Timing for Animation
2nd Edition
Published on 31. October 2015
Book
Hardback
174 pages
978-1-138-12746-3 (ISBN)
Description
A classic of animation education since it first published in 1981. For more than 25 years, copies of Timing for Animation have been sitting dog-eared and spine-split on desks and workstations around the world wherever animation is produced. All you need to breathe life into your animation is at your fingertips.
All the vital techniques employed by animators worldwide are explained using dozens of clear illustrations and simple, straightforward directions. Learn how animations should be arranged in relation to each other, how much space should be used and how long each drawing should be shown for maximum dramatic effect. Fully revised and updated, the second edition includes timing for digital production, digital storyboarding in 2D, digital storyboarding in 3D, the use of After Effects and much, much more!
Timing shows weight, mood, and power and can make or break an animation - get it right the first time with these tried and tested techniques
Get straight to the good stuff with simple, no-nonsense instruction on the key techniques like stretch and squash, animated cycles, overlapping, and anticipation
All the vital techniques employed by animators worldwide are explained using dozens of clear illustrations and simple, straightforward directions. Learn how animations should be arranged in relation to each other, how much space should be used and how long each drawing should be shown for maximum dramatic effect. Fully revised and updated, the second edition includes timing for digital production, digital storyboarding in 2D, digital storyboarding in 3D, the use of After Effects and much, much more!
Timing shows weight, mood, and power and can make or break an animation - get it right the first time with these tried and tested techniques
Get straight to the good stuff with simple, no-nonsense instruction on the key techniques like stretch and squash, animated cycles, overlapping, and anticipation
Reviews / Votes
"Among my favourite books, Timing for Animation (Focal Press), by Harold Whitaker and John Halas ranks high. Originally written in 1981 (and newly revised in 2009) this slim volume presents a thorough analysis of the many kinds of timing issues one encounters in producing a narrative style animated film. Timing on Bar Sheets, Movement and Caricature, Newton's Laws of Motion, Objects Thrown Through the Air, Timing a Slow Action, Timing a Fast Action, Timing to Suggest Weight and Force... these are only a few of the many chapters included. A thoroughly compiled manual, it's an old and current favourite."--Animation World NetworkMore details
Edition
2nd edition
Language
English
Place of publication
London
United Kingdom
Publishing group
Taylor & Francis Ltd
Target group
Professional and scholarly
Professional Practice & Development
Dimensions
Height: 246 mm
Width: 189 mm
ISBN-13
978-1-138-12746-3 (9781138127463)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Classification
Other editions
Additional editions
Tom Sito | Harold Whitaker | John Halas
Timing for Animation
Book
09/2009
2nd Edition
Focal Press
€37.13
Article exhausted; check for reprint
Persons
Known as the "father of animation" and formerly of Halas and Batchelor Animation unit, John produced over 2000 animations, including the legendary "Animal Farm" and the award winning "Dilemma". He was also the founder and president of the ASIFA and former Chairman of the British Federation of Film Societies.
BAFTA-nominated professional animator and educator for 40 years, many of his students number among today's most outstanding animation artists.
Tom Sito is an Adjunct Professor of Animation at USC, Woodbury College, and UCLA and has written numerous articles for Animation Magazine and Animation World Network. Tom's screen credits include the Disney classics THE LITTLE MERMAID (1989), BEAUTY & THE BEAST (1991), ALADDIN (1992), THE LION KING (1994), WHO FRAMED ROGER RABBITT (1988), POCAHONTAS (1995), FANTASIA (2000) and SHREK (2001). Tom is President-Emeritus of the Hollywood Animation Guild Local 839 IATSE. He is vice president of the International Animator's Society (ASIFA/Hollywood) He is a member of the Motion Picture Academy, the National Cartoonists Society and Hollywood Heritage. In 1998 he was named in Animation Magazine's list of the 100 Most Important People in Animation.
BAFTA-nominated professional animator and educator for 40 years, many of his students number among today's most outstanding animation artists.
Tom Sito is an Adjunct Professor of Animation at USC, Woodbury College, and UCLA and has written numerous articles for Animation Magazine and Animation World Network. Tom's screen credits include the Disney classics THE LITTLE MERMAID (1989), BEAUTY & THE BEAST (1991), ALADDIN (1992), THE LION KING (1994), WHO FRAMED ROGER RABBITT (1988), POCAHONTAS (1995), FANTASIA (2000) and SHREK (2001). Tom is President-Emeritus of the Hollywood Animation Guild Local 839 IATSE. He is vice president of the International Animator's Society (ASIFA/Hollywood) He is a member of the Motion Picture Academy, the National Cartoonists Society and Hollywood Heritage. In 1998 he was named in Animation Magazine's list of the 100 Most Important People in Animation.
Content
* denotes new material
Foreword by John Lasseter
* new preface
Preface to 1981 edition
What is good timing?
The storyboard new illustration needed
* Traditional hand drawn storyboards
* Digital storyboarding in 2d
* Digital storyboarding in 3d
* The use of After-effects
The Responsibility of the director (rewrite)
The basic unit of time in animation (new illustration)
* Timing for hand-drawn film
* Timing for overseas production
* Timing for digital production
* Motion or Performance Capture
Animation and properties of matter
Movement and Caricature (new illustration)
Cause and effect
Newton's laws of motion
Object's thrown through the air
Timing of inanimate objects
Force transmitted through a flexible joint
Force transmitted through jointed limbs
Spacing of drawings (some additional rewrite to take Digital into account - new illustration needed)
Timing a slow action
Tiiming fast action new illustration needed
getting into and out of holds * (some rewrite - new illustration)
Single frames or double frames?
How long to hold?
Anticipation
Follow through
Overlapping action new illustration needed
Timing an oscillating movement
Timing to suggest weight and force new illustration needed
Timing to suggest force: repeat action
Character reaction and takes
Timing to give feeling of size new illustration needed (*New Japanese Anime examples)
The effects of friction, air resistance and wind
Timing cycles
* Scenes with multiple characters
* A word about Massive
Effects animation:
* 2D Hand drawn effects: flames and smoke
Water
Rain
Snow
Explosions
* 3D Digital Effects
repeat movements of inanimate objects (new illustration)
Timing a walk
Types of walk
Spacing of drawings in perspective animation
Timing animals' movements
Bird flight
* Speed lines, and motion blur new illustration needed
* Snap Principle: Accentuating movement, (* some rewriting, new illustration)
Strobing fast run cycles (new illustration)
Characterisation (new illustration)
The use of timing to suggest mood (new illustration)
Synchronising animation to speech , (* some rewriting, new illustration)
Lip-sync
Timing and music
* Camera movements: Traditional
* Camera Movements: Digital
* Edting for different animated media
* Feature films
* Televison
* Downloads and short form media games
* Conclusions: Traditional skills and Future technological development.
(Drop the Peter Foldes material. It looks thrown in and really dates the book.)
* Index
Foreword by John Lasseter
* new preface
Preface to 1981 edition
What is good timing?
The storyboard new illustration needed
* Traditional hand drawn storyboards
* Digital storyboarding in 2d
* Digital storyboarding in 3d
* The use of After-effects
The Responsibility of the director (rewrite)
The basic unit of time in animation (new illustration)
* Timing for hand-drawn film
* Timing for overseas production
* Timing for digital production
* Motion or Performance Capture
Animation and properties of matter
Movement and Caricature (new illustration)
Cause and effect
Newton's laws of motion
Object's thrown through the air
Timing of inanimate objects
Force transmitted through a flexible joint
Force transmitted through jointed limbs
Spacing of drawings (some additional rewrite to take Digital into account - new illustration needed)
Timing a slow action
Tiiming fast action new illustration needed
getting into and out of holds * (some rewrite - new illustration)
Single frames or double frames?
How long to hold?
Anticipation
Follow through
Overlapping action new illustration needed
Timing an oscillating movement
Timing to suggest weight and force new illustration needed
Timing to suggest force: repeat action
Character reaction and takes
Timing to give feeling of size new illustration needed (*New Japanese Anime examples)
The effects of friction, air resistance and wind
Timing cycles
* Scenes with multiple characters
* A word about Massive
Effects animation:
* 2D Hand drawn effects: flames and smoke
Water
Rain
Snow
Explosions
* 3D Digital Effects
repeat movements of inanimate objects (new illustration)
Timing a walk
Types of walk
Spacing of drawings in perspective animation
Timing animals' movements
Bird flight
* Speed lines, and motion blur new illustration needed
* Snap Principle: Accentuating movement, (* some rewriting, new illustration)
Strobing fast run cycles (new illustration)
Characterisation (new illustration)
The use of timing to suggest mood (new illustration)
Synchronising animation to speech , (* some rewriting, new illustration)
Lip-sync
Timing and music
* Camera movements: Traditional
* Camera Movements: Digital
* Edting for different animated media
* Feature films
* Televison
* Downloads and short form media games
* Conclusions: Traditional skills and Future technological development.
(Drop the Peter Foldes material. It looks thrown in and really dates the book.)
* Index