The Animation Bible: A Practical Guide to the Art of Animating, from Flipbooks to Flash

£9.9
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The Animation Bible: A Practical Guide to the Art of Animating, from Flipbooks to Flash

The Animation Bible: A Practical Guide to the Art of Animating, from Flipbooks to Flash

RRP: £99
Price: £9.9
£9.9 FREE Shipping

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That is, to entice the team of execs that your show idea is worth developing after you’ve left the building. It needs to not only represent your idea and characters, but also convey your skills, passion, and personality. With a carefully crafted frame, you can direct the viewer’s attention to be exactly where you want it, without them realizing that they are being guided. Eventually, the viewer may recognize the craft that has gone into this principle: everything must be expressed clearly and in a manner that can be retained later on. Now, it doesn’t have to be finished art. If you’re an artist, and you can make the character’s personality shine from a rough sketch, that’s okay to share. As it sounds, slow in slow out is the concept of gradually building up momentum, then gradually dispersing it. In animation, this tends to take the form of including more frames at the start and end of a character or object’s movement, resulting in much more realistic and convincing movement. 7. Arcing

Straight ahead action:this is undoubtedly the most lengthy process of the two. Straight ahead action requires each individual frame of the animation to be drawn in sequence. While this takes as long as it sounds, it results in much more realistic and fluid movement, making for some truly stunning scenes. Producers and executives won't invest in your idea unless you can show its value over the long term. They want to know that your idea is a strong one, that is has a strong premise, that it has "legs" - meaning that your story is big enough to span a full series and, further potential series. As you might imagine, working with models and physical puppets is a whole different kettle of fish than 2D or 3D animation. This book understands how daunting the prospect of learning a whole new set of skills and it does well to teach some of the more complex and specific abilities required such as 3D printing, lighting and set building. There’s a robust few chapters on how to transfer your existing animation skills to stop-motion as well as a detailed outline of some of the stop-motion basics too. If they’re an animator and they love Wallace and Gromit, you can’t go wrong with this one.Optional elements are an excellent way for you to provide more depth and flavor to the animation pitch. These optional elements can come in the form of character model sheets, concept art for props and clothing, additional concept art for the setting, and the like. Aside from being able to further showcase the uniqueness of the project, it is a great chance to set the tone, genre, and personality of the animation project. It is also important to give brief descriptions of each character’s personality and traits such as motivations and flaws. This helps flesh out your characters and gives your client an idea of how the characters will interact with each other and the setting. Take this chance to show how your characters will reflect your animation client’s values. An art bible is a document in which an art director establishes the visual style of a project (usually an animation movie/series or a video game). Art bibles, also known as style guides or design guides, are especially useful for stylized art. It contains key aspects that fit the visual style of the project. an animation idea has to be pitched to potential developers and buyers to have any chance of securing investment for a project. A potential buyer could be an established production studio that would then develop the project and, in turn, pitch it to investors and distributors. On the other hand, a producer may pitch directly to a distributor or network.

Even if you never reveal these aspects of your character to the wider world, doing these exercises will better inform you of your character and the world it inhabits, and in the long-term, help you to create a more personal and rewarding final project. A great deal of this principle, more so than the others, comes down to the animator’s ability as a storyteller. 3. StagingNot just for action-adventure shows either, this goes for comedies as well. Just remember that if your target audience is children, not to make the villains too scary, mmkay? Just pretend he’s evil. Basic format. What is it? a sitcom, a drama? How does the series end? How does the next series begin? What is your target audience? Who might buy it? Since your amazing idea isn’t tangible, you’ll need something that is. Something that allows the development exec the opportunity to really digest it, and share with their colleagues and boss. A skeleton key that will open the door of acceptance. The pitch bible is especially useful when pitching your animation projects since it can accurately describe the look and feel of the project. Animation comes with several styles that are distinct and unique from each other. Using an animation pitch bible allows you to describe exactly how the target audience will see the project. For example, the pitch bible lets you accurately represent a highly stylized animation project or portray how close the animation style can mimic real-life.



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