANE)
SHOT 111 STAGING 113 THE RULEOFTHE LINE 119 SHOOTING DOWN THE LINE 122
GETTING AROUND THE LINE 123 THE CUT-AWAY SHOT 124 MOVING THE CAMERA 124
MOVING THE ACTORS 125 TWO SHOT, PROFILE 126 TWO SHOT, THREE-QUARTER 127
ONE SHOT, THREE-QUARTER FRONT 127 ONE SHOT, THREE-QUARTER FRONT CLOSE-UP
128 EYELINE 129 THREE OR MORE CHARACTER SHOTS 130 "ENDANGERED SPECIES"
130 SCENE-TO-SCENE TRANSITIONS 131 THE CUT 131 THEDISSOLVE 131 THE FADE
132 THEWIPE 132 THE RIPPLE AND OTHER SPECIAL EFFECTS DISSOLVES 133
"ENDANGERED SPECIES" 133 SCREEN ASPECT RATIOS 134 "ENDANGERED SPECIES"
135 \X SOUNDTRACK RECORDING AND EDITING TALENT SELECTION 138 VOICE
RECORDING 140 RECORDING FOR ANIMATION 143 RECORDING AND CATALOGING
DIALOGUE 144 NON-VOICE RECORDING 145 MUSIC TRACK RECORDING 149 FINAL
WORKING TRACK 153 THE TRACK BREAKDOWN 153 FILM SPEEDS AND CONVERSION
RATIOS 154 "ENDANGERED SPECIES" 156 \^ STORYBOARDING AND ANIMATICS
STORYBOARDS 160 STORYBOARD FORMATS 162 CREATING THE STORYBOARD 164 TIPS
FOR STORYBOARDING 168 REUSING DRAWINGS 168 PANNING SEQUENCES 170
NUMBERING FRAMES 172 FINISH THE STORYBOARD 172 "ENDANGERED SPECIES" 173
THE ANIMATICFOR LEICA REEL) 173 CREATING THE ANIMATIC 175 "ENDANGERED
SPECIES" 181 ^ L DIGITAL DESKTOP PRODUCTION STAGESOF ANIMATION
PRODUCTION 184 ANIMATION (2D AND 3D) 184 BACKGROUNDS (2D) 186
ENVIRONMENTS (3D) 186 SPECIAL EFFECTS (2D AND 3D) 187 CHECKING(2D) 188
SCANNING(2D) 189 COLORING(2D) 190 COMPOSITING (2D AND 3D) 192 EDITING
(2D AND 3D) 194 FINAL DUB (2D AND 3D) 194 DIGITAL TO FILM TRANSFER (2D
AND 3D) 195 PRODUCTION TEAM AND WORKFLOW 196 DIRECTOR(2DAND3D) 196
PRODUCER (2D AND 3D) 197 PRODUCTION MANAGER (2D AND 3D) 197 CHARACTER
MODELER (3D) 197 PRODUCTION DESIGNER (2D AND 3D) 198 ANIMATOR (2D AND
3D) 198 ASSISTANT ANIMATOR (2D) 199 INBETWEENER (2D) 199 CLEAN-UP ARTIST
(2D) 200 ENVIRONMENTAL MODELER (3D) 200 BACKGROUND ARTIST (2D) 200
CHECKER (2D) 201 SCANNER/ROSTRUM CAMERAMAN (2D) 201 LNKER(2D) 202
COLORIST(2D) 202 TEXTURER (3D) 203 LIGHTING ARTIST (3D) 203 COMPOSITOR
(2D AND 3D) 203 SOUND EDITOR (2D/3D) 204 PROJECT MANAGEMENT 204 PROGRESS
CHARTS 204 ROUTE SHEETS 206 "ENDANGERED SPECIES" 207 CONTENTS IX ^P
PRINCIPLES OF ANIMATION KEY POSES, BREAKDOWNS, AND INBETWEENS 210 TIMING
213 CHARTS 215 SLOWING-INAND SLOWING-OUT 217 EXTREME POSITIONS 220 ARES
AND PATHSOF ACTION 221 HOLDS 223 EMPHASIS 224 ANTICIPATION 226 WEIGHT
AND WEIGHTED MOVEMENT 227 FLEXIBILITY AND FLUID JOINT MOVEMENT 232
OVERLAPPING ACTION 233 GENERIC WALKS 234 KEYS 235 PASSING POSITION 235
INBETWEENS 236 WALKCYCLES 241 PERSONALITY WALKS AND TIMING 242 RUNS AND
RUN CYCLES 244 PERSONALITY RUNS AND TIMING 245 SILHOUETTING 248
DIALOGUEAND LIPSYNC 249 LAUGHTER 256 TAKES 259 EYES AND EXPRESSIONS260 X
CONTENTS ANIMATING STEP BY STEP KEYPOSES 266 ATTITUEDE AND DYNAMICS 270
INBETWEENS 272 ADDING MOUTHS 274 STAGING AND CAMERA ANGLES 275 WORKING
WITH CHARACTERS 277 EXTREME ACTION 277 CLEAN-UP 278 "ENDANGERED SPECIES"
282 DRAWINGFOR ANIMATORS 284 DRAWING TERMINOLOGY 287 POINT OF VIEW (POV)
287 HORIZON 288 PERSPECTIVE 288 VANISHING POINT 289 FORESHORTENING 289
PLANE 290 DRAWING UPON LIFE 290 2D ANIMATION OVERVIEW IT'S ALL ABOUT
PENCILS AND PAPER 296 SCRIPT 297 STORYBOARD 298 SOUNDTRACK 298 TRACK
BREAKDOWN 299 DESIGNS 299 ANIMATIC (LEICA REEL) 300 LAYOUTS 300 DOPE
SHEETS AND PRODUCTION FOLDERS 301 PENCIL TESTS 302 POSE TESTS 304
CLEAN-UP 305 INKAND PAINT 306 BACKGROUNDS 306 CHECKING 307 FINAL
SHOOT/COMPOSITE 308 FINAL EDIT AND DUB 308 THE TOOLS OFTHE TRADE 309
LIGHTBOX 309 PEG HOLES AND PEG BARS 310 FIELDSIZES 312 FIELD GUIDES 314
FIELD SIZE LIMITATIONS 319 OVERLARGE FIELD SIZES 320 TV CUT-OFF AND SAFE
TITLING 322 TV CUT-OFF 323 SAFE TITLING 323 "ENDANGERED SPECIES" 324 TY
2D ANIMATION BASICS KEYS, INBETWEENS, AND TIMING 332 CHARTS AND
INBETWEEN COUNTING 336 STRAIGHT-AHEAD ANIMATION 338 SLOWING-IN AND
SLOWING-OUT 339 WORKING INTHIRDS 341 HOW TO INBETWEEN 342 PATHSOF ACTION
345 SUPERIMPOSITIONS 346 MULTIPLE SUPERIMPOSITIONS 347 DOPE (EXPOSURE)
SHEETS AND PRODUCTION FOLDERS 349 THE DOPE SHEET 349 FRAME LINES 350
ANIMATOR'S NOTES 352 AUDIO BREAKDOWN 353 ANIMATION LAYERS 354 SHOOTING
OR CAMERA INSTRUCTIONS 355 RULES FOR DOPE SHEETS 356 THE PRODUCTION
FOLDER 358 SPECIAL INSTRUCTIONS 358 MATERIAL USED FROM OTHERSCENES 359
MATERIAL USED IN OTHER SCENES 359 ATTACHED DOPE SHEET 359 FLIPPING AND
PEG BARS 360 USING PEG BARS 360 TOP PEGS VS. BOTTOM PEGS 361 BOTTOM PEGS
FLIPPING 362 TOP PEGS FLIPPING 363 WHOLE SCENE FLIPPING 364 CONTENTS XI
$ FINESSING 2D ANIMATION TRACEBACKS 368 ECCENTRIC MOVEMENT AND STAGGERS
370 TAKES 370 SQUASH 371 STRETCH 372 STAGGERS 373 PANNING AND CAMERA
MOVES 375 PANNING ANDTRACKING 375 SIDE PEG PANS 378 CURVED OR ARCED PANS
378 REPEATPANS 379 PANNING CHARTS 382 ZIP PANS 383 CAMERA SHAKE 384 PAN
SPEED AND STROBING PROBLEMS 384 SHADOWS AND EFFECTS 385 ROTOSCOPING 390
^J2D VECTOR ANIMATION THE VALUEOF LIMITED ANIMATION 394 THE BASIC
APPROACH 394 WRITINGFORTHEWEB 395 STORYBOARDINGFORTHEWEB 396 WEB
CHARACTERS 396 SOUNDTRACKS 397 THEANIMATIC 398 VECTOR FILM PRODUCTION
399 ANIMATION 400 DESIGN 400 BACKGROUNDS 402 INBETWEENING 403 LIP SYNC
404 FINE TUNING 405 BEING RESOURCEFUL 406 NON-WEB VECTOR ANIMATION 407
GAMES PRODUCTION 409 ^^THE PAPERLESS ANIMATION STUDIO WHEN THE ANIMATOR
IS READY, THE SOFTWARE WILLCOME 412 THE TECHNOLOGY 413 MIRAGE 415 CINTIQ
416 THE IMPORTANCEOF DRAWING 417 2DORNOT2D? 418 ^E*3DOVERVIEW THE
IMPORTANCEOF DRAWING 421 CARTESIAN SPACE 424 CHARACTER DESIGN 425
POLYGONS 426 PRIMITIVES 427 CHARACTER MODELING 429 MODELING TO SUIT
STORY REQUIREMENTS 431 RIGGING AND WEIGHTING 432 FORWARD AND INVERSE
KINEMATICS 433 CREATING THE BONE HIERARCHY 434 ADDING CONTROL POINTS 435
MANIPULATORS AND NULLS 435 WEIGHTING 436 LIGHTING AND TEXTURING 436
ENVIRONMENTAL MODELING 440 "ENDANGERED SPECIES" 442 ^ CREATING 3D
MOVEMENT BLOCKING OUT 444 KEY POSES 444 INBETWEENS 446 FINE TUNING 447
TIMING, TIMELINES, AND F-CURVES 449 CONSTANT TESTING 451 TRADITIONAL
PRINCIPLES OF MOVEMENT 452 THE VALUE OF CARICATURE VS. MOTION CAPTURE
454 SLIDERS AND LIP SYNC 455 XUE CONTENTS "ENDANGERED SPECIES" 458 SCENE
70 459 V-01: BLOCKING IN 459 V-02:ADD THE UPS ON EACH PASSING POSITION
460 V-03: FOOT ADJUSTS 460 V-04: INCREASED UP ON PASSING POSITION 461
V-05:FOOTJIDYUP 461 V-06: SIDE-TO-SIDE SWAY 461 V-07: ROTATION ON BODY
462 V-08: BLOCKED-IN ARM ACTION 462 V-09: LEFT ARM SEND 462 V-10:
INCREASED BODY ACTION AND START HEAD TURN 463 V-11: RIGHTARM TO MATCH
LEFT 463 V-12: LIGHTING ADJUST AND FINAL RENDER 463 SCENE 71 464 V-01:
BLOCKING OUTPOSITIONS 464 V-02: RIGHTARM BLOCKING OUT 464 V-03: BODY
ADJUST 465 V-04: LEFT ARM BLOCKING ADJUSTMENTS 465 V-05: BODY ADJUST 465
V-06: RIGHT FOREARM ADJUST 466 V-07: LEFT FOREARM ADJUST 466 V-08: HANDS
ADJUST 466 V-09: RIGHT HAND FINETUNE 466 V-10: LEFT HAND FINE JUNE 466
V-11: LEFT FINGERS FINE JUNE 467 V-12: RIGHT FINGERS FINE JUNE 467 V-13:
LEFT HAND ADJUST 468 V-14: BALANCE HAND ACTIONS 468 V-15: LIGHTING
ADJUST AND FINAL RENDER 468 IN CONCLUSION 469 OH, I ALMOST FORGOT. 471
JOB-HUNTING ADVICE 472 SHOWCASING YOUR WORK 472 DRAWING PORTFOLIO 472
SHOWREEL 473 WEB SITE 474 FINDING THE JOBS 475 NETWORKING 475
RECRUITMENTOFFKERS 475 THE RIGHT STUFT 476 THE VALUEOF EXPERIENCE 477
THE VALUEOF FAMILIARITY 477 WORDS OF ENCOURAGEMENT477 J^GLOSSARY 479
INDEX 493 |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
| author | White, Tony |
| author_facet | White, Tony |
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| author_sort | White, Tony |
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| dewey-hundreds | 000 - Computer science, information, general works |
| dewey-ones | 006 - Special computer methods |
| dewey-raw | 006.696 |
| dewey-search | 006.696 |
| dewey-sort | 16.696 |
| dewey-tens | 000 - Computer science, information, general works |
| discipline | Informatik |
| discipline_str_mv | Informatik |
| format | Book |
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| illustrated | Illustrated |
| index_date | 2024-07-02T15:15:23Z |
| indexdate | 2024-07-09T20:41:50Z |
| institution | BVB |
| isbn | 0240806700 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-014908198 |
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| spelling | White, Tony Verfasser aut Animation from pencils to pixels Classical techniques for digital animators Tony White Amsterdam u.a. Focal Press 2006 XVIII, 499 S. zahlr. Ill. CD-ROM (12 cm) txt rdacontent n rdamedia nc rdacarrier Animation (Cinematography) Computer animation GBV Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=014908198&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | White, Tony Animation from pencils to pixels Classical techniques for digital animators Animation (Cinematography) Computer animation |
| title | Animation from pencils to pixels Classical techniques for digital animators |
| title_auth | Animation from pencils to pixels Classical techniques for digital animators |
| title_exact_search | Animation from pencils to pixels Classical techniques for digital animators |
| title_exact_search_txtP | Animation from pencils to pixels Classical techniques for digital animators |
| title_full | Animation from pencils to pixels Classical techniques for digital animators Tony White |
| title_fullStr | Animation from pencils to pixels Classical techniques for digital animators Tony White |
| title_full_unstemmed | Animation from pencils to pixels Classical techniques for digital animators Tony White |
| title_short | Animation from pencils to pixels |
| title_sort | animation from pencils to pixels classical techniques for digital animators |
| title_sub | Classical techniques for digital animators |
| topic | Animation (Cinematography) Computer animation |
| topic_facet | Animation (Cinematography) Computer animation |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=014908198&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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