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005 20230627141743.0
008 121013t20092009nyuac g 000 0 eng d
011 _aZ3950 Search: @attr 1=7 "9780865478978"
011 _aZ3950 Record: 3 of 24
020 _a086547897X
_qpbk.
020 _a9780865478978
_qpbk.
035 _a(OCoLC)1002068905
040 _aATSAE
_beng
_erda
_cATSAE
_dATSAE
_dOCLCQ
_dOCLCF
_dOCLCO
_dZLF
_dOCLCA
_dY8N
_dZ5A
050 4 _aNC
082 0 4 _a741.58
_223
099 _a741.58 WIL
100 1 _aWilliams, Richard,
_d1933-2019,
_eauthor.
_9872980
245 1 0 _aAnimator's survival kit :
_ba manual of methods, principles and formulas for classical, computer, games, stop motion and internet animators /
_cRichard Williams.
246 3 0 _aManual of methods, principles and formulas for classical, computer, games, stop motion and internet animators
250 _aExpanded edition, First American expanded paperback edition.
264 1 _aNew York :
_bFarrar, Straus and Giroux,
_c2009.
264 4 _c©2009
300 _ax, 382 pages :
_billustrations (some colour), portraits ;
_c28 cm
336 _atext
_btxt
_2rdacontent
337 _aunmediated
_bn
_2rdamedia
338 _avolume
_bnc
_2rdacarrier
500 _aPrevious edition: 2001.
500 _a"A manual of methods, principles and formulas for classical, computer, games, stop motion and internet animators."--Cover.
505 0 _aWhy This Book? -- Drawing In Time -- Time To Draw -- It's All In The Timing And The Spacing -- Lesson 1 -- Advancing Backwards To 1940 -- History of the Chart and Inbetween -- Extremes and Breakdowns -- Keys -- Three Ways to Animate -- Testing, Testing, Testing -- The X-sheet -- Came the Dawn ... -- The Best Numbering System -- The Great Ones and Twos Battle -- The Top and Bottom Pegs Battle -- More On Spacing -- Classic Inbetween Mistakes -- Watch Your Arcs -- Getting More Movement Within the Mass -- The Elongated Inbetween -- The Major Beginner's Mistake -- The `Ruff' Approach -- How Much Do We Leave To The Assistant? -- Take The Long Short Cut -- Walks -- Getting the Weight -- Set the Tempo -- The Passing Position or Breakdown -- Two Ways to Plan a Walk -- The Double Bounce -- Loosening it Up -- Digging Deeper into Walks -- There's Nothing Like Trying It -- The Heel -- Foot Action -- Normal Walk Spacing -- Weight Shift -- The Belt Line -- Arm Movements -- Counteraction -- The Recipe -- Sneaks -- The Tip Toe Sneak -- Runs, Jumps And Skips -- The 4 Drawing Formula Run -- The 3 Drawing Run -- The 2 Drawing Run -- The Recipe -- Run, Jump, Skip and Leap -- Skips -- Jumps -- Weight on a Jump -- Flexibility -- The Breakdown -- Simple Overlap -- Overlapping Action -- Simple Counteraction -- Breaking Joints to Give Flexibility -- Flexibility in the Face -- Overlapping Action in the Face -- Instant Read -- Profiles for Readability -- Weight -- Pressure and Weight -- How Much Effort Do We Have To Expend? -- Dancing -- Rules of Thumb On Synchronising Action -- Anticipation -- Surprise Anticipations -- Invisible Anticipations -- Takes And Accents -- A Hard Accent Bounces Back -- A Soft Accent continues -- Timing, Staggers, Wave And Whip -- Stagger Timings -- The Side to Side Vibration Formula -- Whip Action -- Wave Action -- Dialogue -- Phrasing -- Picture and Sound Sync -- Accents -- Attitude -- The Secret -- Acting -- Change of Expression -- Look for the contrast -- An Acting Point -- Body Language -- `Symmetry or Twinning' --
505 0 _aThe Recipe -- Sneaks -- The Tip Toe Sneak -- Runs, Jumps And Skips -- The 4 Drawing Formula Run -- The 3 Drawing Run -- The 2 Drawing Run -- The Recipe -- Run, Jump, Skip and Leap -- Skips -- Jumps -- Weight on a Jump -- Flexibility -- The Breakdown -- Simple Overlap -- Overlapping Action -- Simple Counteraction -- Breaking Joints to Give Flexibility -- Flexibility in the Face -- Overlapping Action in the Face -- Instant Read -- Profiles for Readability -- Weight -- Pressure and Weight -- How Much Effort Do We Have To Expend? -- Dancing -- Rules of Thumb On Synchronising Action -- Anticipation -- Surprise Anticipations -- Invisible Anticipations -- Takes And Accents -- A Hard Accent Bounces Back -- A Soft Accent continues -- Timing, Staggers, Wave And Whip -- Stagger Timings -- The Side to Side Vibration Formula -- Whip Action -- Wave Action -- Dialogue -- Phrasing -- Picture and Sound Sync -- Accents -- Attitude -- The Secret -- Acting -- Change of Expression -- Look for the contrast -- An Acting Point -- Body Language -- `Symmetry or Twinning' --
505 0 _aSteal It! -- Eyes -- Animal Action -- Live Action Reference -- Basic Animal Walk Pattern -- Directing -- The Brief -- The Leica Reel -- Separate the Characters -- Best Foot Forward -- Casting Animators -- Making Changes -- `say! Say!' -- Voice Recording -- Hook Ups -- Research -- Editing -- Believe in Your Material -- Review -- The Procedure -- The Ingredients -- The Enlarged Edition -- `lesson One' on Flexibility -- Delaying Parts and Progressing the Action -- Put It Where You Can See It -- A Hollywood Hop -- Contrast and Change -- Phrasing Dialogue -- Using Live Action for Reference -- Animal Flexibility -- Action on a Running Dog -- How Does a Horse Really Walk? -- Horse Trotting -- Horse Galloping -- Birds -- A Challenging Assignment in `realism' and Weight -- The Moving Hold -- The Great `realism' Debate -- The Solution -- Yes, But ... -- Conclusion So Far -- My conclusion -- Life drawing for animation.
520 _a"Animation is one of the hottest and most creative areas of film-making today. During his more than 40 years in the business, Richard Williams has been one of the true innovators, and serves as the link between the golden age of animation by hand and the new computer animation successes."--Back cover.
650 0 _aAnimation (Cinematography)
_9313782
650 0 _aDrawing
_xTechnique.
_9371635
700 1 _aWilliams, Richard,
_tAnimator's survival kit.
942 _cB
_n0
999 _c1828264
_d1828264