Release. Pressure. Animate.

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Failes, Ian (2011) Paul: Double Negative’s alien adventure http://www.fxguide.com/featured/paul-double-negative%E2%80%99s-alien-adventure/ (June, 2011) Farmer, David (1999) Austega Information Services, article on ―Flow‖. http://austega.com/education/articles/flow.htm (April, 2011) Farrington, Jeanne. (2011) From the Research: Myths Worth Dispelling. Seven Plus or Minus Two. In: Performance Improvement Quarterly. volume 21, issue 4, http://onlinelibrary.wiley.com/journal/10.1002/%28ISSN%291937-8327 (June, 2011) Fielding, Cameron (2011) Quick trick: Draw your timing http://fliponline.blogspot.com/2011/02/quick-trick-draw-your-timing.html (March, 2011) Fitz, Daryn (2006) An interview with Victor Navone – Pixar Animator http://www.planit3d.com/source/interviews/navone/victor_navone1.html (June, 2011) Fitz, Daryn (2009) Victor Navone. Working with limitations and abstract characters, the move to directing, the staff bar at Pixar, and much more. http://www.planit3d.com/source/interviews/navone/victor_navone2.html (June, 2011) Freeman, Shaun (2011a) Shawn Kelly on using live action reference. http://www.shaunfreeman.com/animating_tips/live_action.htm (July, 2011) Freeman, Shaun (2011b) Keith Lango on using live action reference. http://www.shaunfreeman.com/animating_tips/live_action_keith.htm (July, 2011) Furniss, Maureen (1999) Motion Capture. http://web.mit.edu/commforum/papers/furniss.html (June, 2011) Gazzaley, Adam. (2011) TEDxSanJoseCA - Brain: Memory and Multitasking. http://www.tedxsanjoseca.com/ (June, 2011) Gilland, Joseph (2006) Animation World Network. The <strong>Animate</strong>d Scene: ―Paperless Animation Production‖ — Myth or Reality? http://www.awn.com/articles/aniscene/animated-scene-paperless-animation-productionmyth-or-reality (June, 2011) Girrard, Dave (2011) Polygons, Pixels and Paint: Quote on improvement. http://polygonspixelsandpaint.tumblr.com/post/7559204138 (July, 2011) Griffin, W. Glenn; Morrison, Deborah. (2010) The Creative Process Illustrated: How Advertising’s Big Ideas Are Born. Cincinatti, Ohio. Halas, John; Whitaker, Harold (2002) Timing for Animation. Focal Press. (PDF) http://www.floobynooby.com/pdfs/TimingForAnimation.pdf (June, 2011) ISBN:0240517148 Harlow, H.F. (1962) Development of affection in primates. New York: Harper. Reference Sources 1 5 0
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PRESSURE. RELEASE. ANIMATE. How to
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“Art challenges technology. Techn
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Table of Contents Table of Contents
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Introduction Not a very long time a
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This is all evolving around the mai
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There are two difficulties in discu
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1.2 How can a flow be maintained or
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this piece of art - posing the char
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You know that feeling when you watc
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without any reference or sketching.
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2.1 Animating like a puppeteer. (St
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ond with the character often create
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everything done smoothly at the mom
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same, hence a „tick‟ of the lig
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This paragraph is about what in gen
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“Too much action spoils the actin
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working clean and keeping your head
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think in the ways of those strong p
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the motion and action of the charac
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this can be a reliable way for „i
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It‟s hard to have a clear distinc
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the background. Any distraction at
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or the mixed approach as described
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customizing and tweaking the whole
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as the character parts don‟t actu
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As with traditional animation and m
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example you could divide the pipeli
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ecognizable style on its own, but f
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issue. “While early production mo
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There‟s a need for a strict goal
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Simplicity is what animators seem t
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Simple thinking Complex effects Ful
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creating a thorough plan that doesn
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Because using the early computer sy
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work you‟re looking at, regardles
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we‟ll see. According to a job des
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day polishing splines, arcs and spa
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It‟s important to allow supervisi
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doesn‟t. For him they were mainly
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- Discuss with supervisor. - Animat
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the animator (like reviews by the s
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By now I‟ve presented the importa
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the final movie too. They might see
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progression of the shot before star
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In management I‟ve noticed while
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already know exactly what pose happ
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(Autodesk Whitepaper - The New Art
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with a limited amount of informatio
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information to be (possibly) presen
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for. Sometimes it is necessary to a
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pop out is simplicity. For every ta
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goals (based off of storyboard and
Page 105 and 106: up and shut it down instead of a co
Page 107 and 108: development 22 . Since the tracking
Page 109 and 110: The same accounts for playing the a
Page 111 and 112: animation studios, and if it were u
Page 113 and 114: on it, as well as use it automatica
Page 115 and 116: offer functionality for this in a r
Page 117 and 118: guessing right away what the best t
Page 119 and 120: to focus on only these parts and ma
Page 121 and 122: een developed through the years for
Page 123 and 124: data to handle through the years se
Page 125 and 126: applying it to your objects animati
Page 127 and 128: allows you to quickly sculpt tweaks
Page 129 and 130: quickly and easily check your anima
Page 131 and 132: without worrying about what and whe
Page 133 and 134: viewing and commenting accordingly
Page 135 and 136: stimulation might interfere with ac
Page 137 and 138: A picture depicting an overview of
Page 139 and 140: of the animating) could need this t
Page 141 and 142: tools that really helped with the c
Page 143 and 144: never really ended up using it as f
Page 145 and 146: But looking at the character from t
Page 147 and 148: otate around his head took me at mo
Page 149 and 150: As stated we worked faster and were
Page 151 and 152: Conclusion The main focus of my res
Page 153 and 154: management, start using it and twea
Page 155: Reference Sources Animation Mentor
Page 159 and 160: 1. Workflow and Pipeline clarificat
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