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Acting and performance for animation /
"Character animation involves more than the principles of animation and the mechanics of motion. Unique, believeable characters that think, feel and captivate your audience are ones that involve emotion, performance, personality, acting and story. Successful animators balance all of these eleme...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Otros Autores: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Burlington, MA :
Focal Press,
2013.
|
| Temas: | |
| Acceso en línea: | Texto completo (Requiere registro previo con correo institucional) |
MARC
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| 050 | 4 | |a NC1765 |b .H34 2013eb | |
| 082 | 0 | 4 | |a 777/.7 |2 23 |
| 049 | |a UAMI | ||
| 100 | 1 | |a Hayes, Derek. | |
| 245 | 1 | 0 | |a Acting and performance for animation / |c Derek Hayes, Chris Webster. |
| 260 | |a Burlington, MA : |b Focal Press, |c 2013. | ||
| 300 | |a 1 online resource (xx, 197 pages) : |b illustrations (some color) | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
| 338 | |a online resource |b cr |2 rdacarrier | ||
| 588 | 0 | |a Print version record. | |
| 505 | 0 | |a 1. Aspects of Acting for Animation -- 2. Types of Performance -- 3. Format, Genre, and Audience -- 4. Character and Personality -- 5. Principles of Performance -- 6. Making a Performance -- 7. Scene Composition -- 8. Working with Actors. | |
| 505 | 0 | 0 | |t Introduction -- |t Animation Principles -- |t Becoming an Animator -- |t Becoming an Actor -- |t Becoming a Storyteller -- |t Becoming a Creative Practitioner -- |g 1. |t Aspects of Acting for Animation -- |t Creative Approaches to Animation -- |t Simulation -- |t Representation -- |t Interpretation -- |t Story, Story, Story -- |t Working with an Existing Script -- |t Writing Your Own Script -- |t Cinematography and Editing -- |t Mise-en-Scene -- |t Montage -- |t Environment and Screen Space -- |t The Setting -- |t Screen Format -- |t Sound -- |t Character -- |t Summary -- |g 2. |t Types of Performance -- |t Stanislavski's System -- |t Study -- |t Emotional Memory -- |t Analyzing the Script and the "Magic If" -- |t Motivation -- |t Objectives -- |t Obstacles -- |t Tools or Methods -- |t Actions -- |t Method Acting -- |t Naturalism and Reality -- |t Epic Theatre -- |t Comedy -- |t Summary -- |g 3. |t Format, Genre, and Audience -- |t Audiences -- |t Know Your Audience -- |t Target Your Audience -- |t Genre -- |t Comedy -- |t Drama -- |t Documentary -- |t Format -- |t Features -- |t Short Form -- |t Television -- |t TV Series -- |t Internet -- |t Hand-Held Devices -- |t Corporate Video -- |t Games -- |t Commercials -- |t Summary -- |g 4. |t Character and Personality -- |t Character Development -- |t Formats -- |t Viewing Environment -- |t Budget -- |t Animator as Actor -- |t Know Your Characters -- |t Physicality of Characters -- |t Character Design -- |t The Animation Bible -- |t Character Types -- |t Character and Personality -- |t Relationships -- |t Dynamics of Character Interaction-Every Hero Needs a Villain -- |t Summary -- |g 5. |t Principles of Performance -- |t Empathy and Engagement -- |t Why Empathy is Important -- |t Identification and Lack of Empathy -- |t Engaging the Audience -- |t Empathy for the Villain -- |t Motivation -- |t Wants and Needs -- |t What Are You Trying to Say? -- |t Props -- |t Summary -- |g 6. |t Making a Performance -- |t Body Language -- |t Character Interaction -- |t Effort -- |t Silence -- |t Reflex and Other Physical Reactions -- |t Comedy Performance -- |t Summary -- |g 7. |t Scene Composition -- |t Planning a Scene -- |t Storyboards -- |t Thumbnail or Rough Storyboards -- |t Presentation Storyboards -- |t Working Storyboards -- |t The Animatic -- |t Timing -- |t Pacing -- |t Phrasing -- |t Animation Timing -- |t Preparing the Shot-Layouts -- |t Overlays -- |t Underlays -- |t Field Guides -- |t Character Layouts -- |t Bar Charts and Dope Sheets -- |t Blocking Out Animation and Action -- |t Scene Dynamics and Screen Space -- |t Rehearsing Action for Performance -- |t Summary -- |g 8. |t Working with Actors -- |t The Voices -- |t Casting -- |t Cartoony or Non-Cartoony Voices? -- |t The Rehearsal -- |t The Recording -- |t Be Open to Change -- |t How to Talk to Actors -- |t Verbs -- |t Line Readings -- |t Feedback -- |t A Few Extra Thoughts -- |t Live Action and Animation -- |t Motion Capture -- |t Summary. |
| 520 | |a "Character animation involves more than the principles of animation and the mechanics of motion. Unique, believeable characters that think, feel and captivate your audience are ones that involve emotion, performance, personality, acting and story. Successful animators balance all of these elements within a single character and narrative. With Acting and Performance for Animation, discover how to create dynamic, dramatic performances and believeable character interaction. An invaluable resource for animators, Acting and Performance for Animators is a practical guide to the variety of performance techniques relevant to animators. Develop believable character interactions with chapters detailing the principles of performance, performance types, character emotion and personality, physical and psychological performance, and scene composition. Analyze scripts, sound, acting, action and performance with the practical hints and tips, hands-on assignments and animated examples featured in an extensive guide for animators working in film, TV, games and commercials. Explore different performance techniques based upon the experiences of seasoned animators with case studies featuring John Lasseter, Ray Harryhausen, Nick Park, Joanna Quinn. Expand your own performance techniques with the accompanying DVD which will feature live action reference shorts, production stills, animated examples, and further hands-on assignments"--EBL. | ||
| 590 | |a O'Reilly |b O'Reilly Online Learning: Academic/Public Library Edition | ||
| 650 | 0 | |a Animated films. | |
| 650 | 0 | |a Motion picture acting. | |
| 650 | 0 | |a Animation (Cinematography) | |
| 650 | 6 | |a Art de l'acteur au cinéma. | |
| 650 | 6 | |a Animation (Cinéma) | |
| 650 | 7 | |a animations (visual works) |2 aat | |
| 650 | 7 | |a ART / Film & Video. |2 bisacsh | |
| 650 | 7 | |a PHOTOGRAPHY / Techniques / Cinematography & Videography. |2 bisacsh | |
| 650 | 7 | |a Animated films. |2 fast |0 (OCoLC)fst00809611 | |
| 650 | 7 | |a Animation (Cinematography) |2 fast |0 (OCoLC)fst00809628 | |
| 650 | 7 | |a Motion picture acting. |2 fast |0 (OCoLC)fst01027093 | |
| 700 | 1 | |a Webster, Chris, |d 1954- | |
| 776 | 0 | 8 | |i Print version: |z 0240812395 |w (DLC) 2012043270 |
| 856 | 4 | 0 | |u https://learning.oreilly.com/library/view/~/9780240812397/?ar |z Texto completo (Requiere registro previo con correo institucional) |
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| 938 | |a Taylor & Francis |b TAFR |n 9780080962177 | ||
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| 994 | |a 92 |b IZTAP | ||