DIGITAL CHARACTER ANIMATION 2
Material type:![Text](/opac-tmpl/lib/famfamfam/BK.png)
- 1562059300
Item type | Current library | Call number | Status | Date due | Barcode | |
---|---|---|---|---|---|---|
Standard Loan | Thurles Library Main Collection | 741.58 MAE (Browse shelf(Opens below)) | Available | R08361KRCT |
Enhanced descriptions from Syndetics:
Providing the basics of traditional cell animation, this step-by-step color guide provides the necessary information to create convincing computer-generated characters in 3D. The cross-platform CD-ROM includes: multiple walk cycles on various 3D programs; lip sync examples; and more. It is useful for courses in Computer Graphics and Animation.
Table of contents provided by Syndetics
- Volume I
- 1 Basics of Design (p. 2)
- Approaching Design as an Artist (p. 4)
- Knowing Your Character (p. 4)
- Making Decisions (p. 4)
- Categories of Design (p. 6)
- Realistic Designs (p. 6)
- Stylized Designs (p. 7)
- Designing a Character (p. 8)
- Head and Body Proportions (p. 8)
- Eyes (p. 9)
- Feet (p. 10)
- Hands (p. 11)
- Clothing and Other Accessories (p. 12)
- Designing Your Own Characters (p. 13)
- Designing on Paper (p. 14)
- Using Images as Reference (p. 15)
- Designing in Clay (p. 15)
- Getting Sculpture into the Computer (p. 17)
- 2 Modeling Basics (p. 20)
- Surface Types (p. 22)
- Polygonal Surfaces (p. 22)
- Patch Surfaces (p. 23)
- NURBS Surfaces (p. 24)
- Modeling Strategies (p. 25)
- Keep It Light (p. 25)
- Mixing and Matching Surface Types (p. 25)
- Modeling Basics (p. 25)
- Basics of Polygonal Modeling (p. 26)
- Polygonal Modeling Techniques (p. 29)
- Subdivision Surfaces (p. 30)
- Booleans Are Evil (p. 33)
- Basics of Patch Modeling (p. 34)
- Creating Patches from Curves (p. 36)
- Stitching Patches Together (p. 39)
- Three-Sided Patches (p. 41)
- Modeling with NURBS (p. 42)
- Curves on Surface (p. 42)
- Joining NURBS Surfaces (p. 43)
- Metaballs (p. 44)
- The Trouble with Metaballs (p. 46)
- Animating Metaballs (p. 46)
- Conclusion (p. 47)
- 3 Modeling Bodies for Animation (p. 48)
- The Structure of the Body (p. 50)
- The Skeleton (p. 50)
- Muscles (p. 54)
- Construction Methods (p. 54)
- Segmenting Bodies (p. 55)
- Seamless Characters (p. 60)
- Modeling a Seamless NURBS Body (p. 64)
- Conclusion (p. 67)
- 4 Modeling Hands for Animation (p. 68)
- Examining the Hand's Structure (p. 70)
- Flexibility of the Hand and Fingers (p. 71)
- The Fingers (p. 71)
- The Thumb (p. 72)
- Modeling Methods for Hands (p. 74)
- Modeling Segmented Hands (p. 74)
- Modeling Hands from Polygons (p. 75)
- Modeling a Hand with NURBS (p. 78)
- Modeling Metaballs Hands (p. 83)
- Adding Realism (p. 84)
- Fingernails (p. 85)
- Knuckles (p. 85)
- Tendons (p. 86)
- Skin Creasing (p. 87)
- Webbing (p. 87)
- Conclusion (p. 87)
- 5 Modeling Heads for Animation (p. 88)
- The Structure of the Head and Face (p. 90)
- The Muscles of the Face (p. 90)
- Basic Head Modeling Methods (p. 93)
- Paste-On Features (p. 93)
- A Face with Flexible Skin (p. 94)
- Topology and Facial Modeling (p. 95)
- The Pole at the Mouth (p. 97)
- The Pole at the Ears (p. 98)
- Which Topology to Use? (p. 99)
- More Complex Heads (p. 102)
- Modeling a Polygonal Head (p. 103)
- Eyes (p. 106)
- Internal (p. 106)
- External (p. 107)
- Asymmetrical Eyes (p. 110)
- Eyebrows (p. 110)
- Teeth (p. 111)
- Tongues (p. 113)
- Connecting a Head and a Body (p. 114)
- Neck on the Body (p. 114)
- Neck on the Head (p. 114)
- Head, Neck, and Body as One Object (p. 115)
- Conclusion (p. 115)
- 6 Skeletons and Mesh Deformation (p. 116)
- Hierarchies and Character Animation (p. 118)
- Manipulating Hierarchies (p. 118)
- Pivots and Joint Rotation (p. 119)
- Skeletons and Hierarchies (p. 122)
- Manipulating Hierarchies (p. 123)
- Forward Kinematics (p. 124)
- Inverse Kinematics (p. 124)
- Which Kinematics to Use? (p. 128)
- Building Skeletons (p. 128)
- Building a Body Skeleton (p. 129)
- Hand Skeleton (p. 132)
- Mesh Deformation (p. 133)
- Direct Assignment (p. 133)
- Weighted Assignment/Envelopes (p. 134)
- Advanced Deformation Tools (p. 136)
- Deformation and Surface Type (p. 137)
- Skeletons and Segmented Characters (p. 140)
- Other Deformation Methods (p. 140)
- Lattices (p. 140)
- Clusters (p. 141)
- Spline Deformation (p. 141)
- Conclusion (p. 143)
- 7 Posing Characters (p. 144)
- Posing (p. 146)
- Animating with Poses (p. 146)
- Pose-to-Pose Animation (p. 146)
- Straight-Ahead Animation (p. 147)
- Combining the Two Methods (p. 147)
- Posing a Flour Sack (p. 148)
- Setting Up a Flour Sack (p. 149)
- Posing the Sack (p. 149)
- Posing Characters (p. 150)
- Balance (p. 150)
- Symmetry (p. 152)
- Weight (p. 153)
- Staging (p. 153)
- Creating Strong Silhouettes (p. 154)
- Line of Action (p. 155)
- Staging Multiple Characters (p. 157)
- Staging and Camera Placement (p. 159)
- Moving the Camera (p. 159)
- Conclusion (p. 162)
- 8 The Basics of Character Animation (p. 164)
- The Importance of Timing (p. 166)
- The Process of Timing (p. 166)
- How Much Time? (p. 168)
- One Thing at a Time (p. 169)
- Developing Good Timing (p. 169)
- Timing and Software (p. 170)
- Curves (p. 170)
- Dope Sheets (p. 175)
- Paths/Trajectory (p. 176)
- Using Timing to Suggest Weight (p. 177)
- The Language of Movement (p. 179)
- Arcs (p. 180)
- Slow-ins and Slow-outs (p. 181)
- Force and Drag (p. 182)
- Squash and Stretch (p. 185)
- How to Squash and Stretch a Character (p. 187)
- Anticipation (p. 190)
- Overshoot (p. 193)
- Secondary Action (p. 194)
- Overlap and Follow-Through (p. 195)
- Cycles (p. 198)
- Moving Holds (p. 199)
- Putting It All Together (p. 200)
- Conclusion (p. 203)
- 9 Walking and Locomotion (p. 204)
- Understanding the Mechanics of Walking (p. 206)
- Feet and Legs (p. 206)
- The Hips, Spine, and Shoulders (p. 207)
- The Arms (p. 209)
- The Head and Spine from the Side (p. 209)
- Animating a Walk (p. 210)
- Timing the Walk (p. 210)
- Keeping Your Feet on the Ground (p. 210)
- To Cycle or Not to Cycle? (p. 213)
- Beyond Walking (p. 229)
- The Run (p. 229)
- The Skip (p. 231)
- The Sneak (p. 232)
- Animating Four-Legged Walks (p. 233)
- Conclusion (p. 235)
- 10 Facial Animation and Dialogue (p. 236)
- Methods for Animating the Face (p. 238)
- Morphing (p. 238)
- Single-Target Morphing (p. 238)
- Multiple-Target Morphing (p. 239)
- Modeling Morph Targets for Animation (p. 239)
- Lower-Face Poses (p. 240)
- Upper-Face Poses (p. 242)
- Upper-Face Poses for Stylized Characters (p. 243)
- Other Facial Poses (p. 243)
- Assigning Targets (p. 244)
- Manipulating the Face (p. 244)
- Creating Facial Expression (p. 246)
- Basic Expressions (p. 246)
- The Brows and Expression (p. 248)
- Symmetry and Expression (p. 248)
- Complex Expressions (p. 249)
- Animating the Head and Face (p. 251)
- Animating the Head (p. 251)
- Eye Direction (p. 251)
- Blinks (p. 253)
- Overlap in Facial Animation (p. 256)
- Animating Lip-Sync (p. 256)
- Recording Dialogue (p. 257)
- The Eight Basic Mouth Positions (p. 258)
- Reading the Track (p. 260)
- Animating Dialogue (p. 262)
- Mouth or Body First? (p. 262)
- Animating the Mouth (p. 263)
- Eyes and Dialogue (p. 264)
- Head Motion and Dialogue (p. 264)
- Body Language and Dialogue (p. 265)
- Conclusion (p. 267)
- A Suggested Readings (p. 268)
- Index (p. 272)