Download Producing Independent 2D Character Animation: Making & Selling A Short Film (Visual Effects and Animation Series) (Focal Press Visual Effects and Animation) PDF

TitleProducing Independent 2D Character Animation: Making & Selling A Short Film (Visual Effects and Animation Series) (Focal Press Visual Effects and Animation)
ISBN 139780080514956
CategoryArts - Film
Author
LanguageEnglish
File Size36.5 MB
Total Pages433
Table of Contents
                            Front Cover
Producing Independent 2D Character Animation: Making and Selling a Short Film
Copyright Page
Contents
Foreword
Preface
Acknowledgments
Section A: Before We Get Started
	Chapter 1. Frame Rate
	Chapter 2. Time versus Footage
	Chapter 3. DPI versus Pixels
	Chapter 4. Scenes
	Chapter 5. File Organization
	Chapter 6. Tricks of the Trade
	Chapter 7. Supplies, Hardware, and Software
	Chapter 8. Production Crew
Section B: Pre-Production
	Chapter 9. The In-House Pitch
	Chapter 10. Character Design
	Chapter 11. Story and Storyboards
	Chapter 12. Budget
	Chapter 13. Crewing Up
	Chapter 14. Revised Storyboards
	Chapter 15. Layouts
Section C: Production
	Chapter 16. Directing Dialogue
	Chapter 17. Audio Recording and Editing
	Chapter 18. Animatics
	Chapter 19. Animation Breakdowns, Slugging, or Timing
	Chapter 20. Audio Breakdowns
	Chapter 21. Assigning Production Work
	Chapter 22. Key Animation
	Chapter 23. Rotoscoping
	Chapter 24. Effects Animation
	Chapter 25. Pencil Tests
	Chapter 26. Enhanced Animatics
	Chapter 27. Backgrounds
	Chapter 28. Inbetweens
	Chapter 29. Clean-Ups
	Chapter 30. Scanning
	Chapter 31. Digital Ink and Paint
	Chapter 32. Composite and Export of Individual Layers
	Chapter 33. Camera Moves and Special Effects
	Chapter 34. Final Image Composite
Section D: Post-Production
	Chapter 35. Title Cards
	Chapter 36. Credits
	Chapter 37. Editing
	Chapter 38. Music and Sound Design
	Chapter 39. Final Composite with Audio and Output to Tape or Film
Section E: What Next?
	Chapter 40. Copyright
	Chapter 41. Festivals
	Chapter 42. Online
	Chapter 43. Pitching to a Studio, Network, or Distributor
	Chapter 44. Portfolio Piece
Section F: Interviews
	Chapter 45. Craig McCracken, Creator of The Powerpull Girls
	Chapter 46. Bill Plympton, Academy Award–Nominated Independent Animator
	Chapter 47. Craig “Spike” Decker of Spike & Mike’s Sick & Twisted Festival of Animation
	Chapter 48. Linda Simensky, Senior Vice President of Original Animation at Cartoon Network
	Chapter 49. Rachelle Lewis, Director of Recruitment for Klasky Csupo
	Chapter 50. Tom Sito, Co-Director of Osmosis Jones
	Chapter 51. David Fine and Alison Snowden, Academy Award–Winning Producers of Bob and Margaret
Section G: Appendixes
	Appendix 1: Forms
	Appendix 2: Digital to Film Transfer Facilities and Film Recording Service Bureaus
	Appendix 3: Supplies
	Appendix 4: Software
	Appendix 5: Books
	Appendix 6: Periodicals
	Appendix 7: Animation Schools
	Appendix 8: CD Contents
	Appendix 9: Patronage and Credits
Index
Project
Limited Warranty and Disclaimer of Liability
                        
Document Text Contents
Page 2

Producing
Independent 2D

Character Animation

Page 216

For Timmy’s Lessons in Nature we used a combination of
Digicel and AXA for our ink and paint. At one point, our
scanning station and our ink and paint station were on
different computers, so we scanned the cels to files, and
then imported the files into the program. We always
imported the files a little larger than we thought we needed;
this gave us added flexibility in case we wanted to reframe
or zoom in on a scene and not lose image quality. Now we
scan directly into the ink and paint program using the high-
speed Fujitsu scanner. Each character has its own palette
and was drawn on its own layer.

Each scene folder, which is passed on to the animator,
included the art, the dope sheet, and a form with all the
scanning information. Keeping track of each scene’s import
and export settings is important, then when new and revised
artwork is scanned into the scene, it will all line up perfectly.
The animator places the final drawings in this folder for the
digital artists to scan and use for reference during painting
(Figure 31-13).

More and more ink and paint software programs are adding
the ability to vectorize the scanned images for output to
FLASH. This process makes the files much smaller and easier
to use on the Internet.

Digital Ink and Paint 193

Figure 31-12 Original scan and
colored cel with a shadow. The scan
shows the shadow lines highlighted
in red, the same way the original art
would look. The scanner will scan
the red line as black.

Page 217

194 Production

Figure 31-13 Scene folder with
art, scene form, dope sheet, and
scan settings form.

Figure 31-14 CTP digital ink and paint program interface.

Page 432

Form 8 Artist�s Scene Form.

Page 433

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