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Foreword | |
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Preface | |
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Acknowledgements | |
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Introduction to 2D-animation working practice | |
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How animation works the | |
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Basics | |
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Frames per second | |
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What you need for your studio | |
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Animation paper | |
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Peg bar | |
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Light box | |
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X-sheets | |
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Line tester | |
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Pencils | |
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Let's get animating | |
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Key to key animation | |
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Animating straight ahead | |
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Flipping, flicking and rolling | |
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Flipping | |
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Flicking | |
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Rolling | |
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How to use a line tester to help your animation | |
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How this book works | |
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Matter and the animation of inanimate objects | |
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Inanimate objects | |
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Weight | |
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Environment | |
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Solidity | |
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Force | |
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Construction | |
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How to animate inanimate objects | |
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The animation of solids | |
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A bowling ball | |
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A soccer ball | |
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A balloon | |
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A water-filled balloon | |
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The animation of liquids | |
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A drip | |
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A splash | |
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Object falling into water | |
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The construction of a simple character, its articulation and balance | |
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Basic human anatomy | |
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The spine | |
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The rib cage | |
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The pelvic girdle | |
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The skull | |
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The shoulders | |
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Joints | |
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Plane joints | |
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Pivot joints | |
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Hinge joints | |
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Ball-and-socket joints | |
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Saddle joints | |
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Condyloid joints | |
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Moving in arcs | |
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How to design a basic human character | |
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Complexity | |
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The graphic nature of characters | |
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Strong silhouettes | |
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Weight and balance | |
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How to design a 3D character | |
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Planning a scene | |
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Animating your characters | |
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How to build and rig a simple 3D character | |
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Skin and bones | |
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Child of the joint | |
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First get your body parts | |
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Putting bones in your man | |
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Setting up eye controls | |
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Setting up the legs | |
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Timing, anticipation, overshoot, follow-through and overlapping action with an animated character | |
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Timing | |
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Anticipation | |
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How much anticipation | |
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Force | |
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Acting and anticipation | |
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Double takes! | |
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Speed and surprise | |
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Anticipation during a move | |
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Varying the amount of anticipation | |
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Other ways of using anticipation | |
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Follow-through | |
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Follow-through of inanimate objects | |
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Follow-through of animate (living) objects | |
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Overlapping action or overshoot | |
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Vibration | |
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Human walks and runs | |
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Walk cycles! | |
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Walking | |
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Pace | |
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Walking mechanics | |
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The four basic positions of a walk | |
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The stride positions | |
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The cross over positions | |
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Shoulder movement | |
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Arm movement | |
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Up and down movement of the body | |
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Walk cycles displaying different moods | |
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External influences | |
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Two people walking together | |
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Running | |
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Animal walks and runs | |
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The four types of animal locomotion | |
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Construction of an animal | |
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Pantomime horse | |
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Cartoon four-legged walks | |
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Correct four-legged animal construction | |
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Animal leg and foot construction | |
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Animals with paws | |
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A dog walk | |
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A cat walk | |
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Animals with cloven feet | |
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Animals with hooves | |
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Flat feet | |
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Animal runs | |
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Trotting | |
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Cantering | |
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Galloping | |
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Transverse or rotary gallops and canters | |
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Animation of fish and snakes | |
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Fish | |
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How they swim | |
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Drag | |
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Two swimming types of fish | |
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Schooling (shoaling) | |
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Swimming mammals and flatfish | |
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Rays | |
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Fins | |
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Snakes | |
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Basic movement | |
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Concertina movement | |
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Crotaline (sidewinder) movement | |
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Animation of birds | |
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Flying | |
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Wings - insects and humming bird | |
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Animation of acting - body language | |
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Acting | |
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Method acting | |
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Theatrical acting | |
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Consequence | |
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Emotions | |
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Introduction to Laban Movement theory | |
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Kinesphere | |
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Space, time, weight and flow continuums | |
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Eight basic efforts | |
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Pressing | |
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Flicking | |
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Wringing | |
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Dabbing | |
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Slashing | |
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Gliding | |
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Thrusting | |
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Floating | |
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General body language | |
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Basic body postures | |
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Open body postures | |
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Closed body postures | |
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Forward body postures | |
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Back body postures | |
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Responsive | |
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Reflective | |
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Fugitive | |
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Combative | |
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Palm, hand, arm and leg gestures | |
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Palm gestures | |
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Hand gestures | |
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Arm crossing | |
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Leg crossing | |
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Acting out a scene in animation | |
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The use of video footage to help your animation | |
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The seven questions of character | |
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The different sorts of animation acting | |
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Animated radio | |
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Pose-to-pose animation acting | |
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Full animation acting | |
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Mime | |
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Analysis of a character | |
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Building a more sophisticated character | |
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Animation of acting - facial expressions | |
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Emotions | |
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The eyes | |
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Facial expressions | |
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Happiness | |
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A smile | |
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Sadness | |
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Surprise | |
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Fear | |
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Anger | |
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Disgust and contempt | |
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Interest | |
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Pain and distress | |
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Combination of facial expressions | |
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Head angle | |
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Hand-to-face gestures | |
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Evaluation | |
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Deceit | |
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Stress | |
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Extreme close-ups | |
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How to animate a piece of facial acting | |
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How to add a simple mouth and eyebrows to your basic 3D character | |
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The eyebrows | |
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The mouth | |
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Animation of acting - two or more characters | |
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Two characters on screen together | |
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The use of 'beats' to break up a scene | |
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Objective | |
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Obstacle | |
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Action | |
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Personal space | |
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Mirroring | |
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How characters look at each other | |
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Two characters acting with each other while talking | |
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Two characters alternating from one shot to another | |
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A large group of characters on screen at the same time | |
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Lip-sync | |
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Recording and breaking down a dialogue track | |
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How we speak | |
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Acting with dialogue | |
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Quick from pose to pose | |
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Slow from pose to pose | |
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Erratically from pose to pose | |
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Mouth shapes | |
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Mouth shut consonants | |
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The vowels | |
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The quieter vowels and consonants | |
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Teeth | |
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Animating the mouth shapes early | |
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Creating a more sophisticated character's face and expressions | |
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Eyebrow movements | |
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Mouth and jaw movements | |
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Cheek movements | |
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Nose movements | |
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Index | |