The Animation Bible: A Practical Guide to the Art of Animating, from Flipbooks to Flash

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They want to know that your idea is a strong one, that is has a strong premise, that it has "legs" - meaning that your story is big enough to span a full series and, further potential series. Or, if there's something you like better than Williams, anybody got any suggestion for other cel-based bibles? In the course of time Cain brought to the Lord an offering of the fruit of the ground, and Abel also brought of the firstborn of his flock and of their fat portions.

A good animation pitch includes an animation bible, a vital part of the process of developing an animation film or TV series. In realistic animation, however, the most important aspect of this principle is that an object's volume does not change when squashed or stretched. On the human body, the torso is the core, with arms, legs, head and hair appendices that normally follow the torso's movement. Straight ahead action scenes are animated frame by frame from beginning to end, while " pose to pose" involves starting with drawing key frames, and then filling in the intervals later. As animation expands beyond the confines of light entertainment, so the growing number of animators and animation students must respond with not only the latest techniques in computer animation, but also with the vast wealth of non-digital techniques that are still used.Timing refers to the number of drawings or frames for a given action, which translates to the speed of the action on film. rigid, non-dynamic movement of a ball is compared to a "squash" at impact and a "stretch" during the fall and after the bounce.

Williams talks a lot about "breaking joints", frames where a joint has moved in a way a real body wouldn't actually allow but which shows intention and adds liveliness precisely by doing things that aren't actually possible.On the other hand, it is hard to maintain proportions and to create exact, convincing poses along the way. Adding secondary actions to the main action gives a scene more life, and can help to support the main action. The principle of solid drawing means taking into account forms in three-dimensional space, or giving them volume and weight. These parts can be inanimate objects like clothing or the antenna on a car, or parts of the body, such as arms or hair.