Timing for Animation

A classic of animation education since it first published in 1981. Copies of Timing for Animation have been sitting dog-eared and spine-split on desks and workstations around the world, wherever animation is produced for more than 25 years. All you need to breathe life into your animation is at your fingertips. All the vital techniques employed by animators worldwide are explained using dozens of clear illustrations and simple, straightforward directions. Learn how animations should be arranged in relation to each other, how much space should be used and how long each drawing should be shown for maximum dramatic effect. Fully revised and updated, the second edition includes timing for digital production, digital storyboarding in 2d, digital storyboarding in 3d, the use of After Effects and much, much more! * Animate it right first time with these tried and tested techniques by industry legends, Halas and Whitaker. The second edition is fully updated for digital workflows, by Tom Sito, animator of Beauty and the Beast and Shrek. * Get straight to the good stuff with simple, no-nonsense instruction on the key techniques like stretch and squash, animated cycles, overlapping, and anticipation. Learn how animations should be arranged in relation to each other, how much space should be used and how long each drawing should be shown for maximum dramatic effect. * Fully revised, in Full color and updated, the second edition includes timing for digital production, digital storyboarding in 2d, digital storyboarding in 3d, the use of After Effects and much, much more! Timing for Animation......Page 4 Copyright Page......Page 5 Contents......Page 6 Foreword......Page 10 Preface to 2nd edition......Page 12 Preface to 1st edition......Page 14 Acknowledgements......Page 16 Timing for Full Animation......Page 18 What is Good Timing?......Page 19 Traditional Storyboards......Page 22 Digital Storyboards......Page 24 Additional Storyboard Effects......Page 27 Responsibility of the Director......Page 28 The Basic Unit of Time in Animation......Page 29 Timing for Television vs. Timing for Feature Films......Page 31 Slugging......Page 32 Bar Sheets......Page 34 Timing for Traditional Animation: Exposure Charts or Exposure Sheets......Page 36 Timing for an Overseas Production......Page 37 Timing for a 3D Digital Production......Page 38 Timing for an Actor-Based Program (Performance or Motion Capture)......Page 40 Animation and Properties of Matter......Page 42 Movement and Caricature......Page 44 Cause and Effect......Page 45 Newton's Laws of Motion......Page 48 Objects Thrown Through the Air......Page 50 Timing of Inanimate Objects......Page 52 Animate Objects–Characters......Page 54 Force Transmitted Through a Flexible Joint......Page 56 Force Transmitted Through Jointed Limbs......Page 58 Spacing of Drawings—General Remarks......Page 59 Spacing of Drawings......Page 62 Timing a Slow Action......Page 64 Timing a Fast Action......Page 65 Getting Into and Out of Holds......Page 68 Single Frames or Double Frames? Ones or Twos?......Page 69 How Long to Hold?......Page 71 Anticipation......Page 73 Follow Through......Page 76 Overlapping Action......Page 78 Timing an Oscillating Movement......Page 79 Timing to Suggest Weight and Force—1......Page 81 Timing to Suggest Weight and Force—2......Page 83 Timing to Suggest Weight and Force—3......Page 85 Timing to Suggest Weight and Force—4......Page 88 Timing to Suggest Force: Repeat Action......Page 90 Character Reactions and 'Takes'......Page 92 Timing to Give a Feeling of Size......Page 93 The Effects of Friction, Air Resistance and Wind......Page 96 Timing Cycles—How Long a Repeat?......Page 97 A Waving Flag......Page 98 Digital Crowd Scenes......Page 99 Effects Animation: Flames and Smoke......Page 101 Water......Page 103 Rain......Page 107 Snow......Page 108 Explosions......Page 110 The Aesthetic in Effects Animation......Page 111 Repeat Movements of Inanimate Objects......Page 114 Timing a Walk......Page 115 Types of Walk......Page 118 Spacing of Drawings in Perspective Animation......Page 119 Horses......Page 122 Other Quadrupeds......Page 124 Timing an Animal's Gallop......Page 125 Bird Flight......Page 127 Drybrush (Speed Lines) and Motion Blur......Page 129 Accentuating a Movement......Page 132 Strobing......Page 134 Fast Run Cycles......Page 135 Characterization (Acting)......Page 137 The Use of Timing to Suggest Mood......Page 140 Synchronizing Animation to Speech......Page 142 Lip-Sync—1......Page 143 Lip-Sync—2......Page 146 Lip-Sync—3......Page 147 Timing and Music......Page 150 Traditional Camera Movements......Page 152 3D Camera Moves......Page 154 Peg Movements in Traditional Animation......Page 155 Peg Movements in 3D Animation......Page 156 Editing for Feature Films......Page 165 Editing for Children's Programming......Page 166 Editing for Internet Downloads......Page 167 Games......Page 168 Conclusion......Page 171 F......Page 172 S......Page 173 X......Page 174 Timing for Animation 4 Copyright Page 5 Contents 6 Foreword 10 Preface to 2nd edition 12 Preface to 1st edition 14 Acknowledgements 16 Chapter 1 18 Introduction: General Principles of Timing 18 Timing for TV Series 18 Timing for Full Animation 18 Timing in General 19 What is Good Timing? 19 The Storyboard 22 Traditional Storyboards 22 Digital Storyboards 24 Additional Storyboard Effects 27 Responsibility of the Director 28 The Basic Unit of Time in Animation 29 Timing for Television vs. Timing for Feature Films 31 Slugging 32 Bar Sheets 34 Timing for Traditional Animation: Exposure Charts or Exposure Sheets 36 Timing for an Overseas Production 37 Timing for a 2D Digital Production 38 Timing for a 3D Digital Production 38 Timing for an Actor-Based Program (Performance or Motion Capture) 40 Animation and Properties of Matter 42 Chapter 2 44 Movement and Caricature 44 Cause and Effect 45 Newton's Laws of Motion 48 Objects Thrown Through the Air 50 Timing of Inanimate Objects 52 Rotating Objects 54 Irregular Inanimate Objects 54 Animate Objects–Characters 54 Force Transmitted Through a Flexible Joint 56 Force Transmitted Through Jointed Limbs 58 Spacing of Drawings—General Remarks 59 Spacing of Drawings 62 Timing a Slow Action 64 Timing a Fast Action 65 Getting Into and Out of Holds 68 Single Frames or Double Frames? Ones or Twos? 69 How Long to Hold? 71 Anticipation 73 Follow Through 76 Overlapping Action 78 Chapter 3 79 Timing an Oscillating Movement 79 Timing to Suggest Weight and Force—1 81 Timing to Suggest Weight and Force—2 83 Timing to Suggest Weight and Force—3 85 Timing to Suggest Weight and Force—4 88 Timing to Suggest Force: Repeat Action 90 Character Reactions and 'Takes' 92 Timing to Give a Feeling of Size 93 The Effects of Friction, Air Resistance and Wind 96 Timing Cycles—How Long a Repeat? 97 A Waving Flag 98 Multiple Character Scenes 99 Digital Crowd Scenes 99 Effects Animation: Flames and Smoke 101 Water 103 Rain 107 Water Drops 108 Snow 108 Explosions 110 Digital Effects 111 The Aesthetic in Effects Animation 111 Chapter 4 114 Repeat Movements of Inanimate Objects 114 Timing a Walk 115 Types of Walk 118 Spacing of Drawings in Perspective Animation 119 Timing Animals' Movements 122 Horses 122 Other Quadrupeds 124 Timing an Animal's Gallop 125 Bird Flight 127 Drybrush (Speed Lines) and Motion Blur 129 Accentuating a Movement 132 Strobing 134 Fast Run Cycles 135 Characterization (Acting) 137 The Use of Timing to Suggest Mood 140 Synchronizing Animation to Speech 142 Chapter 5 143 Lip-Sync—1 143 Lip-Sync—2 146 Lip-Sync—3 147 Timing and Music 150 Traditional Camera Movements 152 3D Camera Moves 154 Peg Movements in Traditional Animation 155 Peg Movements in 3D Animation 156 Editing Animation 165 Editing for Feature Films 165 Editing for Television Episodes 166 Editing for Children's Programming 166 Editing for Internet Downloads 167 Games 168 Conclusion 171 Index 172 A 172 B 172 C 172 D 172 E 172 F 172 G 173 H 173 I 173 J 173 K 173 L 173 M 173 N 173 O 173 P 173 R 173 S 173 T 174 U 174 V 174 W 174 X 174 A classic of animation education since it first published in 1981. For more than 25 years, copies of Timing for Animation have been sitting dog-eared and spine-split on desks and workstations around the world wherever animation is produced. All you need to breathe life into your animation is at your fingertips. All the vital techniques employed by animators worldwide are explained using dozens of clear illustrations and simple, straightforward directions. Learn how animations should be arranged in relation to each other, how much space should be used and how long each drawing should be shown for maximum dramatic effect. Fully revised and updated, the second edition includes timing for digital production, digital storyboarding in 2D, digital storyboarding in 3D, the use of After Effects and much, much more