index

2D animation, 1, 4, 133

Aardman animations, 47, 98, 104, 129, 137, 160

Acting skills, 99, 129–30, 137

Action shots, 112–13, 118–22

Actors, 99–100

Adverts, 158–60

America see United States/Britain differences

Animal movements, 3, 110, 125–8

Animatics, 43–5, 99

Animation software, 13–15

Animation UK, 163

Anticipation, 116, 118–20, 132, 133–4

Armatures:

ball and socket, 48, 66–70

covering, 80, 81

flexibility, 46, 48

wire, 52–5

ASIFA (International Animated Film Association), 199

Attaching models to set, 58, 59, 84, 88–9

Audiences filling in the blanks, 134

Backdrops, 91, 94–5 Balance, 112

Ball and socket armatures, 48, 66–70

Balls, movement, 23–7

Bar charts, 19, 29

Berry, Paul, 64, 161

Birds, 126, 128

Black Wrap (Rosco foil), 96, 151 Blinking, 134–5

Blue/green screen technique, 143, 147

Bob the Builder, 40–1, 102, 104–5, 160–1

Body language, 4, 104, 105, 108, 130

Brisk Tea (Rocky)

commercials, 42–4, 71, 92, 96, 100, 159–60

Britain see United States/Britain differences

BTV Pro software, 14, 171

Buildings, 90–1

Business cards, 164–5

CAD see Computer aided design Camcorders, 12

Cameras:

angles and shots, 36–8, 113

light proofing, 140–1

movement, 15, 142–3

technical information, 10–12, 19, 139–41

video, 12–13, 141–2

Cartoon conventions, 1, 4, 133–4

Cartoon (European Association of Animation Film), 166, 199

CGI see Computer–generated images

Characters:

see also Models

acting, 129–30, 137

comedy, 132–4

faces, 3, 47–8, 103–4, 134–5

histories, 34

inanimate objects, 21–2, 130–1

life, 1, 23–4

secondary, 135

simplicity, 47, 131–2

subtle animation, 135–7

voices, 98, 99

Chicken Run, 136, 161–3

Children's TV series, 158

Chroma key, 143, 147

Clay see Modelling clay; Plasticine

Claymation see Plasticine

Cleanliness, 51, 81

Climpex, 95, 97

Clokey Productions, 50, 158

Clothing:

making, 61–2, 82–3

movement, 121, 149, 150

texture stamps, 72

Cockle, Jackie, 160–1

College courses, 157, 158, 163, 164, 193–9

Colour:

filming, 139, 140

grading, 9, 154

models, 81–2

Comedy, 132–5

Commercials, 158–60

Commissioning editors, 165–6

Composition of frames, 36

Computer aided design (CAD), 69, 86

Computer software:

contacts, 171

editing, 17

frame grabbing, 13–15

sound, 101–2

Computer–generated images (CGI), 2, 6, 166

Contacts, 171–8

Continuity, 36, 38

Cook, Luis, 47, 160

Copyrights, 155–6

Cosgrove Hall Films, 46–7, 64, 88–9, 105–6, 158, 161

Costs:

equipment, 18–19

post production, 9, 154

professional studios, 159

Costumes see Clothing

Courses, 157, 158, 163, 164, 193–9

‘Crawling’ fabric/fur, 82

Creature Comforts, 98, 136

Credits, 156

Depth of field, 86, 139, 140

Dialogue, 98–108

animatics, 45, 99

bar charts, 19, 29

body language, 104, 105, 108

dope sheets, 19, 27–9, 45, 101–2

lip sync, 47, 65, 102–8

‘live’, 98

model movements, 47, 65

recording, 17–18, 100–1

voices, 48, 99, 101

Digital audio tape (DAT), 156

Digital video (DV), 9, 13, 18–19

Directories, 163–4

Dope sheets (X–sheets), 19, 27–9, 45, 101–2

Double exposures, 146

Double frame recording, 22

Drawing movement, 110–11

Dressing models see Clothing

Editing:

editors, 34, 150, 154

equipment, 17

post production, 9, 17, 68, 153–67

pre production, 34, 43–4

Electrical equipment, 145

Emphatic movements, 28, 121

England see United States/Britain differences

English clay, 50–1, 80

Equipment, 8–20, 141–5, 171–8

Establishing shots, 36

European animation, 2, 3, 46

European Association of Animation Film (Cartoon), 166, 199

Exercises, 21–31

Explosions, 147–8

Eyes, 47–8, 56, 58, 134–5

Fabrics:

dressing models, 61, 82–3

movement, 121, 150

props, 91, 95

texture stamps, 72

Faces:

characterisation, 3, 47–8, 103–4, 134–5

consistency, 162

lip sync, 47, 65, 103–8

wrinkles, 72

Falling objects, 27, 28, 118

Feature films, 161–3

Feet, 53, 58–60

Festivals, 164, 165, 179–92

Filling in the blanks, 134

Film Fair, 163

Film:

formats, 9–12, 18

loading, 141

processing, 139, 140, 151, 173–4

suppliers, 172–3

Films, feature, 161–3

Final checks, 150–1

Financing professional work, 166

Fire, animating, 147

Firewire interface, 13, 14, 19

Flagging lights, 151

Flight, 126, 128

Flocking, 90

Flowing action, 120–1

Foam:

latex, 61, 74–5, 76–82

snip foam, 61

upholstery, 61, 81

urethane, 90

Fog, 150

Foil (Rosco/Black Wrap), 96, 151

Foley recording, 155

Follow through movements, 121

Formats:

digital, 9, 13, 18–19, 156

film, 9–12, 18

video, 9, 12–13, 141–2, 164

Frame capture software, 13–15

Frame count, 22–3

Framethief software, 14, 171

Fur, 82, 90

Gaffer tape (duct tape), 16, 19

Gates, 10, 19

Gauges:

film, 9–10, 18

tracking movement, 149

Glass sheets, 146–7

Glossaries, 19, 83–4, 96, 151–2

Go–motion, 124

Gobos, 91, 93–4

Grammar of shots, 35–8

Green/blue screen technique, 143, 147

Hair:

flocking, 90

making, 56–7

movement, 121, 133

Hands, models, 28, 53, 56–7

Hard moulds, 71, 74–6

Harryhausen, Ray, 5, 46, 82

Harvest Films, 162, 163

Heads, camera movement, 15

Heads of models, 53, 55–6, 103

see also Faces, Mouths, Eyes

Health and safety, 144–5

Hilligoss, Nick, 86–90

Hittle, Tim, 21, 136

HOT Animation, 40–1, 102, 104–5, 158, 160–1

Idea development, 32–3

Inanimate objects, giving character, 21–2, 130–1

Interiors, 85, 91, 92

International Animated Film Association (ASIFA), 199

Jackson, Gary, 52–62

Joints, 68

see also Armature

K&S tubing, 53, 63

‘Keep it simple’, 47, 131–2

Kits, armatures, 67

Laboratories, 139, 140, 151, 173–4

Landscapes, 89–91, 94–5, 150

Latex foam, 61, 74–5, 76–82

Leroy, Guionne, 137, 162

Life drawing, 110–11

Lifting, 115–16

Light meters, 139, 152

Lighting:

equipment, 16–17, 151–2

sets, 91, 92, 94

suppliers, 173

technical information, 139–40, 143–4, 145

Lip sync, 47, 65, 103–8

Loose Moose, 42–4, 64–5, 71, 100, 159–60

Lord, Pete, 28, 30, 113–14, 129

LunchBox Sync, 14–15, 19, 171

Mackinnon, Ian, 64–5

Mackinnon & Saunders, 64–5, 71, 72, 88–9, 103, 159

Magazines, 163

Magnets, 58, 59, 84, 88–9

MagPie Pro software, 101–2, 171

Maquettes (sculpts), 65, 71–2

Matchboxes, 22, 28

Materials:

models, 48–52, 63, 65, 83–4

props, 95, 96

sets, 88–91, 96–7

Matting, 146, 152

Milliput, 56–7, 95

Mime, 130

Mirrors, 72, 107, 109

Modelling clay, 49–52

see also Chicken Run; Morph; Wallace and Gromit

bouncing balls, 24–6

hands, 28, 56–7

heads, 55–6, 104, 162

mould sealing, 80, 81

press moulding, 76

prop making, 95

sculpt making, 71

suppliers, 175

types, 50–1, 71

Models:

armatures, 46, 48, 52–5, 66–70

attaching to floor, 58–9, 84

casting, 71–81

characterisation, 1, 2, 46–9, 129–37

design, 46–8, 64–5

dressing, 61–2, 82–3

lip sync, 47, 65, 103–8

making your own, 48–63, 67–8, 71–83

maquettes (sculpts), 65, 71–2

moving, 109–28

planning, 48–9, 67, 72–3

professional companies, 64–6, 69–70, 72, 82

Morph character, 4, 30, 49–50

Moulds:

casting, 76–80

clay models, 50, 51

hard, 74–6

sculpts, 71–2

soft, 71, 76

Mouths, 47, 65, 103–8, 162

Movement, 23–31, 109–28

animals, 3, 110, 125–8

anticipation/action/reaction, 118–22

balls, 23–7

basics, 23–4

blurring, 124–5, 150

cameras, 15, 142

copying real life, 3, 114

joints, 68

model design, 48–9

planning, 27–31

sets, 89

timing, 113–14

walking and running, 122–5

weight, 115–18

Multiple characters, 135

Music, 155–6

Muybridge, Eadweard, 110

Neodymium (rare earth) magnets, 58–9, 84, 88–9

Newitt, Jeff, 4, 8, 130, 154, 163, 167

Organizations, 154, 198–9

Painting models, 81–2

Palethorpe, Ange, 159

Park, Nick, 3, 34–5, 46, 48, 98, 162

Pastiline, 71

Perception Video Recorder (PVR), 13–14

Performance, 1, 21–2, 129–37

Perspective, 91, 94–5

Pixillation, 5

Plan drawings, 35–6

Planning:

animatics, 43–5

camera shots, 35–9

idea/script/treatment, 32–5

models, 48–9, 67, 72–3

movements, 27–31

storyboards, 39–43

Plaster moulds, 74–5

Plasticine, 49–52

see also Chicken Run; Modelling clay; Morph; Wallace and Gromit

bouncing balls, 24–6

hands, 28, 56–7

heads, 55–6, 104, 162

press moulding, 76

Plots, 32–3

Post production:

costs, 9, 154

editing, 9, 17, 68, 153–67

sound, 17, 155–6

Pre production:

editing, 34, 43–4

sound, 99–100

Price, Loyd, 64, 161

Production sequence, 7

Professionals:

animation studios, 142, 157–67

model making, 64–6, 69–70, 72, 82

set making, 86

voice–overs, 99

Props, 85, 89, 90, 91, 95

Publications, 163–4, 169–70

Pugh, Sue, 64

Puppets see Models

Purves, Barry, 64, 114, 124, 153, 161

Pushing, 117

Rain, 148

Rare earth (neodymium) magnets, 58–9, 84, 88–9

Reactions to movement, 118–20

Real life, animation differences, 3, 114

Recording sound, 17–18, 100–1, 155

Registration, 19

Relaxed poses, 112, 137

Release agents, 76

Replacement parts, 47, 65, 73, 103, 150, 162

Resin moulds, 74–6

Rigging, 95–6, 123

Rigging points, 68

Rigging stand, 68, 70

Rocky (Brisk Tea) commercials, 42–4, 71, 92, 100, 159–60

Rosco foil (Black Wrap), 96, 151

Running, 124–5

Rushes, 153

Russ, Cat, 52–62

S–Video connection, 12, 14, 19

Saunders, Peter, 46–7

Scaffolding rigs, 95

Scale, 48, 86–8

ScaryCat Studio, 52–62, 74, 112–113, 115–20, 124, 133–4

Scott, Anthony, 148–9

Scripts, 32–5

Sculpts (maquettes), 65, 71–2

Secondary characters, 135

Series work, 158, 160–1

Sets, 85–97

backdrops, 91, 94–5

bases, 88–9

design, 38, 40, 45, 85–8

interiors, 85, 91

landscapes, 89–91, 94–5, 150

movement, 89

scale, 86–8

shifting, 9

Shadows, 91, 93–4, 143

Shoes, 59–60

Showreels, 164

Silicone models, 57, 74–5, 81

Silicone moulds, 76

Simplicity, 47, 131–2

Single frame recording, 10, 19, 22

Size:

movement speed, 116

scale, 48, 86–8

Skin texture, 72, 73

Smoke, 150

Snip foam, 61

Snow, 148–9

Soft moulds, 71, 76

Software:

animation/frame grabbing, 13–15

editing/sound, 17, 101–2

Sound, 98–108

breakdown, 101–2, 106–8

editing, 17

planning, 38

post production, 17, 155–6

pre production, 99–100

recording, 17–18, 100–1, 155

scratch dialogue track, 45

synchronization, 153–4

Special effects, 145–50, 155

Speed, 116, 124–5, 150

Stability of equipment, 15, 88

Stereotyped characteristics, 130

Stillness, 135, 136–7

Stop Motion Pro software, 14, 171

Story development, 32–45

Storyboards, 39–43

‘Stretch and squash’, 4, 24, 25, 26, 27, 133

Subtlety, 135–7

Suppliers, 171–8

‘Take’ comic reaction, 133

Teamwork, 161, 162–3

Telecine processing, 10, 20, 139, 140

Temperature, 51, 89, 94

Texture stamps, 72, 73

Thomas, Trey, 157

Tie–down model attachment, 58, 59, 88, 89

Timecode, 153–4

Timing:

comic, 132–4

movements, 113–14, 123–4

single or double frame, 22–3

stopwatch, 16, 23, 114

Tippett Studio, 5–6, 71

Tools, 15–16, 67, 83–4

Training, 157, 158, 163, 164, 193–9

Treatments, 35

Trees, 89–90, 150

Tripods, 15

Trnka, Jiri, 2, 3, 46

TV series, 158, 160–1, 165–6

TV specials, 162

Undercuts, moulding, 72–3, 75

United States/Britain differences

armatures, 66

attachment methods, 59

modelling clay, 51, 80

use of gauges, 149

video standards, 164

Upholstery foam, 61, 81

Urethane foam, 90

USB interface, 12, 14, 20

Video:

assist, 12

formats, 9, 12–13, 141, 164, 165

studying movement, 110, 119

Visualizations, 35, 42–3

Voices, 48

Walking, 122–8

Wallace and Gromit, 3–4, 34–5, 48, 104, 137, 150

Water, 148, 149

Weather, 148–50

Webcams, 13

Websites, 17, 101, 164, 165, 171–92

Weight:

of characters, 24

distribution in models, 112

falling objects, 118

lifting objects, 115–16

pushing, 117

speed of movement, 115, 116

transference, 122

Wind, 150

Windows, 85, 90–1

Wire armatures, 52–5

X–sheets (dope sheets), 19, 27–9, 45, 101–2