index

 

 

A

Abel, Robert 17, 23

Acceleration 147-148, 155, 156, 160, 316, 322, 329, 330

Action-safe, see safe zones

Adobe filmstrip 317

Alexeieff, Alexander 10, 181, 313

Alpha channels 353-354, 371

Alpha mattes 353, 356, 357, 360

Animated GIF 75-76, 88, 101

Anticipation 153, 156, 160

Aspect ratio 105, 186, 232, 299

B

Balance 214-215, 241-242

Bass, Saul 16-21, 24, 28, 188

Binder, Maurice 19, 23, 26

Birth, life, and death 159, 165, 296, 397

Blackton, J. Stuart 6, 312

Blend modes 344-346

Brainstorming 287-288

Breer, Robert 13-14

Broadcast color 347-348, 370

Bute, Mary Ellen 12-13

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

Collage animation 15, 20, 314

Color

channel alteration 326, 328, 365, 369-370

contrast 175, 221-222

correction 365-371

enhancement 365, 371

keys 348-349, 353

psychological, gender, cultural, and 173-175

universal associations 174-175

Commercials 61-62

Composite modes, see Blend modes

Compositing 342-371

Conceptualization 284-305 Contrast 180, 181, 220-224

color 223-224

scale 186, 191, 220

shape 223

surface 223

value 173-175, 221

Continuity 249-256

action 256

graphic 253-255

sequential 297-298

spatial 249-253

temporal 255-256

Cooper, Kyle 21, 24, 27, 31, 188, 190, 195, 261

Counterpoint 377

Crosscutting 257, 268-269, 273, 376

Cultivating ideas 293-295

Curtis, Hillman 91-92, 255, 385

Curves 137, 138, 148, 323, 326, 329-330, 360, 367-368, 369-370

Cutaway 255, 377-378

Cut-out animation 11, 171

D

Dada 7-10, 139, 270, 342, 389

Data compression 79, 90

Deceleration 147-148, 155, 160, 253, 329-330

Depth-of-field 182-183

Digital capture 318-319

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

DVD-Video menus 97-98

Dynamic editing 389

E

Edges 218-219

Editing 374-375

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

rhythmic 389-390

video 256

Eggeling, Viking 8, 9, 169, 392, 393

Eisenstein, Sergio 255, 263, 265, 271-273, 375, 389, 390

Emphasis 395

Event frequency 395-396

Exaggeration 157-158

Experimental animation 7-17, 180, 392

Eye movement 140, 217, 218, 219-220, 238

F

Fades 256, 379-382, 388-389, 398

Fernand Léger 8, 23, 392

Ferro, Pablo 20-21, 24, 188-189

Figurative animation 6, 156, 312

Figure and ground 215-217

Film capture 318

Film titles 18-21, 26-31

Filmic form 179-180

Fischinger, Oskar 12

Flash cuts 266-267, 379

Fleischer, Max 6-7, 317

Form 168-171

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

freehand 312-314

general discussion 308-321

pinboard (or pinscreen) 10, 181, 314

rotoscoping 316-317

sand 312-313

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

Freehand animation 312-314

Freleng, Friz 19, 24

G

Gance, Abel 106, 262

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

Grids 229-230, 245

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

spatial 323-324

temporal 329-331

visual 324-328

Interstitials 43-44, 91

J

Java 75

JPEG compression 90

Jump cuts 143, 266-268, 378-379 Juxtaposition 228-229, 244, 262

K

Key Frames 308, 320, 321-322

Keying 346-353

chroma keys 347-348

luma keys 347-348

kinetoscope, see optical inventions kinora, see optical inventions Kuleshov, Lev 378, 389

L

Layer modes, see composite modes

Léger, Fernand 8, 392

Levels 326, 367-370

Lighting

and color correction 365

for environment 105, 113, 118-124

for live-action footage capture 179, 181-182, 321

for keying 349, 351-352

Lineups 49

Lower thirds 46-47

Luma keying 348, 350

Lumiere brothers 4, 23

Luminance

improving 366-369

operations 366

Lye, Len 11, 158, 310-311

M

Magic lantern slides, see optical inventions

Man Ray 10, 180, 392, 397

Marks, Harry 21-22, 24

Masks 360-363

Mattes

alpha 355, 356

continuous tone 358

from chroma keys 347-353

general discussion 354-355

luma 355-357 rgb 355

solid 357

track 356

traveling 359

McLaren, Norman 11, 13

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

Mortises 47-48

Motion paths 138, 323

Motion tracking 323-324

Mouris, Frank and Caroline 15, 314

MTV 15, 20, 45, 50-51, 60, 65, 186, 291, 292, 389, 391

Music videos 64-66

Muybridge, Eadward 4-5, 22, 161, 308

N

NTSC 145

Nesting 277, 331, 332-334, 363-365

Network branding 34-61

Network IDs 34, 316

Network package 50-57

O

Onion skinning 161, 308, 312

Opacity 322, 326-328, 344, 357, 358, 379

Optical inventions

illusionistic theatre box 2

kinetoscope 4

kinora 4-5

magic lanterns 2-3

phenakistoscope 3

praxinoscope 4

thaumatrope 2-3

zoetrope 3-4

P

Pace 155, 387, 389, 397

Parallel editing 268-269, 271, 376-378

Parenting 331-332, 337

Parker, Clair 10-11, 181, 313

Pause 154-155, 397

Persistence of vision 2, 339

Phenakistoscope, see optical inventions

Pictorial composition 210-245

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

Ray, Man 10, 180, 392, 397

Reiniger, Lotte 11-12, 314

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

continuous rhythm 390-394

discontinuous rhythm 396

pictorial rhythm 227-228

sequential rhythm 228

variable rhythm 395-397

Ruttmann, Walter 9-10, 168-169, 273

S

Safe zones 230, 301, 370

Sand animation 312-313

Screen division 46-48, 105, 133, 214, 233-237, 243, 249-252, 271, 276, 382

Sequencing 374-398

Show opener 35-41

Show package 42-43

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

Storyboarding 316-302

Superimposition 228-229, 244, 262, 358, 380

Sutherland, Ivan 17

Svankmajer, Jan 14-15, 23

T

Tags 49-50

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

Transitions 379-386, 388-389

Trumbull, Douglas 21, 24

U

Ultimatte 351

Upfronts 49

V

Value

and blending 344

and color 173-175

and contrast 221

and graphic continuity 253-254

and key frames 322, 323, 329, 330

and velocity 329

Vanderbeek, Stan 17, 23

Vector-based animation 76-77, 88, 101, 250-252, 297, 325 Velocity

…altered velocity 149-152

linear velocity 146-147

nonlinear velocity 147-149

Vertov, Dziga 139-140, 149, 273, 374

Video

analog formats 319, 352, 354

capturing 145-146, 151, 318-319, 352

digital formats 62, 78-79, 319, 352

music 64-66

specifications 79, 145-146

streaming 71, 77, 78

W

Web animation 75-92

Whitney, John 16-17, 21, 23 Wipes 122, 256, 379-382

X

Xerography 310

Y

Z

Zoetrope, see optical inventions