Foreword |
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xiii | |
Preface |
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xv | |
Acknowledgments |
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xvii | |
Author |
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xix | |
Chapter 1 Production Pipeline and Pre-Production |
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1 | (44) |
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What Will You Learn in This Chapter? |
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2 | (1) |
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The Production Pipeline: Yes, It Does Take a Village |
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3 | (3) |
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What Is a Production Pipeline? |
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3 | (2) |
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Pre-Production: Laying the Foundation |
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5 | (1) |
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Story: Essence of Animation |
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6 | (4) |
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Storytelling and Visual Storytelling |
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10 | (4) |
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Storyboards: Role in the Production Pipeline |
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14 | (4) |
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The Breakdown: Story, Segment, Sequence, Scene, and Shot |
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18 | (1) |
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Storyboards: Elements and Functions |
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19 | (1) |
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20 | (1) |
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20 | (3) |
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Long Shot (LS)/Extreme Long Shot (ELS) |
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21 | (1) |
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21 | (1) |
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Medium Close-Up Shot (MCU) |
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21 | (1) |
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21 | (1) |
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Extreme Close-Up (ECU) Shot |
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22 | (1) |
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23 | (1) |
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24 | (1) |
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Captivating Your Audience: How to Create Better Story (Board) |
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24 | (2) |
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24 | (2) |
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26 | (2) |
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28 | (5) |
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Where Are Some Other Areas Where Models Are Used? |
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33 | (3) |
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Architectural Modeling and Construction Graphics |
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34 | (1) |
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Models for Simulation/Training |
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35 | (1) |
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36 | (1) |
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36 | (1) |
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37 | (1) |
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38 | (7) |
Chapter 2 Conceptual Foundations: Basic Building Blocks |
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45 | (32) |
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What Will You Learn in This Chapter? |
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46 | (1) |
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46 | (6) |
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Coordinates, Measurements, and Dimensions |
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46 | (2) |
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Cartesian Coordinate System |
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48 | (2) |
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50 | (2) |
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Points, Lines, and Polygons |
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52 | (8) |
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58 | (1) |
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59 | (1) |
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60 | (4) |
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Convex and Concave Polygons |
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60 | (2) |
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62 | (2) |
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64 | (2) |
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Global and Local Transformations |
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66 | (2) |
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Euclidean and Projective Geometry |
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68 | (2) |
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70 | (1) |
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71 | (1) |
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72 | (5) |
Chapter 3 Ideation, Visual Expression, and Elements of Art |
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77 | (32) |
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79 | (1) |
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80 | (1) |
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80 | (1) |
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I5 Technique: The Five I's of Ideation |
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81 | (3) |
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82 | (2) |
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Enemies of Ideation: Impulsiveness and Imitation |
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84 | (1) |
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84 | (1) |
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84 | (1) |
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85 | (1) |
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Elements of Art: From a "Visual Expression" Perspective |
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86 | (7) |
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87 | (1) |
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88 | (1) |
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89 | (1) |
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90 | (2) |
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92 | (1) |
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Illusion of Space: Depth Cues |
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93 | (3) |
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93 | (1) |
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94 | (1) |
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Depth Cue: Atmospheric Perspective |
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95 | (1) |
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Depth Cue: Foreshortening |
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95 | (1) |
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96 | (2) |
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Interview with an Industry Expert |
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98 | (1) |
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99 | (1) |
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Lessons from Nature: Ideation and Visual Expression |
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100 | (2) |
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100 | (2) |
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102 | (1) |
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103 | (5) |
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108 | (1) |
Chapter 4 Modeling - Part I: Categories and Approaches |
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109 | (30) |
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What Will You Learn in This Chapter? |
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110 | (1) |
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Modeling Categories and Approaches |
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111 | (2) |
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111 | (3) |
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111 | (2) |
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113 | (1) |
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Polygonal Mesh Operations |
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114 | (7) |
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115 | (1) |
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115 | (1) |
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115 | (1) |
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Constructive Solid Geometry |
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116 | (5) |
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121 | (3) |
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124 | (1) |
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125 | (2) |
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127 | (4) |
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129 | (1) |
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129 | (1) |
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130 | (1) |
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130 | (1) |
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131 | (1) |
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External and Internal Navigation |
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131 | (2) |
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High and Low Poly-Counts: Shaded and Wireframe Views |
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132 | (1) |
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133 | (1) |
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134 | (5) |
Chapter 5 Modeling - Part II: Curve-Based and Other Modeling Techniques |
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139 | (28) |
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140 | (13) |
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144 | (1) |
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Simple and Nonsimple Curves |
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145 | (1) |
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Upward and Downward Curves |
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145 | (1) |
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Interpolating versus Approximating Curves |
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146 | (1) |
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146 | (2) |
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148 | (1) |
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149 | (1) |
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150 | (1) |
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NURBS (Nonuniform Rational B-Splines) |
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151 | (2) |
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153 | (3) |
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153 | (1) |
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154 | (1) |
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155 | (1) |
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156 | (1) |
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Organic versus Hard Surface Modeling |
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156 | (3) |
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158 | (1) |
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159 | (1) |
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160 | (5) |
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165 | (2) |
Chapter 6 Animation - Part I: Brief History and Basics |
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167 | (32) |
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What Will You Learn in This Chapter? |
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168 | (1) |
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A Brief History: Standing on the Shoulders of Giants |
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168 | (3) |
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Nanos Gigantum Humeris Insidentes |
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171 | (6) |
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Early Innovations in Animation |
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177 | (8) |
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181 | (1) |
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182 | (3) |
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Understanding Motion and Basic Physics |
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185 | (5) |
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185 | (4) |
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Translatory or Translational Motion |
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189 | (1) |
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189 | (1) |
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Interview with Justin Green |
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190 | (2) |
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192 | (1) |
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193 | (6) |
Chapter 7 Animation - Part II: Animation Types |
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199 | (36) |
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What Will You Learn in This Chapter? |
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200 | (1) |
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200 | (5) |
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205 | (1) |
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206 | (2) |
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One Rate Does Not Fit All |
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208 | (1) |
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Frame Rate and Refresh Rate |
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208 | (1) |
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Progressive and Interlaced Scanning |
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209 | (2) |
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Interpolation, Attributes, and Transformations |
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211 | (1) |
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212 | (1) |
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213 | (3) |
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216 | (1) |
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216 | (11) |
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218 | (1) |
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218 | (1) |
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218 | (2) |
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Straight-Ahead Action and Pose-to-Pose |
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220 | (1) |
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Follow-Through and Overlapping Action |
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221 | (1) |
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222 | (1) |
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222 | (1) |
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223 | (1) |
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224 | (1) |
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225 | (1) |
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226 | (1) |
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227 | (1) |
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227 | (1) |
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228 | (6) |
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234 | (1) |
Chapter 8 Character: Design, Rigging, & Animation |
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235 | (36) |
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You Can Create a Character Out of Anything |
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236 | (1) |
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237 | (7) |
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Forward and Inverse Kinematics |
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244 | (4) |
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Elements of Character Design and Posing |
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248 | (4) |
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249 | (1) |
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249 | (3) |
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252 | (8) |
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252 | (1) |
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253 | (1) |
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254 | (1) |
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Surface Characteristics: Color/Material |
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254 | (2) |
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256 | (1) |
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257 | (1) |
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Speed of Character Movement |
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257 | (1) |
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258 | (1) |
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Range of Motion: Facial Expressions and Gesticulations |
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259 | (1) |
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Modeling and Character Design: Considerations and Constraints |
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260 | (1) |
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Example of Scene Modeling (Effects) with Lights |
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260 | (2) |
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Interview with Tom Brierton, Expert in Animation and Motion Picture Visual Effects |
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262 | (2) |
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262 | (1) |
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262 | (2) |
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264 | (7) |
Chapter 9 Lighting |
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271 | (34) |
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Revisiting High School Physics |
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272 | (1) |
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Optical Properties of Lights |
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273 | (3) |
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273 | (1) |
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274 | (1) |
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275 | (1) |
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Material Classification Based on Light Interaction |
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276 | (1) |
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277 | (2) |
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279 | (2) |
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Additive Model and Digital Lighting |
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281 | (1) |
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Color Attributes and HSV Model |
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282 | (1) |
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Objectives of Scene Lighting |
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283 | (4) |
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283 | (1) |
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284 | (1) |
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Creating the Depth Perception |
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285 | (2) |
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287 | (1) |
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Placement and Orientation |
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287 | (1) |
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288 | (4) |
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288 | (1) |
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289 | (1) |
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289 | (1) |
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290 | (1) |
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290 | (1) |
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291 | (1) |
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292 | (1) |
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Direct and Indirect Lights |
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293 | (1) |
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294 | (2) |
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296 | (1) |
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Summary and Important Considerations in Lighting |
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297 | (1) |
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Key Terms Used in This Chapter |
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298 | (1) |
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299 | (6) |
Chapter 10 Form, Composition, and Rendering |
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305 | (36) |
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What Will You Learn in This Chapter? |
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306 | (2) |
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308 | (1) |
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309 | (4) |
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310 | (1) |
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311 | (1) |
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Positive Space and Negative Space |
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312 | (1) |
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313 | (1) |
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313 | (3) |
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314 | (1) |
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314 | (1) |
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Dwindling Size Perspective/Diminishing Size Perspective |
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315 | (1) |
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316 | (2) |
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318 | (1) |
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318 | (4) |
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322 | (1) |
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323 | (1) |
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Formats of Rendered Images |
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323 | (2) |
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Pixels, Resolution, and Bit Planes |
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325 | (1) |
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326 | (2) |
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328 | (1) |
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Cool Colors/Background Colors |
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329 | (1) |
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329 | (5) |
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329 | (1) |
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330 | (2) |
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332 | (1) |
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332 | (1) |
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333 | (1) |
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334 | (1) |
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Key Terms Used in This Chapter |
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335 | (1) |
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335 | (6) |
Index |
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341 | |