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Game Anim: Video Game Animation Explained 2nd edition [Kõva köide]

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  • Formaat: Hardback, 350 pages, kõrgus x laius: 254x178 mm, kaal: 1020 g, 211 Halftones, color; 21 Halftones, black and white
  • Ilmumisaeg: 19-Apr-2021
  • Kirjastus: CRC Press
  • ISBN-10: 0367707705
  • ISBN-13: 9780367707705
Teised raamatud teemal:
Game Anim: Video Game Animation Explained 2nd editionSuurem pilt
  • Formaat: Hardback, 350 pages, kõrgus x laius: 254x178 mm, kaal: 1020 g, 211 Halftones, color; 21 Halftones, black and white
  • Ilmumisaeg: 19-Apr-2021
  • Kirjastus: CRC Press
  • ISBN-10: 0367707705
  • ISBN-13: 9780367707705
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9780367707705.html
Märksõnad:

The second edition of Game Anim expands upon the first edition with an all-new chapter on 2D and Pixel Art Animation, an enhanced mocap chapter covering the latest developments in Motion Matching, and even more interviews with top professionals in the field. Combined with everything in the first edition, this updated edition provides the reader with an even more comprehensive understanding of all areas of video game animation – from small indie projects to the latest AAA blockbusters.

Key Features

• New 2nd Edition Content:

An all-new chapter on 2D and Pixel Art Animation, motion-matching, and more

• 20 Years of Insight:

Accumulated knowledge from 2 decades of experience in all areas of game animation.

• The 5 Fundamentals:

Reinterprets the classic 12 animation principles and sets out 5 new fundamentals for great game animation.

• Full Production Cycle:

Walks through every stage of a game production from the animator’s perspective.

• Animator Interviews:

Notable game animators offer behind-the-scenes stories, tips and advice.

• Free Animation Rig:

Free "AZRI" maya rig, tutorials and other resources on the accompanying website: www.gameanim.com/book

About The Author

Jonathan Cooper is an award-winning video game animator who has brought virtual characters to life professionally since 2000, leading teams on large projects such as the Assassin’s Creed and Mass Effect series, with a focus on memorable stories and characters and cutting-edge video game animation. He has since focused on interactive cinematics in the latest chapters of the DICE and Annie award-winning series Uncharted and The Last of Us. Jonathan has presented at the Game Developers Conference (GDC) in San Francisco and at other conferences across Canada and the United Kingdom. He holds a Bachelor of Design honors degree in animation.

Preface xvii
Acknowledgments xix
Author xxi
Chapter 1 The Video Game Animator
1(10)
What It Means to Be a Video Game Animator
1(1)
Artistry and Creativity
1(1)
Technical Ability
2(1)
Teamwork
3(1)
Design Sense
3(1)
Accepting the Nature of the Medium
3(1)
Life Experience
4(1)
Different Areas of Game Animation
4(1)
Player Character Animation
4(1)
Facial Animation
5(1)
Cinematics and Cutscenes
6(1)
Technical Animation
6(1)
Nonplayer Characters
6(1)
Cameras
7(1)
Environmental and Prop Animation
7(1)
Required Software and Equipment
8(1)
Digital Content Creation (DCC) Software
8(1)
Game Engines
9(1)
Reference Camera
9(1)
Video Playback Software
10(1)
Notepad
10(1)
Chapter 2 The Game Development Environment
11(18)
Finding the Right Fit
11(1)
Studio Culture
11(1)
Team Strengths
12(1)
Game Pillars
12(1)
Team Size
13(1)
Team Dynamics
14(1)
Game Animator Roles
14(1)
Gameplay Animator
15(1)
Cinematic Animator
15(1)
Lead Animator
15(1)
Animation Director
16(1)
Principal Animator
16(1)
Technical Animator
17(1)
Animation Technical Director
17(1)
Other Game Development Disciplines
17(1)
Programmers
18(1)
Artists
18(1)
Design
19(1)
Audio and Effects
20(1)
Quality Assurance
20(1)
Management
20(1)
Public Relations and Marketing
21(1)
A Video Game Project Overview
21(1)
Phase 1 Conception
21(3)
Phase 2 Pre-production
24(1)
Phase 3 Production
25(1)
Phase 4 Shipping
26(1)
Phase 5 Post-Release
27(2)
Chapter 3 The 12 Animation Principles
29(12)
Principle 1 Squash and Stretch
30(1)
Principle 2 Staging
31(1)
Principle 3 Anticipation
31(1)
Principle 4 Straight Ahead and Pose to Pose
32(1)
Principle 5 Follow-Through and Overlapping Action
33(2)
Principle 6 Slow-In and Slow-Out
35(1)
Principle 7 Arcs
36(1)
Principle 8 Secondary Action
37(1)
Principle 9 Appeal
37(1)
Principle 10 Timing
37(1)
Principle 11 Exaggeration
38(2)
Principle 12 Solid Drawings
40(1)
Chapter 4 The Five Fundamentals of Game Animation
41(16)
Feel
42(1)
Response
42(1)
Inertia and Momentum
43(1)
Visual Feedback
44(1)
Fluidity
45(1)
Blending and Transitions
45(1)
Seamless Cycles
46(1)
Settling
47(1)
Readability
48(1)
Posing for Game Cameras
48(1)
Silhouettes
49(1)
Collision and Center of Mass/Balance
50(1)
Context
50(1)
Distinction vs Homogeneity
51(1)
Repetition
52(1)
Onscreen Placement
52(1)
Elegance
53(1)
Simplicity of Design
53(1)
Bang for the Buck
54(1)
Sharing and Standardization
54(3)
Chapter 5 What You Need to Know
57(30)
Basic Game Animation Concepts
57(1)
Common Types of Game Animation
57(1)
Cycles
57(1)
Linear Actions
58(1)
Transitions
59(1)
Skeletons, Rigs, and Exporting to Game
59(3)
How Spline Curves Work
62(4)
Collision Movement
66(3)
Forward vs Inverse Kinematics
69(1)
Intermediate Game Animation Concepts
70(1)
State Machines
70(2)
Parametric Blending
72(1)
Partial Animations
73(1)
Additive Layers
73(1)
Physics, Dynamics, and Ragdoll
74(2)
Advanced Game Animation Concepts
76(1)
Procedural Motion and Systems
76(1)
Full-Body IK
77(1)
Look-Ats
78(1)
Blend Shapes
78(1)
Muscle Simulation
79(1)
Animated Textures/Shaders
80(1)
Artificial Intelligence
80(1)
Decision-Making
81(1)
Pathfinding
81(2)
Interview: Mark Grigsby
83(1)
Animation Director---Call of Duty: Modern Warfare
83(4)
Chapter 6 The Game Animation Workflow
87(16)
Reference Gathering
87(2)
Don't Be Precious
89(1)
Animate Pose to Pose Over Straight Ahead
90(1)
Rough It In
90(1)
Get It In-Game!
91(1)
Iteration Is the Key to Quality
92(1)
Blocking From Inside to Out
92(1)
Pose-Sharing Libraries
93(1)
Keep Your Options Open
94(1)
Use Prefab Scenes
95(1)
Avoiding Data Loss
96(1)
Set Undo Queue to Max
96(1)
Configure Auto-Save
96(1)
Save Often
97(1)
Version Control
97(2)
Interview: Adrian Miguel
99(1)
Animation Lead---GRIS
99(4)
Chapter 7 Our Project: Pre Production
103(14)
Style References
104(1)
Defining a Style
105(1)
Comparisons
106(1)
Realism vs Stylized
106(1)
Who Is the Character?
106(1)
Previz
106(1)
Gameplay Mock-Ups
106(2)
Target Footage
108(2)
Prototyping
110(1)
Pitching the Game
111(4)
Interview: Eric Chahi
115(1)
Creator---Another World
115(2)
Chapter 8 Our Project: Technical Animation
117(22)
Character Setup
118(1)
Modeling Considerations
118(2)
Skinning
120(1)
Rigging
121(2)
Animation Sharing
123(1)
File Management
124(1)
File-Naming Conventions
124(2)
Folder Organization
126(2)
Referencing
128(1)
Exporting
129(1)
Export Data Format
130(1)
Engine Export Rules
130(1)
Animation Memory and Compression
131(1)
Animation Slicing
131(1)
In-Engine Work
132(1)
Event Tags
132(1)
Blend Timing
133(1)
Scripting
134(1)
Test Levels
134(1)
Asset Housekeeping
135(1)
Digital Content Creation Animation Tools
135(2)
Interview: Masanobu Tanaka
137(1)
Animation Director---The Last Guardian
137(2)
Chapter 9 Our Project: Gameplay Animation
139(32)
The Three Cs
140(1)
Gameplay Cameras
140(1)
Settings and Variables
141(2)
Camera-Shake
143(1)
Ground Movement
144(1)
The All-Important Idle Animation
144(1)
Seamlessly Looping Walk/Run Cycles
145(3)
Animating Forward vs In Place
148(1)
Inclines, Turning, and Exponential Growth
149(1)
Strafing
149(2)
Starts, Stops, and Other Transitions
151(2)
Ten Common Walk/Run Cycle Mistakes
153(1)
Jumping
154(1)
Arcs
154(1)
Take-Off
155(1)
Landing
156(1)
Climbing and Mantling
157(1)
Height Variations and Metrics
157(1)
Collision Considerations
158(1)
Cut Points and Key Poses
158(1)
Alignment
158(1)
Attack Animations
159(1)
Anticipation vs Response
159(2)
Visual Feedback
161(1)
Telegraphing
161(1)
Follow-Through and Overlapping Limbs
161(2)
Cutting Up Combos
163(1)
Readability of Swipes Over Stabs
164(1)
Damage Animations
164(1)
Directional and Body-Part Damage
164(1)
Contact Standardization
165(1)
Synced Damages
166(1)
Recovery Timing and Distances
167(1)
Impact Beyond Animation
167(2)
Interview: Mariel Cartwright
169(1)
Animation Lead---Skullgirls
169(2)
Chapter 10 Our Project: Cinematics and Facial
171(26)
Cinematic Cameras
172(1)
Field-of-View
172(2)
Depth-of-Field
174(1)
The Virtual Cameraman
175(1)
The Five Cs of Cinematography
175(1)
Cutscene Dos and Don'ts
176(1)
The 180 Rule
176(1)
Cut on an Action
177(1)
Straddle Cuts with Camera Motion
177(1)
Trigger Cutscenes on a Player Action
177(1)
Avoid Player in Opening Shot
177(1)
Use Cuts to Teleport
177(1)
End Cutscenes Facing the Next Goal
177(1)
Avoid Overlapping Game-Critical Information
178(1)
Acting vs Exposition
178(1)
Allow Interaction Whenever Possible
178(1)
Avoid Full-Shot Ease-Ins/Outs
179(1)
Track Subjects Naturally
179(1)
Consider Action Pacing
180(1)
Place Save Points After Cutscenes
180(1)
Planning Cutscenes
180(1)
Cutscene Storyboarding
180(1)
Cutscene Previsualization
181(1)
Cutscene Workload
181(2)
Scene Prioritization
183(1)
Cutscene Creation Stages
183(1)
The Eyes Have It
184(1)
Eyelines
184(1)
IK vs FK Eyes
185(1)
Saccades
186(1)
Eye Vergence
186(1)
Thought Directions
187(1)
Lip-Sync
188(1)
Phonemes
188(1)
Shape Transitions
189(1)
Facial Action Coding System
189(2)
Sharing Facial Animation
191(1)
Creating Quantities of Facial Animation
191(1)
Troubleshooting Lip-Sync
192(1)
Interview: Marie Celaya
193(1)
Facial Animation Supervisor---Detroit: Become Human
193(4)
Chapter 11 Our Project: Motion Capture
197(36)
Do You Even Need Mocap?
198(1)
How Mocap Works
199(1)
Different Mocap Methods
199(1)
Optical Marker-Based
199(1)
Accelerometer Suits
200(1)
Depth Cameras
200(1)
Performance Capture
201(1)
The Typical Mocap Pipeline
202(1)
Mocap Retargeting
202(1)
Mocap Shoot Planning
203(1)
Shot List
203(1)
Ordering/Grouping Your Shots
204(1)
Rehearsals
204(1)
Mocap Previz
205(1)
Working with Actors
205(1)
Casting
205(2)
Directing Actors
207(1)
Props and Sets
208(1)
Prop Recording
209(1)
Set Building
209(2)
Virtual Cameras
211(1)
Getting the Best Take
212(1)
Working With Mocap
213(1)
Retiming
214(1)
Pose Exaggeration
215(1)
Offset Poses
216(1)
Hiding Offset Pose Deltas
217(1)
Blending and Cycling
218(2)
Motion Matching
220(1)
Planning A Motion-Matching Mocap Shoot
221(1)
The Motion-Matching Shot List
221(1)
Naming Convention
222(1)
Core Idles and Movement
222(1)
Directional Starts and Stops
222(1)
Pivot Turns
223(1)
Strafe Direction Changes
223(1)
Strafe Diamonds and Squares
224(1)
Strafe Starts and Stops
224(1)
Turn on the Spot
225(1)
Repositions
225(1)
Turning Circles
226(1)
Snaking
226(1)
Wild Takes
227(2)
Interview: Bruno Velazquez
229(1)
Animation Director---God of War
229(4)
Chapter 12 Our Project: Animation Team Management
233(16)
Scheduling
233(1)
Front-Loading
234(1)
Prioritizing Quality
234(1)
De-Risking
235(1)
Predicting Cuts and Changes
235(1)
Adaptive Schedules
236(1)
Conflicts and Dependencies
237(1)
Milestones
237(1)
Teamwork
238(1)
Collaboration
238(1)
Leadership
239(2)
Mentorship
241(1)
Hiring
241(1)
The Animation Critique
242(1)
Outsourcing
243(2)
Interview: Yoshitaka Shimizu
245(1)
NPC Animation Lead---Metal Gear Solid Series
245(4)
Chapter 13 Our Project: Polish and Debug
249(18)
Closing Stages of a Project
249(1)
Alpha
250(1)
Beta
250(1)
Release Candidates and Gold Master
250(1)
Animation Polish Hints and Tips
251(1)
Foot-sliding
251(1)
Popping
252(1)
Contact Points
252(1)
Momentum Inconsistency
253(1)
Interpenetration
254(1)
Targeted Polishing
255(1)
Memory Management and Compression
255(2)
Debugging Best Practices
257(1)
Test/Modify Elements One by One
257(1)
Version Control Comments
257(1)
Avoid Incrementally Fine-Tuning
258(1)
Troubleshooting
258(5)
Interview: Alex Drouin
263(1)
Animation Director---Assassin's Creed, Prince of Persia: The Sands of Time
263(4)
Chapter 14 2D and Pixel Art Animation
267(38)
A Brief History of 2D Game Animation
267(3)
Why Choose 2D Over 3D?
270(1)
Pros
270(1)
Cons
270(1)
Different 2D Production Approaches
271(1)
Pixel Art Animation
271(1)
Traditional Drawings
272(1)
Rotoscoping
273(1)
Modular Animation/Motion Tweening
273(1)
Understanding Historical Limitations
274(1)
Screen Resolution
274(1)
Character/Tile Size
275(2)
Palettes
277(1)
Sprite Sheets
278(1)
Retro Case Study: Shovel Knight
278(2)
2D Game Animation DCCs and Engines
280(1)
Editor Screen Layout
281(1)
Required 2D Software
281(1)
Pixel Art Animation: Aseprite
282(1)
2D Art All-Rounder: Photoshop
282(1)
Modular Animation: Spine
283(1)
Sprite Sheet Editor: Texture Packer
283(1)
Game Engine: Game Maker Studio
284(1)
General 2D Workflow Tips
284(2)
2D and Pixel Art Game Animation Concepts
286(1)
Outline Clean-up
286(1)
Coloring
287(1)
Sub-Pixel Animation
288(1)
Character Design Considerations
289(1)
Framerate
290(1)
Frame Count
290(1)
Modular Animation Hybrid Workflow
291(1)
Onion-Skinning
292(1)
Isometric Sprites
293(2)
Hitbox vs Hurtbox
295(1)
Background Animation
296(2)
Parallax Scrolling
298(1)
2D Visual Effects Animation
299(1)
Modern Case Study: Streets of Rage 4
300(3)
Interview: Ben Fiquet
303(1)
Art Director & Animation: Streets of Rage 4
303(2)
Chapter 15 The Future
305(12)
Getting a Job
305(1)
The Game Animation Demo Reel
306(1)
What to Include
306(1)
Editing Your Reel
307(1)
The Reel Breakdown
308(1)
Your Resume
309(1)
Your Web Presence
310(1)
The Animation Test
311(1)
Incoming Technologies
312(1)
Virtual and Augmented Reality
312(1)
Affordable Motion Capture
313(1)
Runtime Rigs
314(1)
In-Game Workflow
314(1)
Procedural Movement
315(1)
Machine Learned Motion
315(1)
Remote Working
316(1)
Index 317
Jonathan Cooper is an award-winning video game animator who has been bringing virtual characters to life professionally since 2000, leading teams on large projects such as the Assassins Creed and Mass Effect series, with a focus on memorable stories and characters and cutting-edge video game animation. He has since been focusing on interactive cinematics in the latest chapters of the DICE and Annie award-winning series Uncharted and The Last of Us. Jonathan has presented at the Game Developers Conference (GDC) in San Francisco and at other conferences across Canada and the United Kingdom, and holds a Bachelor of Design honors degree in animation.