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Full Cracking Animation

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3K views271 pages

Full Cracking Animation

Uploaded by

anh98762
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
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0K AARDMAN BO! TE 30 ANIMIAION Thames & Hudson KING TION Peter Lord & Brian Sibley Foreword by Nick Park 16 66 80 92 110 132, contents foreword introduction the medium one basic needs The Camera The Dgtal mage and Maton Conny ‘A Simple Studio ‘A Complex Stusio The Power of Lighting two simple techniques Semple Cay Animation Simple Object Anieration| (Other Animation Techriques three models and modelmaking Basic Panciples Making a Sheep Gromit Coratruction Wat Construction ex Construction reson four set design and making Panning 2 Set A Strihorward Set ‘Outeoor and Landscape Sets Matching Sets to Products ‘® Complex Set. Ingenuty ard Props Special Elects Ackanced Special fects five animation and performance Movement Wak Cys Making Movement Bebeatle 158 174 202 266 268 and Tumbling nd Speci Movement Effects Espresione and Gestures Speech and Up-5ne six CGI / computer-generated imagery Modeling Fires and Set Plgzng Ughing an Reeesng con the Big Sean seven making a film The Role of the Producer Thinking about a Short Script The Making of Pres! Producing rates Directing Pte! Eating Prote! eight the Aardman showcase Fash Animation and the Web (Onine Games Creating a Stonboard for Adam Wear Stery The Peace Stes Rays ig eo Dec Morph Aner Kid eta Comforts Walace and Orcken Ra Shaun the Seep Shun te Sheep the Move a career in animation filmography & bibliography index sth fn hing oe tn The Wren Tose (199, eect by Mah Pak foreword Ne Pax | wish this book had been written in the Seventies when | was a teenager and started experimenting with animation and making my first movies.| did not meet another animator for even anyone with a vague knowledge of the technique, for years. My early experience in animation was therefore a solitary one; a case of guesswork and trial and error | felt that everyone else must bé ‘doing it right’, and there must be something very bvious that everyone else knew about ‘that | was not doing | scoured old library books and movie ‘magazines for any scraps of information, but found very little. Later | met Peter Lord and David Sproxton, whose work | had long admired. Through them and Aardman Animations | met more of our species, and was surprised to find that they had all felt similarly isolated and had worked through experimentation either at college or on the kitchen table. Although there is now a great deal more information available about animation, especially now that computer animation has become so prominent, this book still holds a wealth of valuable hints, tips and insights. In the past few years it has actually become much easier to make animated films using small video cameras and simple computer systems, but the performance skills and storytelling aspects of the craft never change. | hope this edition fils you with enthusiasm for the world of 3-D animation, introduction reiertow | began animating asa hobby, when | as a teenage, many years ago: and though lof course its now become a career, isa career with much of the charm and the fun of a hobby. Other boys of my age were spencing their leisuretime bullng mode aircrafts or recording vain sumbers or siting on riverbanks awatng the appearance of fish. But Fate led me to animation Fate inthe shape of my best Fiend’ dad, who owned a ane camera | met Dave Sproxton, my partner at Aardman, when we were both twelve. We sat at adjoining desks at Woking Grammar School for Boys. His father was a keen photographer who worked forthe BBC a5 a producer of regjous programmes. Like many a producer in those days, and probably t the despair of the Fm Union, Vern Sproxton tas nat averse to shooting some of his own materal # he could get away wth i. So he owned a cine camera a dockwork lémm Balex

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