• Produktbild: Acting for Animators
  • Produktbild: Acting for Animators
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Acting for Animators

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Beschreibung

Produktdetails

Einband

Gebundene Ausgabe

Erscheinungsdatum

16.06.2023

Abbildungen

96 schwarzweisse Abbildungen, 96 schwarzweisse Fotos

Verlag

Taylor & Francis

Seitenzahl

244

Maße (L/B/H)

24/16,1/1,8 cm

Gewicht

537 g

Auflage

5. Auflage

Sprache

Englisch

ISBN

978-1-03-226751-7

Beschreibung

Rezension

"Acting for Animators is written specifically for animation professionals and provides an essential primer for creating empathic and dynamic character performances and shows how the storytelling structure works. Not only will every animation professional benefit from reading this book, every animation student can use it as a basic tool for the foundation of their career."

Nancy Denney-Phelps, Animation World Network, USA

Produktdetails

Einband

Gebundene Ausgabe

Erscheinungsdatum

16.06.2023

Abbildungen

96 schwarzweisse Abbildungen, 96 schwarzweisse Fotos

Verlag

Taylor & Francis

Seitenzahl

244

Maße (L/B/H)

24/16,1/1,8 cm

Gewicht

537 g

Auflage

5. Auflage

Sprache

Englisch

ISBN

978-1-03-226751-7

Herstelleradresse

Libri GmbH
Europaallee 1
36244 Bad Hersfeld
DE

Email: gpsr@libri.de

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  • Produktbild: Acting for Animators
  • Produktbild: Acting for Animators
  • Preface

    Introduction

    Let's Start with Definitions

    Definition: Acting is behaving believably in pretend circumstances for a theatrical purpose.

    For a theatrical purpose

    Structure

    Action Conflict/Obstacle Objective

    We are narrative-seeking, storytelling animals

    Action

    Objective

    Long-term and short-term objectives

    Baymax in a shopping cart

    Pursuing a negative objective

    Acting and the CG Pipeline

    Animate the thought (acting is a process of exposing, not of hiding)

    Willing suspension of disbelief and the Uncanny Valley

    Regarding the animated documentary

    Emotion

    Empathy

    Sympathy

    Psychological gesture

    Character rhythm

    The audience

    Who is your intended audience?

    The 4th wall

    Video reference

    Storyboards vs. complete screenplays

    Comedy vs. drama (intro)

    Gags lack structure

    Charlie Chaplin, Buster Keaton, Laurel & Hardy

    Showreels

    Character development

    Heroes and villains

    Video games

    Empathy vs. agency in games

    Cutscenes (animatics)

    Humor

    Non-player characters (NPC's)

    Character design and narrative

    A few more thoughts about blinking in games

    Classroom notes

    Scenes begin in the middle

    Acting is doing; Acting is also reacting

    Blinking

    Eyebrows

    Animating dialogue

    Status transactions

    Power centers

    The adrenaline moment

    "Ma"

    Regarding those talking dogs in Pixar's movie UP

    Experimental animation

    Laban movement analysis

    What does listening look like?

    Pantomime

    Anger and yelling

    Punctuation in scripts

    Crying

    Drunk

    My acting gift to you is a surprise

    A scene is a negotiation

    Relationships are the way that characters feel about one another

    Mirrors

    A brief history of acting training (for actors)

    Mocap

    Animating aliens, robots and other non-humans

    Film Analysis

    Flee

    Grave of the fireflies

    Soul

    Porco Rosso

    Analysis

    The Triplets of Belleville

    Introduction

    Madame Souza

    Training for the Tour de France

    The Tour de France

    The kidnapping

    French wine center/the sinister crime

    We meet the Triplets of Belleville

    The rescue

    Finale

    Postscript

     

    "PSSSST . . . a few words, please, with animation teachers and mentors . . ."

    Classroom exercises

    Tightrope Exercise

    Create a character profile

    Open script exercise

    The transformation game

    Addendum

    Walt Disney's 1935 memo to Don Graham regarding how to train animators

    Ed Hooks annotates an animation master into "actor-ese" ...

    Ed Hooks annotates a section from the book The Illusion of Life

    Conclusion

    Becoming an artist

    The future of animated storytelling

    Acknowledgements

    References

    Index