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Timing for Animation by John Halas OBE

By John Halas OBE

A vintage of animation schooling because it first released in 1981. Copies of Timing for Animation were sitting dog-eared and spine-split on desks and workstations around the globe, anyplace animation is produced for greater than 25 years. All you want to breathe existence into your animation is at your fingertips. all of the important ideas hired by way of animators around the globe are defined utilizing dozens of transparent illustrations and easy, effortless instructions. learn the way animations could be prepared with regards to one another, how a lot house will be used and the way lengthy every one drawing can be proven for optimum dramatic impact. totally revised and up to date, the second one version comprises timing for electronic construction, electronic storyboarding in second, electronic storyboarding in 3d, using After results and masses, a lot more!

* Animate it correct first time with those attempted and validated techniques by legends, Halas and Whitaker. the second one variation is fully updated for electronic workflows, via Tom Sito, animator of attractiveness and the Beast and Shrek.  

* Get directly to the great things with easy, no-nonsense guide at the key suggestions like stretch and squash, lively cycles, overlapping, and anticipation.  learn the way animations might be prepared relating to one another, how a lot house could be used and the way lengthy every one drawing could be proven for max dramatic impact.

* absolutely revised, in complete color and up-to-date, the second one version contains timing for electronic construction, electronic storyboarding in 2nd, electronic storyboarding in 3d, using After results and lots more and plenty, a lot more!

 

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When dealing with very heavy objects, therefore, the director must allow plenty of time to start, stop or change their movements, in order to make their weight look convincing. The animator, for their part, must see that plenty of force is applied to the cannonball to make it start, stop or change direction. Light objects have much less resistance to change of movement and so behave very differently when forces act on them. A toy balloon (Fig. B) needs much less time to start it moving. The flick of a finger is enough to make it accelerate quickly away.

Therefore, for an animator, the timing of an action is the same as deciding the number and spacing of the drawings or key poses needed to make up the action. How many drawings are needed, for example, to make a character point his finger off screen? It is necessary to know a number of things to answer this. Is the character slow or quick in his reactions? Is he pointing, for example, to a distant view or is he pointing to warn somebody that a car is about to run him down? Is it a full arm movement or a more restricted finger movement?

He or she moves frames closer or further apart, and augments or ‘pluses’ poses to complete the animated performance. Like in the old technique of rotoscope, where the live actor’s movement was traced over, the motion capture actor provides scale, staging and basic performance. But to be used to its greatest effect, the subtleties and nuances have to be gone over and enhanced by a key-frame animator. 23 Timing for Animation FIGURE 12 Animation consists of sequences of weightless drawings. The success of animation on the screen depends largely on how well these drawings give the impression of reacting in an exaggerated way when weight and forces are made to act upon them.

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