Index

2D animation see Classical animation

3D animation see Stop-frame animation

360-degree design, 144–5

Abstract animation, 191

Acceleration, 15, 16

Accent, 197

Acting, 70–1, 105–27

characterization, 109–15, 119–21

interaction, 121–4

props and costume, 125–6

scene planning, 124–5

temperament and pace, 115–19

Action sheets, 148–9

Actions, 69–70

analysis, 157

motivation and objectives, 112–13

primary, 37–8, 40

secondary, 38–9, 40

tertiary, 39–40

Activity, 69

Aeroplane cycle exercise, 64–6

Alterations, 209

Analogue technology, 184

Anatomy, 143, 158–9

Animals, 46, 155–77

flight, 168–77

four legs, 158–68

Animated cameras, 222, 224

Animatics, 139, 141

‘Animation bible’, 143–4

Animo software, 146–7, 228

Anticipation, 98–103

Arcs and curves, 19, 50–5

Armature plans, 151, 152–3

Arms, 39, 48–9, 51

Aspect ratios, 222, 228

Atmosphere track, 185

Attitude, 197

Audience, 133, 146

Avery, Tex:

holds, 211–12

naturalistic animation, 8

physical acting, 114

soundtrack, 181

squash and stretch, 22–3

temperament and pace, 116

Avid software, 184, 229

Backgrounds, 225, 228

Balance, 73–5, 89–98, 99

Balloons, 35

Balls, 18, 20–1, 22, 30–4

Bambi, 114–15

Bar charts, 182–8, 205

Beauty and the Beast, 24

Believability, 107, 109–10, 143

Birds, 168–77

exercise, 171

Blair, Preston, 53

Blanc, Mel, 111–12

Body language, 114

Body-sync, 197

Boils, 218

Bouncing, 18, 20–1, 22, 30–5

exercise, 32–5

Brown, Blain, 228

Budget:

agreeing, 137

design implications, 133

line test implications, 220

production, 235–6

Bugs Bunny, 109

Camera moves, 224–6

Cast members, 142

see also Characterization

Centre of gravity, 91, 94

Chaplin, Charlie, 99–100, 113, 126

Characterization, 109–15

design, 142–52

exercise, 119–21

interaction, 121–4

props and costume, 126

walking, 73

Charts:

bar charts, 182–8, 205

production charts, 230–2

Checklists:

acting, 126

animal motion, 168

birds, 177

design, 154

dope sheets, 219

drag, 49–50

follow-through, 49–50

layouts, 226

overlapping action, 49–50

production management, 236

sound synchronisation, 199

weight and balance, 98

Clarity, 125

Classical animation:

camera moves, 224–6

colour, 146

cycle animation, 55

dope sheets, 203, 206

equipment and materials, 3

keys and inbetweens, 27–8

layouts, 221–6

lines of action, 52

model sheets, 145

pose-to-pose animation, 26

straight-ahead animation, 27

Clothing see Costume

Colour models, 145–7

Computer animation:

bar charts, 205

camera moves, 226

cycle animation, 55

design criteria, 152, 153

documentation, 144

dope sheets, 205

line tests, 221

model construction, 160, 161

model sheets, 145

recording, 228

Computer games:

design criteria, 152

motion capture, 158

timing, 131

Concept art, 150

Consistency, 132, 142

Constant speed, 30

Constructed time, 5

Construction sheets, 148

Contacts, 251–2

Continuity, 125

Costume:

acting, 125–6

colouring, 146

model sheets, 145

overlapping action, 45, 47

tertiary action, 40

Culhane, Shamus, 153

Curves and arcs, 19, 50–5

Cut-offs, 222

Cycle animation, 55–61

drag, 47

flag, 47, 56, 57–61, 214

flight, 64–6, 169–72

follow-through, 47

interlocking cycles, 56

overlapping action, 47

wave, 55, 57

see also Repeat animation; Running; Walking

Daffy Duck, 113, 116

D’Arcy, Chevalier, 4

Dark Matter, 152

Design, 129–54

animatics, 139–41

characters, 142–52

criteria, 152–4

storyboards, 133–9

Dialogue:

acting, 111–12

key frames, 26

sound synchronisation, 189

timing, 195–6

see also Lip-sync

Digital cameras, 228

Digital technology, 184

Director, 139, 141, 182

Disney studios, 131–2, 182, 220

Disney, Walt, 6, 142, 220

Distribution, 133

Documentation:

‘animation bible’, 143–4

dope sheets, 186, 188, 203–19

production folders, 234–5

soundtrack, 182–8

Dog ears, 46

Dope sheets, 186, 188, 203–19

Double takes, 103

Dowlatabadi, Zahra, 236

Drag, 35–6, 48–50, 170, 172

Drawing skills, 71, 101–2

‘Ease in’/’ease out’ actions, 28–9, 31–2

Editing, 141, 183–4, 228–9

Editor, 182

Educational institutions, 251

Efficiency, 26

Emotions see Acting

Empathy, 113

Energy, 18, 21, 116

see also Kinetic energy

Equal and opposite actions, 15, 16, 97–8

Equipment and materials, 3–4, 182–4, 227

see also Software

Exercises:

advanced action, 167–8

aeroplane cycle, 64–6

bouncing balls, 32–4

characterization, 119–21

flag cycle, 58–61

flight cycle, 171

flip book, 8–14

interaction of characters, 123–4

lip-sync, 197–8

run cycle, 89

running, 167

sound synchronization, 198–9

take-off and landing, 176–7

temperament and pace, 117–19

walk cycle, 78–85, 163–5

Exposure sheets see Dope sheets

Faces:

double takes, 103

drag, 48

squash and stretch, 23

takes, 102

Falling objects, 17–18, 19, 21

Fantasia, 53

Field guides, 221–6

Figurative animation, 67–103

Film:

formats, 227

frames per second, 5

versus video, 226–9

Final Cut Pro software, 184, 228–9

Fischinger, Oscar, 181

Flag cycle, 47, 56, 57–8, 214

exercise, 58–61

Fleischer brothers, 182

Flexibility, 136

Flight see Birds

Flip book exercise, 8–14

Flipbook software, 228

‘Fly-through’ shots, 224

Follow-through, 35–6, 45–7, 49–50

Force, 21, 97–8

Formats, 133, 226–9

Fps see Frames per second

Frame counts, 185

Frames per drawing, 208

Frames per second (fps), 4–6, 141, 183

Freelancing, 232

Friction, 17, 48

Front view:

running, 87

walking, 77

Further reading, 245–8

Further viewing, 249–50

Gag sketches, 135

Galileo, 17, 18

Glossary, 239–44

Gollum, 109–10

Graticules see Field guides

Gravity, 16, 17, 18

centre of, 91, 94

Hair, 46, 48–9

Hanna Barbera studio, 212

Height relationships, 145, 146

History of animation, 6, 134–5, 209

further reading, 248

Holds, 209–12, 218–19

Horses, 158–68

Human figure, 73–4

see also Figurative animation

Ideas:

capturing, 136

communicating, 153

Illusion of movement, 4–5

Impact, 21

Inbetweens, 27–32

over-animation, 192

walking, 76, 78

Inertia, 15, 29, 48, 172

Intended actions, 70, 103

Interaction of characters, 121–4

Interlocking cycles, 56

International production, 150, 152

Jogging, 87

see also Running

Jones, Chuck, 109

Jurassic Park, 8, 109

Key-frame animation see Pose-to-pose animation

Key frames:

holds, 209–12

inbetweens, 27–32

physical acting, 114

running, 86

throwing, 25, 95

walking, 76

Kinetic energy, 18, 29

Kricfalusi, John, 50, 114, 181

Landing, 175–7

exercise, 176–7

Lasseter, John, 110

Laws of motion, 11, 14–18, 50, 70

Layouts, 221–6

Leica reels see Storyboards

Lifting, 41–3, 91–4

Limited animation, 132, 209

Line tests, 220–1

Lines of action, 50–5

Lip-sync, 184, 186, 189–97

dope sheets, 206

exercise, 197–8

guides, 150, 152

Living creatures, 36–45

see also Animals

Lord of the Rings, 109–10

McLaren, Norman, 8

MagTrack (magnetic tape), 182–3

Management, 229–30, 236

Marey, Jules, 157–8

The Mask, 8, 23

Materials see Costume; Equipment and materials

Merry Melodies, 182

Model animation, 24, 41

Model sheets, 143–5, 151

see also Structural models

Momentum, 15–16, 17, 29, 172

Morgues, 153–4

Morph, 116

Motion capture, 158

see also Gollum

Motivation for actions, 70, 103, 112–13

Mouth shapes, 189–96

Movement:

animals, 155–77

categories of, 69–71

illusion of, 4–5

Moving holds, 212, 213–14

Moviola projector, 220

Music, 181–2, 184–6

synchronising, 141

Muybridge, Eadweard, 157, 167

National Television Standards Committee (NTSC), 227

Naturalistic animation, 7–8

figurative animation, 67–103

lines of action, 50

lip-sync, 191

pose-to-pose animation, 26

squash and stretch, 23

Newton, Sir Isaac, 15–16

Nightmare Before Christmas, 152

Noddy, 152

Non-linear editing, 229–30

NTSC (National Television Standards Committee), 227

Objectives:

actions, 112–13

scene planning, 125

Observation, 72, 157

Onionskinning, 228

Over-animation, 190, 192–3, 197

Overlapping action, 35–45, 49–50

flight cycle, 172

Pace, 115–19

exercise, 117–19

Pacing, 12

Paint and trace software, 146–7

PAL (Phase Alternation by Line), 227

Pantomime, 113–14

Passing position, 75–8, 85–9

Passive characters, 122–3

Pencil tests see Line tests

Performance, 110–11

see also Acting

Persistence of vision, 4

Personality see Acting

Perspective, 62–5

Phase Alternation by Line (PAL), 227

Phonetics, 185, 192

Phrasing, 13–14, 114–15

Physical acting, 113–14, 197

Pic Sync (picture synchronisation machine), 182

Planning scenes, 124–5

Pluto, 126

Polygon economy, 152, 160

Pose-to-pose animation, 24–32

staggered timing, 37

Practical texts, 245–7

Pragmatics, 153

Premiere software, 141, 184, 228

Presentation storyboards, 137–9

Primary actions, 37–8, 40

Production:

charts, 230–2

design implications, 132

processes, 229–36

Props, 125–6

Psychological acting, 114–15

Psychology of characters, 11, 70–1, 189

see also Acting

Pulling, 98, 99

Pushing, 97–8

Quinn, Joanna, 219

Random doping, 218–19

Reference material, 153–4

Ren and Stimpey, 8, 50

Repeat animation, 214, 216–18

see also Cycle animation

Resources, 133

Retina, 4

Retracting, 212

Rhubarb and Custard, 219

Rigidity, 23–4

Roadrunner, 22

Rotoscoping, 110, 158

Running, 39, 85–9, 166–7

exercise, 89, 167

Samurai Jack, 132

Scale, 145

Scanning, 3, 226

Scenes:

bar charts, 187

dope sheets, 206

planning, 124–5

Schedules, 233–4

Scripts, 135–6

storyboard, 134

versus performance, 110

SECAM system, 227–8

Second-hand equipment, 227

Secondary actions, 38–9, 40

Shadow puppets, 181

Shaw, Susannah, 227

Shots, 206

Silent characters, 112

Silent movies, 181

Silly Symphonies, 182

The Simpsons, 149

Slapstick, 114

‘Slow in’/’slow out’ actions, 28–9, 31–2

Slow motion, 5–6

Snow White, 115, 182

The Snowman, 219

Software:

animatics, 141

choosing, 227

classical animation, 228

editing, 184, 228–9

paint and trace, 146–7

recording, 228

soundtrack synchronisation, 183–4

stop-frame animation, 228

Sound effects, 184–5

Sound synchronisation, 179–99

bar charts, 182–8

dialogue and narrative, 189

exercise, 198–9

lip-sync, 189–98

Soundtrack see Music; Voice track

Spacing of images, 7, 8, 28

Speeded up action, 5–6

Sprinting, 88

see also Running

Squash and stretch, 18, 22–4

Staggered doping, 212, 214, 215

Staggered timing, 36–7

Standing up, 44

Steamboat Willie, 182

Steenbeck editing machine, 183

Stock animation, 231–2

Stop-frame animation:

concept art, 150

design criteria, 152–3

equipment and materials, 3

layers of action, 41

line tests, 221

lines of action, 52

model construction, 160, 161

model sheets, 145, 151

recording, 228

Stop Motion Pro software, 228

Story reels see Storyboards

Storyboards, 133–9

pace, 115

presentation, 137–9

scene planning, 124

thumbnail/rough, 136–7

working, 139, 140

Storylines see Scripts

Straight-ahead animation, 24–7

Stretching, 212

see also Squash and stretch

Stride, 75–8, 85–9

Structural models, 158–61, 173

see also Model sheets

Studios, 251–2

Style:

consistency, 132, 142

design implications, 132

Subcontracting, 232

Suppliers, 251

‘Sweatboxes’, 220

Synchronisation:

animal motion, 162–7

lip-sync guides, 150, 152

soundtrack, 141, 179–99

Take-off, 172, 174

exercise, 176–7

Takes, 100–1, 102

Technical issues, 201–36

dope sheets, 203–19

formats, 226–9

layouts and field guides, 221–6

line tests, 220–1

production processes, 229–36

Telecine process, 228

Television series, 149

Tell Tale Heart, 132

Temperament, 115–19

exercise, 117–19

Terminator II, 7

Tertiary actions, 39–40

Test animation, 143

Theoretical texts, 247–8

Throwing, 25, 51, 93, 95–7, 100

Thumbnail storyboards, 136–7

Timing, 4–14

alterations, 209

computer games, 131

design, 131

dialogue, 195–6

dope sheets, 205–7

flight cycle, 169, 172

frames per drawing, 208

lifting, 94

psychological acting, 114–15

recording, 208–9

running, 86

staggered, 36–7

variable, 28–32

walking, 77

Tom and Jerry, 22

Toon Boom software, 228

Toy Story, 111

Trade press, 227

Trotting, 165–7

Turning:

body, 37

head, 52, 53

Unbalance, 75

UPA (United Productions of America), 131–2

Variable timing, 28–32

see also Drag; Follow-through; Overlapping action

Video:

formats, 227

frames per second, 5

versus film, 226–9

Villains, 115

Vision, persistence of, 4

Voice artists, 111–12, 189

Voice track:

pace, 115

scene planning, 124

synchronising, 141

Walking, 13–14

arm swing, 51

drag, 49

exercise, 78–85, 163–5

figurative animation, 72–85

front view, 77

horses, 162–3

keys and inbetweens, 76

perspective, 63

primary action, 37–8

repeat animation, 214

timing, 77

Walking With Dinosaurs, 109

Walley, Clive, 152, 181

Wave cycle, 55, 57

Weight, 89–98

Williams, Richard, 45

Winder, Catherine, 236

Wings see Birds

Working storyboards, 139, 140

X-sheets see Dope sheets