index
Aardman Animation, 192, 193, 196, 197, 217, 218
ActionScript, 102,
Active state (buttons), 110
Actors, real, 197
Adobe Streamline, 34
Advertisements, 155–90
Alert state (buttons), 110, 111
Algorithms, 3-D modeling, 46
Alpha channels, 33, 53, 73, 75
Ambient lighting, 77–8
Anderson, Lance, 180
Andreessen, Marc, 98
Animatic storyboards, 208
Animator animation, 130
Animo animation program, 10
Antagonists, 212
Anticipation, characters, 21
Arc movement, 20
Art Directors, 142
Art staff, 141–54
Attenuation, lights, 84
Audience perception, 196–7
Authoring software, 240
AVI digital video files, 54, 107
‘the back story’, 210
Bandwidth, bitmap images, 37–8
Bartlett, William, 180, 181, 182, 185, 188
BBDO South, 170, 171, 174, 176, 178
Behaviour observation, 220
Bennett, Nick, 178
Berners-Lee, Tim, 98
Big close-ups, 203
Birds, animation, 71
Bitmaps:
bandwidth, 37–8
placement, 76
QTVR, 117–18
resolution, 36–7
storage, 29
Bones systems see Kinematics
Bottles, modeling, 62
Brand identities, 156, 157, 162–8
Branigan, Edward, 194–5
Bump maps, 73
Bush, Vannevar, 97
Cairo, Christina, 170
see also Field of view
Carroll, Martin, 170, 171, 173, 175
Case studies:
Chrysler’s ‘Golden Gate’ commercial, 179–90, 197
Cingular Wireless, 170–8
‘Connectivity’ platform, 158, 159
The Movie Network, 166–9
Moviepix, 162–5
TechTV, 158–61
television, 156–90
Cast members, 42
CD-ROMs:
animation specifications, 107
data rate/bandwidth, 38
Cel animation, 8–9
CelAction, 10
CGI (Computer Generated
Imaging) see 3-D computer
animation; 2-D computer animation
Chairs, 68–9
Chandeliers, 72
‘Changes or moves’, 95–6
Characters:
interaction, 213–14
observation, 220
talking, 217–18
Chrysler’s ‘Golden Gate’
see also Filmmaking
Cinematic Artists, 144
Cinepak, 41
Cingular Wireless, 170–8
Clipping, 45
Close-ups, 203
CLUT see Colour look-up tables
Collision detection, 115, 116, 139–40, 141
Colour:
bitmap images, 32–4
lights, 81
vertex colouring, 152–3
Colour look-up tables (CLUT), 33
Commercials, 155–90
Compatibility, digital media, 13–14
Compositing tools, 53
Computer animation see 3-D
computer animation; 2-D
computer animation
Computer games, 55–6
see also Interactive media
artwork creation, 121–54
contract agreements, 124–5
evaluation periods, 124
forward kinematics, 130, 132, 133–4, 135, 137–40
ideas, 123
inverse kinematics, 130, 132, 134–5, 140–1
jobs, 141–54
morph target animation, 135–7
programmer animation, 128–30
technology demos, 124
testing, 125–6
Computer Generated Imaging (CGI) see 3-D computer animation; 2-D computer animation computers:
3-D playback formats, 54–5
Concept Artists, 147, 148, 151
Concept (pre-production) storyboards, 208
Concepts, animation, 15–26
‘Connectivity’ platform, 158, 159
Constraint information, 141
Contained objects, 94
Contract agreements, 124–5
Creative Directors, 142
Creative teams, 141–54
CreaToon, 10
‘Crossing the line’, 205
Curtains, 3-D modeling, 66
Cushions, 3-D modeling, 68, 69
Cut-aways, 203
Cutout images, 73
Cycles (repeats), 23
Data rates, 37–8
Deadlines, games development, 124–5
Decay, lighting, 84
Delta frames, 40
Demos, games, 124
Development, computer games, 123–8
Dickson, William K. Laurie, 5, 6
Digital convergence, 12–14
Directional lights, 80–1
Director see Macromedia Director
‘director’s eye’, 234
Disney Studios, 8
Displaced rollover buttons, 111
Display devices, 30–1, 105, 107
Display state (buttons), 110, 111, 112
Dogs, drawing, 216
Double takes, 21
Drawings, 8–9, 25, 26, 213, 214–16
Employment, games industry, 141–54
Evaluation periods, games, 124
Exercises, tests and projects, 221–43
Exploring with camera, 88–9
Facial expression, 22, 207, 213, 217–19
Feedback, affardance, 94
Field of view (FOV), 87–8
File formats, 31, 39, 112–15, 240
Filmmaking, 234–5
see also Narrative
movie industry, 7–8
output file resolution, 54
techniques, 193–5
Websites, 241–2
Fine-tuning lights, 84
Fireplaces, 70
Fish-eye lenses, 204
FK see Forward kinematics
Flash see Macromedia Flash
Flat-to-live transformation, 159
Flicker, 31
Floors, 3-D modeling, 64
Flowers, 3-D modeling, 70
FMV see Full motion video
‘Follow through’, 18
Force and drag, 22
Force and mass, 16
Formats, still image files, 31
Forward kinematics (FK), 22, 51, 130, 132, 133–4, 135, 137–40
FOV see Field of view
Frame by frame movement, 4–5
FrameStore CFC, 156, 157, 179, 181–2, 189
Framing, narrative, 203–6
Free spots, 80
Full animation, 212
Full motion video (FMV), 56, 144
Games see Computer games
Gandolfi, Steve, 187
Girls, drawing, 216
Glendenning, Hugo, 118
‘Golden Gate’ Chrysler commercial, 179–90
‘Goldfish’ spot, 178
Graphic User Interfaces (GUIs), 96
Greyscale images, 32
GUIs see Graphic User Interfaces
Hall, Matthew, 166
Hand-coded HTML, 228-31
Hand-drawn images, 8–9, 26, 213, 214–16
stages, 25
textures, 152
2-D animation, 43
High-resolution images, 186
History:
commercial computer animation, 29
digital technology, 13–14
movie industry, 7–8
optical toys, 3
photography, 4
Holds, 22
Horse movements, 5
Hotspot state (buttons), 110
HTML see Hypertext Markup Language
Hulin, David, 187
Hypertext Markup Language (HTML), 98, 228–31
IK see Inverse kinematics
Illusions, 3–5
Image size, 36–7
Images per second, 3–4
Indexed colour (8-bit) images, 34
Inertia, 16
Inspiration, characterization, 220
Interaction, CGI/live action, 213–14
Interactive TeleVision, 100
Interpolation process, 138
Inverse kinematics (IK), 22, 51, 130, 132, 134–5, 140–1
Isles, Jamie, 188
JavaScript, 103
Jobs, games industry, 141–54
Joint dampening, 141
Joint kinematics, 22, 51, 130, 132–5, 137–41
JPEG compression, 39
Junior artists, 149–50
forward kinematics, 137–8
spline-based animation, 43–4
temporal compression, 40
Kinematics, 22, 51, 130, 132–5, 137–41
Kinetoscopes, 5–6
La Sortie des Usines, 6
Lauria, Larry, 24, 195, 213, 214, 215, 216, 220
Lead Animators, 144
LEAFE see London Effects and Animation Festival (LEAFE)2000
Leica reel storyboards, 208
Lenses, cameras, 87
Libraries, sprite packages, 42
Lighting, 77–86
Limited animation, 212
‘Line test’, 9
Lingo programming language, 56, 101
Littlejohn, Bill, 213
Live action, CGI combination, 213–14
Lofting, 48
Logos, 162
Lomas, Andy, 182–3
London Effects and Animation
Festival (LEAFE) 2000, 189
Long-shots, 203
‘Loop’, GIF files, 112
Looping animations, 150
Lossy spatial compression, 39
Low polygon models, 151–2
Low-resolution images, 186
Low-spec hardware, 30, 37, 38, 198
LZW spatial compression, 39
MacKenzie, Helen, 170, 177, 181–2
Macromedia Director, 30, 39, 41–2, 95, 101, 102
Macromedia Flash
ActionScript, 102
frame rate precautions, 37
interactive Web content/CDs, 101
library, 42
user equipment delegation, 30
Web page ‘plug-in’, 99
Magazines, 242–3
Manninen, Markus, 170
Marey, Etienne-Jules, 7
Mass and force, 16
Materials and textures, 46, 73–7, 152, 236, 237
Memory requirements, 128–9, 136, 153
Mesh smoothing, 66
Microsoft Word, 14
Mid-shots, 203
Milestones, games, 124–5
Miller, Bertie, 180
MJPEG compression, 39
Modifiers, 48
Morph target animation (MTA), 135–7, 139
Mosaic browser, 98
Motion capture, 213
Motivation, character’s, 211
Movable objects, multimedia, 115–16
‘Move and change’ animation, 95–6
Movement:
arcs, 20
illusion of, 3–5
starting/stopping, 15–19
The Movie Network, 166–9
Moviepix, 162–5
MPEG files, 54–5
MTA see Morph target animation Multimedia animation, 91–120
buttons, 108–12
GIF animations, 113–15
QTVR, 117–18
rollovers, 108–12
technical considerations, 105–8
timelines, 103–5
Virtual Reality, 99–100, 116, 119
Worldwide Web, 98–9, 108, 226–31, 237–43
Multiplier light effects, 84
Narrative, 192–220
characterization, 210–12
ideas, 198
protagonists/antagonists, 212
soundtracks, 207
treatments, 199–200
Navigable 3-D worlds, 99–100, 116–20, 240
Nelson, Ted, 97
New media, 91–120
Newton’s Laws of Motion, 15–16, 26
Niepce, Joseph Nicephore, 4
Non-linear editing tool (NLE), 53
Non-Uniform Rational B-spline see NURBS
NTSC American system, 4, 23, 31, 36, 37
Observational information, 220
Onion skinning, 43
Online resources see Web
Optical toys, history, 3
Orbit camera motion, 88
‘Overlapping action’, 16–17
Overshoot, 18
PAL European system, 4, 23, 31, 36, 37
Parametric objects, 47
Paris, Dr John Ayrton, 3
Parker, Philip, 195
‘Pencil test’, 9
‘Performance animation’, 213
Phonemes, 217
Photographic effects simulation, 87
Photography, invention, 4
Photorealistic imagery, 11, 145
Photoshop, 14
Pixels, 31–2
GIF animations, 113
image size/resolution, 36–7
Run Length Encoding, 39
Platforms, computer games, 126
Polygonal modeling:
portfolio work, 151–2
technical constraints, 46, 47, 48
techniques/stages, 58–90
Portfolios, 149–54
Posing and staging, 24, 25, 236
Practical techniques, 58–90, 197–220
Praxinoscopes, 6
Pre-production storyboards, 208
Pre-rendered animation, 55, 56
Preference Settings, 64
Presentation storyboards, 208
Previz storyboard, 171, 181, 183–5, 208
Procedural animation, 3-D, 52
Production storyboards, 208
Programmer animation, 128–30
Projector lights, 81
Projects, 224–35
Propp, Vladimir, 194
Protagonists, 212
QTVR see Quicktime Virtual Reality
Quality, animation, 106–8
Quicktime Virtual Reality (QTVR), 54, 99, 107, 116–18, 240
Rasterization, 31
Raycast shadows, 85
Ready-made animations, 44
Real time 3-D rendering, 55–6
Realism, 212–14
‘Reelworld’, 162
Reference points, 115
Refresh rate, 31
Registration points, 115
Researching projects, 60–1
Resolution, bitmap images, 36–7
Resources, 237–44
‘Responsive’ objects, 93–4, 97, 108–9
Reynaud, Emile, 6
Rollovers, 108–9, 110–12, 226–31, 240
Rooms, 3-D modeling, 58–90, 224–5
Run Length Encoding, 39
Safeframe camera set-up, 88
Scale and size, 63–4
Scene transitions, 206
Scripts, 200–2
Seamless textures, 145–6
Selected state (buttons), 110, 111
Shaders, 3-D modeling, 46
Shadows, 85
Shockwave, 99
Shooting scripts, 200–2
Shots see camera shots
Shrek, 197
‘Signed’ games, 124–5
Size and scale, 63–4
Skills, game design, 149–54
Skin and bones animation, 22, 51–2, 130, 132–5, 137–41
Skirting boards, 3-D modeling, 65–6
Slow-in/out, 19
Snow White and the Seven Dwarfs, 8
Soft selection, 67
see also individual software
packages
Sorenson, 41
Soundtracks, 207
Spatial compression, 39–40
Spirit, 187
Spline-based keyframe animation, 43–4
Spotlights, 78–80
‘Sprites’, 41–5, 96, 101, 102, 106–8, 115
‘Squash and stretch’, 18–19
Starting and stopping, 15–19
Static backgrounds, 40
Stocker, Mike, 180
Stopping, 15–19
Storyboards:
action checks, 61–2
‘Golden Gate’ Chrysler commercial, 179, 181, 183–5
types, 208
Straight ahead animation, 24
Streamline, 34
Structuralist theory, 194–5
Stylization, 212–14
Surface properties see Rendering; Textures
Syborn, Chris, 187
Symbols (Flash), 42
Synopses, 198
Tables, 67
Takes and double takes, 21
Talbot, William Henry Fox, 4
Teapot narrative, 198–202
Technical constraints, 28–56
Techniques, 3-D model-making, 62–90
Technology demos, 124
TechTV, 158–61,
Television:
case studies, 156–90
interactive, 100
output file sizes, 36
3-D animation output, 53–4
Temporal compression, 40–1
Tests:
computer games testing, 125–6
projects, 224–35
Texture Artists, 145–6
Textures, 46, 73–7, 152, 236, 237
3-D computer animation, 11, 26, 29
digitizing, 48
Modelers, 144–5
modeling/animation software/ sites, 238–9, 240–1
navigable worlds, 99–100, 116–20, 240
playback formats, 54–5
Tiling materials, 76
Tilt and rotate (camera), 88
Tilt up/down (camera), 204
Todorov, Tzvetan, 194
Toonboom, 10
Toonz animation program, 10
Torus knots, 72
Toy Story, 8
Tracking camera motion, 88, 187
Traditional art skills see Hand-drawn images
Transformation, 188–9
Treatments (narrative), 199–200
Triangles, 45
Trucking camera motion, 88
True colour images, 33
Tutorials, Websites, 240–1
Tweening, 43
2-D computer animation, 10, 26, 41–5, 237
Two-shots, 203
Unique Selling Points (USPs), 124
Unrealistic motion, 136–7
User Interfaces, 126
USPs see Unique Selling Points
Vases, 3-D modeling, 70
Vector images, 29, 30, 31, 34–5, 239
see also Macromedia Flash
Vertex colouring, 152–3
VGA standard, 105–6
Victoria, Queen, 8
Views, 3-D modeling, 45
Virtual Reality, 56, 99–100, 116–20, 240
Virtual Reality Modeling Language (VRML), 56, 119
Volumetric lights, 84
VR see Virtual Reality
VRML see Virtual Reality Modeling Language
Walking uphill, 137
Walls, 3-D modeling, 64–5
Web tutorial rollover projects, 226–31
Wide-angle shots, 204
Windows in walls, 65
World Wide Web see Web
‘Zip’ pan, 206