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Full 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. You can 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. It includes a new foreword by John Lasseter of "Pixar" and "Toy Story" fame. You can benefit from the expertise of two internationally acclaimed animators. It provides all you need to breathe life into your animation at your fingertips.
Contents
Foreword by John Lasseter Preface What is good timing? The storyboard Responsibility of the director The basic unit of time in animation Timing on bar sheets Exposure charts Animation and properties of matter Movement and Caricature Cause and effect Newton's laws of motion Object's thrown through the air Timing of inanimate objects rotating objects Force transmitted through a flexible joint Force transmitted through jointed limbs Spacing of drawings Timing as slow action as fast action getting into and out of holds Single frames or double frames? How long to hold? Anticipation Follow through Overlapping action Timing an oscillating movement Timing to suggest weight and force Timing to suggest force: repeat action Character reaction and takes Timing to give feeling of size The effects of friction, air resistance and wind Timing cycles Effects animation: flames and smoke Water Rain Snow Explosions repeat movements of inanimate objects Timing a walk Types of walk Spacing of drawings in perspective animation Timing animals' movements Bird flight Drybush (speed lines) Accentuating movement Strobing fast run cycles Characterisation The use of timing to suggest mood Synchronising animation to speech Lip-sync Timing and music Camera movements Peg movements
