A classic of animation education since it first published in 1981. Copies of Timing for Animation have been sitting dog-eared and spine-split on desks and workstations around the world, wherever animation is produced for more than 25 years. 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
* Animate it right first time with these tried and tested techniques by industry legends, Halas and Whitaker. The second edition is fully updated for digital workflows, by Tom Sito, animator of "Beauty and the Beast" and "Shrek."
* Get straight to the good stuff with simple, no-nonsense instruction on the key techniques like stretch and squash, animated cycles, overlapping, and anticipation. 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, in Full color 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
"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 Network
* 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