Thinking Animation Bridging the Gap Between 2D and CG

ISBN-10: 1598632604
ISBN-13: 9781598632606
Edition: 2007
List price: $39.99 Buy it from $1.58
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Description: "Thinking Animation: Bridging the Path Between 2D and CG" teaches readers how to think before they animate. Featuring current and pertinent content the book emphasizes using traditional animation techniques and principles with today's computer  More...

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Book details

List price: $39.99
Copyright year: 2007
Publisher: Course Technology
Publication date: 6/16/2006
Binding: Paperback
Pages: 368
Size: 7.50" wide x 9.25" long x 1.00" tall
Weight: 2.420

"Thinking Animation: Bridging the Path Between 2D and CG" teaches readers how to think before they animate. Featuring current and pertinent content the book emphasizes using traditional animation techniques and principles with today's computer generated animation technology. Written for beginner and experts alike, the book provides useful, up-to-date techniques that readers can apply directly to their animation. Loaded with full-color images, tutorials, and interviews with experienced contributing authors from a wide range of backgrounds, the book is non-software specific and also contains a history of the field of animation as well as insight into how today's CG studios operate.

Jamie Oliff was trained in classical animation at Sheridan College of Art and Design and has worked in the animation industry for more than 20 years. An award-winning director and long-time feature film animator, his credits include the first season of The Ren & Stimpy Show, many feature-length animated pictures such as the Hunchback of Notre Dame, Mulan, Hercules, The Emperor's New Groove, and CGI animation on titles ranging from Kangaroo Jack to Scooby Doo 2, and National Treasure.

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

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