内容简介

The definitive book on animation, from the Academy Award-winning animator behind Who Framed Roger Rabbit?

Animation is one of the hottest areas of filmmaking today--and the master animator who bridges the old generation and the new is Richard Williams. During his more than forty years in the business, Williams has been one of the true innovators, winning three Academy Awards and serving as the link between Disney's golden age of animation by hand and the new computer animation exemplified by Toy Story.

Perhaps even more important, though, has been his dedication in passing along his knowledge to a new generation of animators so that they in turn could push the medium in new directions. In this book, based on his sold-out master classes in the United States and across Europe, Williams provides the underlying principles of animation that every animator--from beginner to expert, classic animator to computer animation whiz --needs. Urging his readers to "invent but be believable," he illustrates his points with hundreds of drawings, distilling the secrets of the masters into a working system in order to create a book that will become the standard work on all forms of animation for professionals, students, and fans

作品目录

Why This Book? 1
Drawing in Time 11
Time to Draw 23
It's All in the Timing and the Spacing 35
Lesson 1 41
Advancing Backwards to 1940 46
History of the Chart and Inbetween 47
Extremes and Breakdowns 48
Keys 57
Three Ways to Animate 61
Testing, Testing, Testing 68
The X-Sheet 70
Came the Dawn... 75
The Best Numbering System 76
The Great Ones and Twos Battle 78
The Top and Bottom Pegs Battle 80
More on Spacing 84
Classic Inbetween Mistakes 88
Watch Your Arcs 90
Getting More Movement Within the Mass 92
The Elongated Inbetween 96
The Major Beginner's Mistake 99
The 'Ruff' Approach 99
How Much Do We Leave To The Assistant? 101
Take The Long Short Cut 101
Walks 102
Getting the Weight 106
Set the Tempo 109
The Passing Position or Breakdown 111
Two Ways to Plan a Walk 115
The Double Bounce 118
Loosening it Up 120
Digging Deeper into Walks 128
There's Nothing Like Trying It 135
The Heel 136
Foot Action 136
Normal Walk Spacing 142
Weight Shift 146
The Belt Line 147
Arm Movements 148
Counteraction 156
The Recipe 163
Sneaks 167
The Tip Toe Sneak 173
Runs, Jumps and Skips 176
The 4 Drawing Formula Run 189
The 3 Drawing Run 192
The 2 Drawing Run 195
The Recipe 200
Run, Jump, Skip and Leap 201
Skips 209
Jumps 212
Weight on a Jump 213
Flexibility 217
The Breakdown 218
Simple Overlap 223
Overlapping Action 226
Simple Counteraction 230
Breaking Joints to Give Flexibility 231
Flexibility in the Face 246
Overlapping Action in the Face 249
Instant Read - Profiles for Readability 251
Weight 256
Pressure and Weight 262
How Much Effort Do We Have to Expend? 264
Dancing 269
Rules of Thumb On Synchronising Action 272
Anticipation 273
Surprise Anticipations 282
Invisible Anticipations 283
Takes and Accents 285
A Hard Accent Bounces Back 295
A Soft Accent continues 295
Timing, Staggers, Wave and Whip 297
Stagger Timings 297
The Side to Side Vibration Formula 299
Whip Action 301
Wave Action 301
Dialogue 304
Phrasing 305
Picture and Sound Sync 310
Accents 311
Attitude 314
The Secret 314
Acting 315
Change of Expression 320
Look for the Contrast 321
An Acting Point 323
Body Language 324
Symmetry or 'Twinning' 324
Steal It! 325
Eyes 325
Animal Action 327
Live Action Reference 328
Basic Animal Walk Pattern 330
Directing 333
The Brief 334
The Leica Reel 334
Separate the Characters 334
Best Foot Forward 335
Casting Animators 335
Making Changes 335
'Say! Say!' 335
Voice Recording 335
Hook Ups 335
Research 335
Editing 335
Believe in Your Material 335
Review 338
The Procedure 338
The Ingredients 339
Acknowledgements 342
· · · · · ·

作者简介

Richard Williams is best known as the Director of Animation and designer of the new characters for Who Framed Roger Rabbit, for which he won two Academy Awards including a Special Achievement Award.Canadian-born Williams has won three US Academy Awards, three British Academy Awards, and an Emmy among 246 international awards starting with his first film The Little Island in 1...

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精彩摘录

把心思集中到表演上，这才是关键，表演就是一切，如果只想技术，那么一切都会一团糟动画唯一的局限就是动画师本人。除此之外没有任何你做不到的。那你还有什么理由不去实践呢？一个不幸艺术家的墓志铭他发现了一个画滑稽兔子的模式这个模式让他功成名就而最终他的生命以悲剧结束因为他无法摆脱这个画画集兔子的模式————罗伯斯，格威斯要成为顶级动画师就得是个优秀的画匠，你要尝试研究人体的一切。要能集中到某个具体的人身上。研究人体之间的区别———为什么这个人体区别于那个，绘画和变换的能力。创作漫画和恰当的突出人物间区别的能力和知识就是你一直在做的。千万别把绘画当成画地图，我们的动画不是线条而是尸体。那么我们就应该理解尸体的现实情况。为了超越现实，我们必须以写实为基础

——引自章节：摘抄

勿做相机能做的，要做相机做不到的

——引自第15页