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by John Halas, Harold Whitaker
Timing for Animation
Cover
Half Title
Title Page
Copyright
Contents
Foreword by John Lasseter, Pixar
Preface to 2nd edition
Preface to 1st edition
Acknowledgements
Part I
Introduction: General Principles of Timing
Timing for TV Series
Timing for Full Animation
Timing in General
What is Good Timing?
The Storyboard
Traditional Storyboards
Digital Storyboards
Additional Storyboard Effects
Responsibility of the Director
The Basic Unit of Time in Animation
Timing for Television vs. Timing for Feature Films
Slugging
Bar Sheets
Timing for Traditional Animation: Exposure Charts or Exposure Sheets
Timing for an Overseas Production
Timing for a 2D Digital Production
Timing for a 3D Digital Production
Timing for an Actor-Based Program (Performance or Motion Capture)
Animation and Properties of Matter
Part II
Movement and Caricature
Cause and Effect
Newton’s Laws of Motion
Objects Thrown Through the Air
Timing of Inanimate Objects
Rotating Objects
Irregular Inanimate Objects
Animate Objects–Characters
Force Transmitted Through a Flexible Joint
Force Transmitted Through Jointed Limbs
Spacing of Drawings—General Remarks
Spacing of Drawings
Timing a Slow Action
Timing a Fast Action
Getting Into and Out of Holds
Single Frames or Double Frames? Ones or Twos?
How Long to Hold?
Anticipation
Follow Through
Overlapping Action
Part III
Timing an Oscillating Movement
Timing to Suggest Weight and Force—1
Timing to Suggest Weight and Force—2
Timing to Suggest Weight and Force—3
Timing to Suggest Weight and Force—4
Timing to Suggest Force: Repeat Action
Character Reactions and ‘Takes’
Timing to Give a Feeling of Size
The Effects of Friction, Air Resistance and Wind
Timing Cycles—How Long a Repeat?
A Waving Flag
Multiple Character Scenes
Digital Crowd Scenes
Effects Animation: Flames and Smoke
Water
Rain
Water Drops
Snow
Explosions
Digital Effects
The Aesthetic in Effects Animation
Part IV
Repeat Movements of Inanimate Objects
Timing a Walk
Types of Walk
Spacing of Drawings in Perspective Animation
Timing Animals’ Movements
Horses
Other Quadrupeds
Timing an Animal’s Gallop
Bird Flight
Drybrush (Speed Lines) and Motion Blur
Accentuating a Movement
Strobing
Fast Run Cycles
Characterization (Acting)
The Use of Timing to Suggest Mood
Synchronizing Animation to Speech
Part V
Lip-Sync—1
Lip-Sync—2
Lip-Sync—3
Timing and Music
Traditional Camera Movements
3D Camera Moves
Peg Movements in Traditional Animation
Peg Movements in 3D Animation
Editing Animation
Editing for Feature Films
Editing for Television Episodes
Editing for Children’s Programming
Editing for Internet Downloads
Games
Conclusion
Index
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Timing for Animation
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Copyright
Timing for Animation
Harold Whitaker and John Halas Updated by Tom Sito
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