000			04268nam a2200337 i 4500
008			151105s2009 nyua 000 0 eng d
010			_z2010294449
020			_a9780865478978
020			_a086547897X
035			_a(OCoLC)794367471
040			_aBTCTA _beng _cBTCTA _dBDX _dNFG _dORX _dYDXCP _dMNY _dEYP _dTXA _dBAUN _erda
049			_aBAUN_MERKEZ
050	0	0	_aTR897.5 _b .W55 2009
082	0	4	_223
082	0	4	_223
100	1		_aWilliams, Richard, _d1933-
245	1	4	_aThe animator's survival kit / _cRichard Williams.
250			_aExpanded edition, First American expanded paperback edition.
264		1	_aNew York : _bFaber and Faber, _c2009.
264		4	_c©2009.
300			_ax, 382 pages : _billustrations (some color) ; _c28 cm.
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
500			_a"A manual of methods, principles and formulas for classical, computer, games, stop motion and internet animators"--Cover.
505	0	0	_t-- Drawing in time _t-- Time to draw _t-- It's all in the timing and the spacing _t-- Lesson 1 _t-- 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 battles ; The top and bottom pegs battle _t-- 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 _t-- 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 space ; Weight shift ; The belt line ; Arm movements ; Counteraction ; The recipe ; Sneaks ; The tip toe sneak _t-- 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 _t-- 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 _t-- Weight : Pressure and weight ; How much effort do we have to expend? ; Dancing ; Rules of thumb on synchronising action _t-- Anticipation : Surprise anticipations ; Invisible anticipations _t-- Takes and accents : A hard accent bounces back ; a soft accent continues _t-- Timing, staggers, wave and whip : Stagger timings ; The side to side vibration formula ; Whip action ; Wave action _t-- Dialogue : Phrasing ; Picture and sound sync ; Accents ; Attitude ; The secret _t-- Acting : Change of expression ; Look for the contrast ; An acting point ; Body language ; Symmetry or 'twinning' ; Steal it! ; Eyes _t-- Animal action : Live action reference ; Basic animal walk pattern _t-- 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 _t-- Review : The procedure ; The ingredients _t-- 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			_aThe Academy Award-winning artist draws on his master instruction classes to demonstrate essential techniques required of animators of any skill level or method, in an updated edition that provides expanded coverage of such topics as animal gaits and live action.
650		0	_aAnimation (Cinematography)
650		0	_aDrawing _xTechnique.
942			_2lcc _cKT
999			_c34027 _d34027