By Shawn Kelly, Carlos Baena

;Animation counsel & tips vol.2 КНИГИ ; ХОББИ и РЕМЕСЛА Автор: Shawn Kelly, Carlos Baena Название:Animation suggestions & methods vol.2 Издательство: Animation Mentor Год: 2009 Формат: PDF Страниц: 70 Размер: 12 МбПосле выхода первого сборника практических советов для аниматоров его создатели получили так много откликов, что не замедлили выпустить продолжение. Это вторая часть "Уловок и Трюков" от основателей и преподавателей всемирноизвестной онлайн-школы анимационного мастерства - Шона Келли (аниматор студии business gentle & Magic, участвовал в создании "Трансформеров" и "Звездных войн") и Карлоса Баены (аниматор студии PIXAR, участвовал в создании discovering Nemo, The Incredibles, autos, Ratatouille, WALL-E и Toys tale 3).Книга будет интересна как тем, кто только начинает заниматься анимацией, так и профессионалам.Animation suggestions & tips quantity 2 is a 70 pages PDF record with a set of the simplest guidance, advices and assets released at the Animation assistance & methods web publication. you can find lots of the related content material released within the weblog yet being unfastened, accrued in a single cozy rfile you may additionally print, makes the deal. It moves for the simplicity of a few solutions to a couple of an important questions an animator, being a scholar or an emergent expert, retains on asking.Скачать - Animation counsel & tips vol.2.com eighty five

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BRINGING CHARACTERS TO LIFE Where Do You Draw the Line on Exaggeration? By Aaron Gilman As a creature animator who has worked primarily on hyper real content, exaggeration is a constant issue in my work. ” What he meant by this was that the creatures in my shot were too energized. I was breaking the boundaries of believability within the context of this particular project and the edit. While my characters moved mechanically correct, and even the actions in their performances were good, everything was too bouncy, too fast, too BIG!

Generally, as you move into larger studios, the deadlines tend to become more realistic (read: a little more spaced out). The larger studios can charge clients more money, which the clients are willing to pay because they know the trade-off is a higher standard of quality. The studio knows that more quality will need more time, so deadlines become a little less intense once you get to a top-tier animation studio, generally speaking. ), and the “average time to do a shot” is getting less all the time, it seems.

I think the main thing is to not let it get to you. It’s normal, and it happens to even the most experienced animators I’ve met. We all get challenged for different reasons in different shots. Not one shot comes easy. However, how you get out of that funk is something that will be a challenge in itself as well. So, yeah, the main first step I’d say is to not get stressed out about it, and accept that the shot is just difficult and you are struggling with it. And that’s fine. When that happens to me, I usually get the hell out of my office.

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