A
Acceleration 147-148, 155, 156, 160, 316, 322, 329, 330
Action-safe, see safe zones
Adobe filmstrip 317
Alexeieff, Alexander 10, 181, 313
Alpha mattes 353, 356, 357, 360
Aspect ratio 105, 186, 232, 299
B
Birth, life, and death 159, 165, 296, 397
C
Camera animation 4-11, 21-22, 127, 134, 139-144, 172, 179-188, 238, 240, 253, 256, 263, 265-269, 279, 297-298, 315, 318-321, 386, 396
Cameraless animation, see Direct-on-film
Carson, David 63, 143-144, 179, 219, 257, 258, 291, 388
Cel animation 6
Cell animation 309
Chroma keying 347-348 Codecs, see QuickTime Cohl, Emile 7
Color
channel alteration 326, 328, 365, 369-370
psychological, gender, cultural, and 173-175
universal associations 174-175
Composite modes, see Blend modes
Conceptualization 284-305 Contrast 180, 181, 220-224
shape 223
surface 223
action 256
Cooper, Kyle 21, 24, 27, 31, 188, 190, 195, 261
Counterpoint 377
Crosscutting 257, 268-269, 273, 376
Curtis, Hillman 91-92, 255, 385
Curves 137, 138, 148, 323, 326, 329-330, 360, 367-368, 369-370
D
Deceleration 147-148, 155, 160, 253, 329-330
Direct-on-film 13, 171, 310-311, 313, 317
Direction, see Eye movement
Distortion 150, 152, 176, 286, 324-325, 326
Dissolves 6, 255-256, 273, 327, 344, 379-383, 388-389, 390
Drop frame format 145
Dynamic editing 389
E
continuity 248, 250, 255, 258, 261, 266
digital 342
discontinuity 257
dynamic 389
linear 374
nesting and 363
nonlinear 374
parallel 268-269, 271, 376, 378
point-of-view 261-262 rapid-cut 20
video 256
Eggeling, Viking 8, 9, 169, 392, 393
Eisenstein, Sergio 255, 263, 265, 271-273, 375, 389, 390
Emphasis 395
Experimental animation 7-17, 180, 392
Eye movement 140, 217, 218, 219-220, 238
F
Fades 256, 379-382, 388-389, 398
Ferro, Pablo 20-21, 24, 188-189
Figurative animation 6, 156, 312
Film capture 318
Fischinger, Oskar 12
Frame-by-frame animation
cell animation 309
collage 314
classical animation 309 digital capture 321
direct-on-film (or cameraless) 310-311
film capture 318
pinboard (or pinscreen) 10, 181, 314
stop-motion 6, 20, 62, 171, 312, 314, 315-316, 318
Frame mobility 139-145, 167, 203, 237, 238, 240, 253, 277, 279-280, 281, 385, 386, 392
G
Gilliam, Terry 18-19, 23, 152, 314
Gestalt theory 211 Greenberg, R/GA 20-21, 24
Greiman, April 35, 36, 73, 74, 75, 222, 239, 293
H
Hand inking 310 Hierarchy 225-226 Histogram 366-370
I
Imaginary Forces 21, 28-31, 35-36, 52, 109, 114-115, 118
Imax theater106 Interpolation 321-322
Java 75
JPEG compression 90
Jump cuts 143, 266-268, 378-379 Juxtaposition 228-229, 244, 262
K
kinetoscope, see optical inventions kinora, see optical inventions Kuleshov, Lev 378, 389
L
Layer modes, see composite modes
Lighting
and color correction 365
for environment 105, 113, 118-124
for live-action footage capture 179, 181-182, 321
Lineups 49
Luminance
operations 366
M
Magic lantern slides, see optical inventions
Mattes
continuous tone 358
solid 357
track 356
traveling 359
Méliès, Georges 6
Mixed media 314
Mobile framing, see frame mobility
Modernism 7
Montage 270-276, 378, 389, 390
Morphing 116, 159, 310, 324-325
Mouris, Frank and Caroline 15, 314
MTV 15, 20, 45, 50-51, 60, 65, 186, 291, 292, 389, 391
Muybridge, Eadward 4-5, 22, 161, 308
N
NTSC 145
Nesting 277, 331, 332-334, 363-365
O
Opacity 322, 326-328, 344, 357, 358, 379
Optical inventions
illusionistic theatre box 2
kinetoscope 4
phenakistoscope 3
praxinoscope 4
P
Parallel editing 268-269, 271, 376-378
Phenakistoscope, see optical inventions
Praxinoscope, see optical inventions
Public Service Announcements (PSAs) 63-64, 238, 244-245
Q
Quay, Stephen and Timothy 15
QuickTime 77, 78, 79, 88, 101, 162-163, 312, 364
R
Repetition 207, 212, 220, 225-228, 269-270, 273, 389, 392-393, 395-396
R/Greenberg Associates 20, 21, 24
Rhythmic editing 389, 390, 398
Richter, Hans 8, 9, 133, 152, 168, 211, 265, 270, 389, 393
Rotoscoping 7, 316-317, 354, 361, 362
Rhythm
discontinuous rhythm 396
sequential rhythm 228
Ruttmann, Walter 9-10, 168-169, 273
S
Screen division 46-48, 105, 133, 214, 233-237, 243, 249-252, 271, 276, 382
Show titles, see movie titles Size and scale 218, 225
Smith, Harry 12-14, 23, 310-311
SMPTE time code 145
Splash page animation 86-88, 226
Splines, see masks
Squash and stretch 152-153, 160, 316
Station identifications 34-35, 67, 159, 170, 177
Stop-motion 6, 20, 62, 169, 310, 312, 314, 315-316, 318
Superimposition 228-229, 244, 262, 358, 380
Sutherland, Ivan 17
T
Target audience 57, 86, 166, 174, 284, 287, 347, 374
Tempo 143, 161, 167, 388, 390, 395-396
Texture 175-176, 202, 212, 216, 223, 227, 253, 294, 308, 314, 322, 324
Thaumatrope, see optical inventions
Time code, see SMPTE
Time stretching 329
Timing 154, 155, 255, 379, 380, 390-391
Title-safe, see safe zones
U
Ultimatte 351
Upfronts 49
V
Value
and blending 344
and contrast 221
and graphic continuity 253-254
and key frames 322, 323, 329, 330
and velocity 329
Vector-based animation 76-77, 88, 101, 250-252, 297, 325 Velocity
Vertov, Dziga 139-140, 149, 273, 374
Video
capturing 145-146, 151, 318-319, 352
digital formats 62, 78-79, 319, 352
W
Whitney, John 16-17, 21, 23 Wipes 122, 256, 379-382
X
Xerography 310
Y
Z
Zoetrope, see optical inventions
13.59.139.220