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how to make animated films

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  • Front Cover

  • How to Make Animated Films

  • Copyright Page

  • Contents

  • Preface

  • Introduction

    • First … A Reality Check

    • Your Own Personal Animation Course

    • 2D Or Not 2D?—That Is the Question

    • However…

    • Prerequisites for Study

    • Equipment

    • Let the Fun Begin!

  • Acknowledgments

  • PART 1: How to Be an Animator

    • 10-Step Foundation Course

    • Masterclass 1: Animation Basics

      • Key, Breakdown, and In-Between Positions

      • Creating Key Positions

      • Creating the Breakdown Position

      • Top Pegs/Bottom Pegs

      • Charting Explained

      • In-Betweening

      • Flipping as Opposed to Rolling

      • Arcs and Paths of Action

      • Timing and the Spacing of Drawings

      • Suggested Reading

      • Assignment 1

    • Masterclass 2: The Bouncing Ball

      • Weight, Mass, and Flexibility

      • Gravity and the Path of Action

      • Key Positions

      • Squash

      • Stretch

      • Timing

      • Weight

      • In-Betweening the Bouncing Ball

      • Distorting Mass and Volume

      • The Descending Bounce

      • Flip Your Drawings … Always!

      • Final Double-Checks

      • Suggested Reading

      • Assignment 2

    • Masterclass 3: Generic Walks

      • The Lower Body

      • Walk Cycle

      • Shooting a Walk Cycle

      • In-Betweening on One's

      • Testing the Walk

      • The Upper Body

      • Suggested Reading

      • Assignment 3

    • Masterclass 4: Personality Walks

      • Hip and Shoulder Rotation

      • Overlapping Action on the Hands

      • Overlapping Action on the Head

      • Rotation on the Head

      • Keeping Good Balance Throughout

      • In-Between Placement and Timing

      • Double-Bounce Walk

      • Chart Timing and Variation

      • Observation and Reference Footage

      • The Animator's Survival Kit

      • Suggested Reading

      • Assignment 4

    • Masterclass 5: Generic Runs

      • Key Generic Run Stages

      • Run Exercise

      • Additional Pointers for Runs

      • Head-On Runs

      • Suggested Reading

      • Assignment 5

    • Masterclass 6: Quadruped Walks

      • Front Legs

      • Rear Legs

      • Synching the Legs Together

      • Adding the Body

      • Neck and Head

      • Adding the Tail

      • Moving Background

      • Multilayered Backgrounds

      • Nonwalk Pans

      • Realistic Quadrupeds

      • Suggested Reading

      • Assignment 6

    • Masterclass 7: Weight

      • Standard Rubber Ball

      • Ping-Pong Ball

      • Bowling Ball

      • Comparing the Three Versions

      • The Pose Is Everything

      • Tips

      • Suggested Reading

      • Assignment 7

    • Masterclass 8: Anticipation

      • The Benefits of Anticipation

      • Anticipations Are for Everything

      • Suggested Reading

      • Assignment 8

    • Masterclass 9: Dialog

      • Body Language

      • Facial Animation

      • Lip Synching

      • Two-Character Dialog

      • Further References

      • Suggested Reading

      • Assignment 9

    • Masterclass 10: Final Project

      • Staggers

      • Successive Breakouts of Joints

      • Eye Blinks

      • Eyebrows

      • Always Gravity!

      • Conclusion

      • Suggested Reading

      • Assignment 10

  • PART 2: How to Make an Animated Film

    • Production Challenge

    • Film Production 1: Exploring Ideas, Storytelling, and Scriptwriting

      • Meaning and WTF?

      • Assignment

    • Film Production 2: Concept Art, Viz Dev, and Camera Maps

      • Concept Art

      • Camera Map

      • Assignment

    • Film Production 3: Character Design

      • Style

      • Personality

      • Attitude

      • Proportion

      • Head Heights

      • Silhouette

      • Detail

      • Process

      • Warm-Up Exercise

      • Assignment

    • Film Production 4: Thumbnails

      • Assignment

    • Film Production 5: Storyboards

      • Process

      • Final Check

      • Assignment

    • Film Production 6: Filmmaking Techniques

      • Framing

      • Transitions

      • Staging

      • Continuity

      • Crossing the Line

      • Assignment

    • Film Production 7: Audio Record

      • Guide Track

      • Final Track

      • Assignment

    • Film Production 8: Animatic and Bacher Boards

      • Bacher Boards

      • Animatic Process

      • The Animatic Is Your Film Bible

      • Check Your Scene Timings

      • Assignment

    • Film Production 9: Background and Environment Layouts

      • Distance and Perspective

      • Focus of Attention

      • Silhouetted Action

      • Process

      • Dividing the Layout

      • Pose Test Animatic

      • Assignment

    • Film Production 10: Color Script

      • The Right Time to Do the Color Script

      • Process

      • Professional Approach

      • Size of Artwork

      • Don't Ignore the Color Script!

      • Four Valuable Tips

      • Assignment

    • Film Production 11: Audio Breakdown

      • Assignment

    • Film Production 12: Block in Key Poses

      • Assignment

    • Film Production 13: Placement and Timing

      • Assignment

    • Film Production 14: Two-Dimensional In-Betweening

      • Assignment

    • Film Production 15: Rolling, Flipping, and Pencil Testing

      • Flipping

      • Full-Scene Flipping

      • Pencil Test

      • Assignment

    • Film Production 16: Clean-Up

      • Line Quality

      • Shapes, Dimensions, and Volumes

      • Assignment

    • Film Production 17: Scanning

      • Peg Bar

      • Secure the Field Guide Scanning Area

      • Scanner Size

      • Assignment

    • Film Production 18: Background and Environments

      • Compositional Color Values

      • Horizontals and Verticals

      • Light Source and Contrast

      • Perspective and Lines of Focus

      • Verticals in Panning Shots

      • Light Against Dark, Dark Against Light

      • Areas of Greatest Contrast

      • Use Your Eyes

      • Assignment

    • Film Production 19: Coloring

      • Flat-Colored Backgrounds

      • Imported Background Artwork

      • Assignment

    • Film Production 20: Compositing

      • Layers

      • Transparency

      • Cycle Animation

      • Depth of Field

      • Titles and Effects

      • Assignment

    • Film Production 21: Rendering

      • Screen Format Ratio

      • Resolution

      • Frame Rates

      • Assignment

    • Film Production 22: Final Edit

      • Scene Edit

      • Music

      • Sound Effects

      • Final Audio Mix

      • Music and Effects Track

      • Assignment

  • Appendixes

    • 1: About the Accompanying DVD

    • 2: About the Desktop Academy

    • 3: About the Animaticus Foundation

    • 4: About the DigiPen Institute of Technology

    • 5: Exposure, Exhibitions, and Festivals

    • 6: Exposure Sheets and Production Folders

    • 7: Glossary

      • A

      • B

      • C

      • D

      • E

      • F

      • G

      • H

      • I

      • K

      • L

      • M

      • N

      • O

      • P

      • R

      • S

      • T

      • V

      • W

      • Z

  • Index

    • A

    • B

    • C

    • D

    • E

    • F

    • G

    • H

    • I

    • J

    • K

    • L

    • M

    • N

    • O

    • P

    • Q

    • R

    • S

    • T

    • U

    • V

    • W

    • X

    • Z

Nội dung

[...]... of everything you need to achieve, as well as instruct you on the process of putting this all together in the form of an animated production How to Make Animated Films will make the entire process of learning the principles of animation and filmmaking so much more accessible to you in your home-based environment, and you’ll even be able to make good, old-fashioned “cartoon” films if that still remains... wannabe animators That said, what is presented here is everything about the core principles of movement that you’ll ever need to know to be a good animator, as long as you develop the focus, temperament, and commitment to see it through to its ultimate conclusion At the other end of the spectrum, if you’re just looking for fun ways to make your cartoon drawings move, or want to know how to make a short... their total dedication to the 2D -animated art-form, there are clearly even greater things to come from ToonBoom in the future! (Watch this space … http://www.toonboom.com) Audio Requirements Sound can be a huge factor in an animated production, but the equipment you need for it should be kept to a minimum, as it often can be both complicated and expensive to acquire When filmmaking, it is always best to. .. the noncartoon horizons of animation Yes, contemporary animators may be working in a cartoon style on occasion, and it is still a joy to behold this style some of the time; however, the professionals of the future will more likely be required to work in more “mature,”“illustrative” styles as well Those who prefer to animate their own films have complete liberty toward what they can and want to create... animated film that really expresses itself to its full potential and capability Consequently, to be a significant animator you need to be a dedicated and somewhat patient individual You also need to have a determined commitment to see through whatever you start Finally, you need to have the tenacity to hang in there when all seems to be failing, or the world seems to be against you fulfilling your dream... human and animal anatomy; light, tone, and color; layout and composition; and perhaps with a more contemporary slant, “filmmaking xxiv Introduction 101” techniques if you want to make your own productions too All these disciplines are crucial in order to use your fullest expressions as an animator, for even a rudimentary glance at the capabilities of the world’s top 2D and 3D animators will reveal a... good part of a small room, to the simple crafting boxes that easily sit on the top of even the smallest of tables or your lap if space is a premium A good animator’s lightbox, however, will ideally have an adjustable working surface with a rotating circle cut into it, so that that animator can find the best angles to comfortably draw anything he or she needs to draw and be able to turn the drawings accordingly... but suffice it to say, it is important that animators are equipped with exposure sheets at the onset of their more advanced work It is possible to either print them from a standard template (available from Desktop Academy, at www.desktopacademy.com) or else purchase them from one of the excellent online animation stores on the Web If you are an intended filmmaker too, you will need to consider scene... creating animated work for both film and games is pretty similar overall Consequently, an understanding in one strongly prepares you for a sound application in the other!) How to Make Animated Films has been planned for several years and is the final part of the instructional trilogy I set out to create many years ago The Animator’s Workbook kicked off this process as the definitive “beginner’s guide to. .. Belleville These films seem cut from a different cloth from the classic films, and it really shows They keep my belief in real and vital animated storytelling—well made, alive! Beyond films like these, Hollywood seems to regurgitate the same tired, old script and visual formulas ad infinitum, and already the dominant three-dimensional (3D) animation industry offerings are beginning to find a creative . y0 w0 h0" alt="" How to Make Animated Films To the spirit of WALT: Long may his vision live in the hearts and minds of animators everywhere! How to Make Animated Films Tony White’s Complete. everything you need to achieve, as well as instruct you on the process of putting this all together in the form of an animated production. How to Make Animated Films will make the entire process. Cataloging-in-Publication Data White, Tony, 1947- How to make animated  lms : Tony White ’ s complete masterclass on the traditional principles of animation / Tony White. p. cm. “ An animation

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