By Shawn Kelly, Carlos Baena
;Animation assistance & tips vol.2 КНИГИ ; ХОББИ и РЕМЕСЛА Автор: Shawn Kelly, Carlos Baena Название:Animation guidance & tips vol.2 Издательство: Animation Mentor Год: 2009 Формат: PDF Страниц: 70 Размер: 12 МбПосле выхода первого сборника практических советов для аниматоров его создатели получили так много откликов, что не замедлили выпустить продолжение. Это вторая часть "Уловок и Трюков" от основателей и преподавателей всемирноизвестной онлайн-школы анимационного мастерства - Шона Келли (аниматор студии commercial gentle & Magic, участвовал в создании "Трансформеров" и "Звездных войн") и Карлоса Баены (аниматор студии PIXAR, участвовал в создании discovering Nemo, The Incredibles, autos, Ratatouille, WALL-E и Toys tale 3).Книга будет интересна как тем, кто только начинает заниматься анимацией, так и профессионалам.Animation advice & tips quantity 2 is a 70 pages PDF record with a suite of the easiest assistance, advices and assets released at the Animation information & tips weblog. you will discover many of the similar content material released within the web publication yet being unfastened, accumulated in a single cozy record you'll additionally print, makes the deal. It moves for the simplicity of a few solutions to a few of an important questions an animator, being a pupil or an emergent specialist, retains on asking.Скачать - Animation tips & methods vol.2.com eighty five
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Extra resources for Animation Tips & Tricks vol.2
Weight must shift from side to side in leading the balance during a walk. These examples from The Iron Giant do not address the fact that we may be looking at a directorial decision for mechanical stylization. (See if a lawyer can get through that one). The Iron Giant – to shift weight or not? At the electrical station and in the final battle scene the giant lacks ‘human characteristics’ and there is no weight shifting in his walk, but at the pond there is. 1. First time Hogarth sees the Iron who walks over him at the power plant.
When a character jumps up, it is actually driving down against the ground. The faster it can drive down the higher it will jump. The character can enhance the power of the jump by properly timing the thrusting of shoulders and arms in the direction of the jump. Study a high jumper or long jumper. Once the force needed to jump is believably represented visually, the principles of movement are initiated. If the character is weak and heavy it takes more effort to jump, pull or push, which influences timing which influences the principles.
There are many books on things like this, and I highly encourage people to learn more about it. The camera should work with the actors, and follow them and the story. Don’t move the camera exactly at the same time the character starts to move. Usually follows afterwards. Study films to see how this is done differently. Be careful if you anticipate the camera to the actor, as if there is not reason for the move, it can make things look too staged and not as spontaneous. Watch Hitchcock’s Notorious to see how he used the camera in different ways throughout the film.