Contents

Foreword by John Lasseter, Pixar

Preface to 2nd edition

Preface to 1st edition

Acknowledgements

 

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

 

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

 

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

 

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

 

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