Info
- Utilizzare la checkbox di selezione a fianco di ciascun documento per attivare le funzionalità di stampa, invio email, download nei formati disponibili del (i) record.
Demystifying Disney : a history of Disney feature animation / / Chris Pallant
| Demystifying Disney : a history of Disney feature animation / / Chris Pallant |
| Autore | Pallant Chris |
| Edizione | [1st ed.] |
| Pubbl/distr/stampa | New York : , : Continuum, , 2011 |
| Descrizione fisica | 1 online resource (185 p.) |
| Disciplina | 741.5/8 |
| Soggetto topico | Animated films - United States - History and criticism |
| ISBN |
1-4411-0609-X
1-62892-865-4 1-283-30774-X 9786613307743 1-4411-5046-3 |
| Formato | Materiale a stampa  |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto | Acknowledgements -- Introduction -- Section One-Re-examining Disney -- Chapter One: Disney Authorship -- Chapter Two: A History of Innovation? -- Section Two-Early and Middle Disney Feature Animation -- Chapter Three: Disney-Formalism -- Chapter Four: Destino -- Chapter Five: Disney in Transition -- Section Three-Contemporary Disney Feature Animation -- Chapter Six: The Disney Renaissance -- Chapter Seven: Neo-Disney -- Chapter Eight: Digital Disney -- Conclusion-Happily Ever After? -- Works Cited -- Filmography -- Index |
| Record Nr. | UNINA-9910781984003321 |
Pallant Chris
|
||
| New York : , : Continuum, , 2011 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
Demystifying Disney : a history of Disney feature animation / / Chris Pallant
| Demystifying Disney : a history of Disney feature animation / / Chris Pallant |
| Autore | Pallant Chris |
| Edizione | [1st ed.] |
| Pubbl/distr/stampa | New York : , : Continuum, , 2011 |
| Descrizione fisica | 1 online resource (185 p.) |
| Disciplina | 741.5/8 |
| Soggetto topico | Animated films - United States - History and criticism |
| ISBN |
9786613307743
9781441106094 144110609X 9781628928655 1628928654 9781283307741 128330774X 9781441150462 1441150463 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto | Acknowledgements -- Introduction -- Section One-Re-examining Disney -- Chapter One: Disney Authorship -- Chapter Two: A History of Innovation? -- Section Two-Early and Middle Disney Feature Animation -- Chapter Three: Disney-Formalism -- Chapter Four: Destino -- Chapter Five: Disney in Transition -- Section Three-Contemporary Disney Feature Animation -- Chapter Six: The Disney Renaissance -- Chapter Seven: Neo-Disney -- Chapter Eight: Digital Disney -- Conclusion-Happily Ever After? -- Works Cited -- Filmography -- Index |
| Record Nr. | UNINA-9910974835203321 |
|
Pallant Chris
|
||
| New York : , : Continuum, , 2011 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
How to make animated films : Tony White's complete masterclass on the traditional principles of animation / / Tony White
| How to make animated films : Tony White's complete masterclass on the traditional principles of animation / / Tony White |
| Autore | White Tony |
| Edizione | [1st edition] |
| Pubbl/distr/stampa | Abingdon : , : Routledge, , 2013 |
| Descrizione fisica | 1 online resource (512 p.) |
| Disciplina | 741.5/8 |
| Soggetto topico |
Animation (Cinematography)
Digtial animation |
| ISBN |
9786612769122
9781136139338 1136139338 9781136139345 1136139346 9781282769120 128276912X 9780080927848 008092784X |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
How to Make Animated FilmsTony White's Complete Masterclass on the Traditional Principles of Animation; Copyright; Contents; Preface; Introduction; First ... A Reality Check; Your Own Personal Animation Course; 2D Or Not 2D? - That Is the Question; However ...; Prerequisites for Study; Equipment; Let the Fun Begin!; Acknowledgments; PART 1: How to Be an Animator; 10-Step Foundation Course; Masterclass 1: Animation Basics; Key, Breakdown, and In-Between Positions; Creating Key Positions; Creating the Breakdown Position; Top Pegs/Bottom Pegs; Charting Explained; In-Betweening
Flipping as Opposed to RollingArcs and Paths of Action; Timing and the Spacing of Drawings; Suggested Reading; Assignment 1; Masterclass 2: The Bouncing Ball; Weight, Mass, and Flexibility; Gravity and the Path of Action; Key Positions; Squash; Stretch; Timing; Weight; In-Betweening the Bouncing Ball; Distorting Mass and Volume; The Descending Bounce; Flip Your Drawings ... Always!; Final Double-Checks; Suggested Reading; Assignment 2; Masterclass 3: Generic Walks; The Lower Body; Walk Cycle; Shooting a Walk Cycle; In-Betweening on One's; Testing the Walk; The Upper Body; Suggested Reading Assignment 3Masterclass 4: Personality Walks; Hip and Shoulder Rotation; Overlapping Action on the Hands; Overlapping Action on the Head; Rotation on the Head; Keeping Good Balance Throughout; In-Between Placement and Timing; Double-Bounce Walk; Chart Timing and Variation; Observation and Reference Footage; The Animator's Survival Kit; Suggested Reading; Assignment 4; Masterclass 5: Generic Runs; Key Generic Run Stages; Run Exercise; Additional Pointers for Runs; Head-On Runs; Suggested Reading; Assignment 5; Masterclass 6: Quadruped Walks; Front Legs; Rear Legs; Synching the Legs Together Adding the BodyNeck and Head; Adding the Tail; Moving Background; Multilayered Backgrounds; Nonwalk Pans; Realistic Quadrupeds; Suggested Reading; Assignment 6; Masterclass 7: Weight; Standard Rubber Ball; Ping-Pong Ball; Bowling Ball; Comparing the Three Versions; The Pose Is Everything; Tips; Suggested Reading; Assignment 7; Masterclass 8: Anticipation; The Benefi ts of Anticipation; Anticipations Are for Everything; Suggested Reading; Assignment 8; Masterclass 9: Dialog; Body Language; Facial Animation; Lip Synching; Two-Character Dialog; Further References; Suggested Reading; Assignment 9 Masterclass 10: Final ProjectStaggers; Successive Breakouts of Joints; Eye Blinks; Eyebrows; Always Gravity!; Conclusion; Suggested Reading; Assignment 10; PART 2: How to Make an Animated Film; Production Challenge; Film Production 1: Exploring Ideas, Storytelling, and Scriptwriting; Meaning and WTF?; Assignment; Film Production 2: Concept Art, Viz Dev , and Camera Maps; Concept Art; Camera Map; Assignment; Film Production 3: Character Design; Style; Personality; Attitude; Proportion; Head Heights; Silhouette; Detail; Process; Warm-Up Exercise; Assignment; Film Production 4: Thumbnails Assignment |
| Record Nr. | UNINA-9910964468603321 |
|
White Tony
|
||
| Abingdon : , : Routledge, , 2013 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
How to make animated films : Tony White's complete masterclass on the traditional principles of animation / / Tony White
| How to make animated films : Tony White's complete masterclass on the traditional principles of animation / / Tony White |
| Autore | White Tony <1947-, > |
| Edizione | [1st edition] |
| Pubbl/distr/stampa | Amsterdam ; ; Boston : , : Focal Press/Elsevier, , 2009 |
| Descrizione fisica | 1 online resource (512 p.) |
| Disciplina | 741.5/8 |
| Soggetto topico | Animation (Cinematography) |
| Soggetto genere / forma | Electronic books. |
| ISBN |
1-136-13933-8
1-136-13934-6 1-282-76912-X 9786612769122 0-08-092784-X |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
How to Make Animated FilmsTony White's Complete Masterclass on the Traditional Principles of Animation; Copyright; Contents; Preface; Introduction; First ... A Reality Check; Your Own Personal Animation Course; 2D Or Not 2D? - That Is the Question; However ...; Prerequisites for Study; Equipment; Let the Fun Begin!; Acknowledgments; PART 1: How to Be an Animator; 10-Step Foundation Course; Masterclass 1: Animation Basics; Key, Breakdown, and In-Between Positions; Creating Key Positions; Creating the Breakdown Position; Top Pegs/Bottom Pegs; Charting Explained; In-Betweening
Flipping as Opposed to RollingArcs and Paths of Action; Timing and the Spacing of Drawings; Suggested Reading; Assignment 1; Masterclass 2: The Bouncing Ball; Weight, Mass, and Flexibility; Gravity and the Path of Action; Key Positions; Squash; Stretch; Timing; Weight; In-Betweening the Bouncing Ball; Distorting Mass and Volume; The Descending Bounce; Flip Your Drawings ... Always!; Final Double-Checks; Suggested Reading; Assignment 2; Masterclass 3: Generic Walks; The Lower Body; Walk Cycle; Shooting a Walk Cycle; In-Betweening on One's; Testing the Walk; The Upper Body; Suggested Reading Assignment 3Masterclass 4: Personality Walks; Hip and Shoulder Rotation; Overlapping Action on the Hands; Overlapping Action on the Head; Rotation on the Head; Keeping Good Balance Throughout; In-Between Placement and Timing; Double-Bounce Walk; Chart Timing and Variation; Observation and Reference Footage; The Animator's Survival Kit; Suggested Reading; Assignment 4; Masterclass 5: Generic Runs; Key Generic Run Stages; Run Exercise; Additional Pointers for Runs; Head-On Runs; Suggested Reading; Assignment 5; Masterclass 6: Quadruped Walks; Front Legs; Rear Legs; Synching the Legs Together Adding the BodyNeck and Head; Adding the Tail; Moving Background; Multilayered Backgrounds; Nonwalk Pans; Realistic Quadrupeds; Suggested Reading; Assignment 6; Masterclass 7: Weight; Standard Rubber Ball; Ping-Pong Ball; Bowling Ball; Comparing the Three Versions; The Pose Is Everything; Tips; Suggested Reading; Assignment 7; Masterclass 8: Anticipation; The Benefi ts of Anticipation; Anticipations Are for Everything; Suggested Reading; Assignment 8; Masterclass 9: Dialog; Body Language; Facial Animation; Lip Synching; Two-Character Dialog; Further References; Suggested Reading; Assignment 9 Masterclass 10: Final ProjectStaggers; Successive Breakouts of Joints; Eye Blinks; Eyebrows; Always Gravity!; Conclusion; Suggested Reading; Assignment 10; PART 2: How to Make an Animated Film; Production Challenge; Film Production 1: Exploring Ideas, Storytelling, and Scriptwriting; Meaning and WTF?; Assignment; Film Production 2: Concept Art, Viz Dev , and Camera Maps; Concept Art; Camera Map; Assignment; Film Production 3: Character Design; Style; Personality; Attitude; Proportion; Head Heights; Silhouette; Detail; Process; Warm-Up Exercise; Assignment; Film Production 4: Thumbnails Assignment |
| Altri titoli varianti |
Complete masterclass on the traditional principles of animation
Tony White's complete masterclass on the traditional principles of animation |
| Record Nr. | UNINA-9910454413103321 |
|
White Tony <1947-, >
|
||
| Amsterdam ; ; Boston : , : Focal Press/Elsevier, , 2009 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
How to make animated films : Tony White's complete masterclass on the traditional principles of animation / / Tony White
| How to make animated films : Tony White's complete masterclass on the traditional principles of animation / / Tony White |
| Autore | White Tony <1947-, > |
| Edizione | [1st edition] |
| Pubbl/distr/stampa | Amsterdam ; ; Boston : , : Focal Press/Elsevier, , 2009 |
| Descrizione fisica | 1 online resource (512 p.) |
| Disciplina | 741.5/8 |
| Soggetto topico | Animation (Cinematography) |
| ISBN |
1-136-13933-8
1-136-13934-6 1-282-76912-X 9786612769122 0-08-092784-X |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
How to Make Animated FilmsTony White's Complete Masterclass on the Traditional Principles of Animation; Copyright; Contents; Preface; Introduction; First ... A Reality Check; Your Own Personal Animation Course; 2D Or Not 2D? - That Is the Question; However ...; Prerequisites for Study; Equipment; Let the Fun Begin!; Acknowledgments; PART 1: How to Be an Animator; 10-Step Foundation Course; Masterclass 1: Animation Basics; Key, Breakdown, and In-Between Positions; Creating Key Positions; Creating the Breakdown Position; Top Pegs/Bottom Pegs; Charting Explained; In-Betweening
Flipping as Opposed to RollingArcs and Paths of Action; Timing and the Spacing of Drawings; Suggested Reading; Assignment 1; Masterclass 2: The Bouncing Ball; Weight, Mass, and Flexibility; Gravity and the Path of Action; Key Positions; Squash; Stretch; Timing; Weight; In-Betweening the Bouncing Ball; Distorting Mass and Volume; The Descending Bounce; Flip Your Drawings ... Always!; Final Double-Checks; Suggested Reading; Assignment 2; Masterclass 3: Generic Walks; The Lower Body; Walk Cycle; Shooting a Walk Cycle; In-Betweening on One's; Testing the Walk; The Upper Body; Suggested Reading Assignment 3Masterclass 4: Personality Walks; Hip and Shoulder Rotation; Overlapping Action on the Hands; Overlapping Action on the Head; Rotation on the Head; Keeping Good Balance Throughout; In-Between Placement and Timing; Double-Bounce Walk; Chart Timing and Variation; Observation and Reference Footage; The Animator's Survival Kit; Suggested Reading; Assignment 4; Masterclass 5: Generic Runs; Key Generic Run Stages; Run Exercise; Additional Pointers for Runs; Head-On Runs; Suggested Reading; Assignment 5; Masterclass 6: Quadruped Walks; Front Legs; Rear Legs; Synching the Legs Together Adding the BodyNeck and Head; Adding the Tail; Moving Background; Multilayered Backgrounds; Nonwalk Pans; Realistic Quadrupeds; Suggested Reading; Assignment 6; Masterclass 7: Weight; Standard Rubber Ball; Ping-Pong Ball; Bowling Ball; Comparing the Three Versions; The Pose Is Everything; Tips; Suggested Reading; Assignment 7; Masterclass 8: Anticipation; The Benefi ts of Anticipation; Anticipations Are for Everything; Suggested Reading; Assignment 8; Masterclass 9: Dialog; Body Language; Facial Animation; Lip Synching; Two-Character Dialog; Further References; Suggested Reading; Assignment 9 Masterclass 10: Final ProjectStaggers; Successive Breakouts of Joints; Eye Blinks; Eyebrows; Always Gravity!; Conclusion; Suggested Reading; Assignment 10; PART 2: How to Make an Animated Film; Production Challenge; Film Production 1: Exploring Ideas, Storytelling, and Scriptwriting; Meaning and WTF?; Assignment; Film Production 2: Concept Art, Viz Dev , and Camera Maps; Concept Art; Camera Map; Assignment; Film Production 3: Character Design; Style; Personality; Attitude; Proportion; Head Heights; Silhouette; Detail; Process; Warm-Up Exercise; Assignment; Film Production 4: Thumbnails Assignment |
| Altri titoli varianti |
Complete masterclass on the traditional principles of animation
Tony White's complete masterclass on the traditional principles of animation |
| Record Nr. | UNINA-9910783098403321 |
|
White Tony <1947-, >
|
||
| Amsterdam ; ; Boston : , : Focal Press/Elsevier, , 2009 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||