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Preface: When Worlds Collide | |
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Foundation | |
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Fleas on the Shoulders of Giants | |
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The Evolution of the Art Form | |
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Aesthetic Appeal Changes | |
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Broadening the Audience for Animation | |
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Unappealing Storytelling in Traditional Animation | |
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The Importance of History and Trends in Animation | |
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Digital Artistry Begins | |
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Times Are Changing: 1981-1994 | |
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Roger Rabbit Pushes 2D and CG Forward | |
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Popularity of the CG Medium or Story? | |
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Visual-Effects Movies Broaden the Audience | |
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The 1990s Shift: CG Becomes a Player | |
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A New Digital Artist Is Born | |
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The Animated Movie Industry: Moving into the Millennium | |
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The Best of Both Worlds | |
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Tell Me a Story | |
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Plot and Premise | |
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Here Come the Talking Animals | |
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Desire and Growth | |
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Growth and Character Arcs | |
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Orchestration and Back Story | |
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Storyboards, Animatics, and Pre-Viz | |
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Intention and Essence | |
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Handling Cuts and Camera Staging | |
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Savor the Moment, but Not for Long! | |
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Storyboards for Television versus Film | |
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Storytelling | |
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Storytelling Strengthening | |
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Storyboard Musts | |
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The Good, the Bad, and the Just Plain Annoying | |
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Memorable Characters | |
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Inspiration from Your Own Experience | |
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Flaws and Emotions | |
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Character Bio | |
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Stereotype versus Archetype | |
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Believability and Credibility | |
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Motivation | |
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Show, Don't Tell | |
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The Fine Art of Being a Bastard | |
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Design | |
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2D Drawings Translated into CG | |
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Handling Textures in CG | |
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The Rig Equals Solid Drawing | |
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Character Bio Questionnaire | |
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Character Development | |
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Animation | |
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The Thursday Animator | |
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Thinking and Planning | |
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Using Reference and Acting It Out | |
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Gesture Drawings and Thumbnails | |
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Sharing | |
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Ten Things to Think About | |
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Listen | |
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Subtext | |
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Experiment | |
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Rhythm | |
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Empathize | |
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Simplify | |
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Texture | |
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Honesty | |
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Eyes | |
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Commit | |
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Ten Things to Think About | |
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Every Frame Counts | |
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Spliney, Gooey, Computery, and Watery Motion | |
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The Graph Editor | |
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Stepped, Linear, and Spline | |
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Posing and Layering | |
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Breaking the Rig | |
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Using Breakdowns | |
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Animating Frame by Frame or on the Twos | |
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In-Betweening | |
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Creating Overlap and Secondary Motion | |
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Creating Principal and Secondary Characters | |
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CG Tools | |
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Pushing Your CG Animation to a Higher Level | |
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Weight | |
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Contrasts in Timing | |
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Reality versus Entertainment Exaggeration? | |
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Dialogue and Lip-Synch Styles | |
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Moving Holds | |
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Attention to Detail | |
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Motion Blur and Squash and Stretch | |
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Drawing Skills | |
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The Approval Process | |
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The Revision Process | |
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The Cleanup Process | |
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Acting the Moment Again and Again and Again | |
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Motion Capture and Acting in CG Animation | |
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Improv | |
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Helpful Improv Tools for Animators | |
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Charlie Chaplin, Empathy, and Acting | |
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Get Inside the Character | |
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Body Structure | |
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Psychological Gesture and Subtext | |
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Stay in the Moment | |
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Acting Tools for Animators | |
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Remotivating the Moment | |
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Improv | |
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Power Centers | |
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Status | |
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Space, Time, and Weight | |
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Chaplin | |
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Emotion | |
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Empathy | |
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Observation | |
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Body Structure | |
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Psychological Gesture | |
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Stay in the Moment | |
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And Now a Word from the Producer | |
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When Push Comes to Stab | |
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Workflow | |
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Dailies | |
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Multiple Art Direction | |
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Mentorship Lost | |
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Competition | |
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Pigeonholing | |
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Core and Glitz Skills | |
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Responsibility | |
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Communication between Departments | |
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Problem-Solving | |
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Freelancing | |
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Networking | |
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Mass Production of CG Animation | |
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Death, Taxes, and Outsourcing | |
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Schedules and Production | |
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The End of the Beginning | |
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Bridging the Gap | |
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Appendixes | |
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Author Bios | |
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Traditional and CG Productions 1994-2005 | |
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The Digital Age of Animation Begins | |
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Animation Hall of Funny | |
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Principles of Animation | |
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Character Animation Terms | |
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Computer Animation Terms | |
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Further Reading | |
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Rigging Blog | |
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Timeline Bibliography | |
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Index | |