TIMING FOR ANIMATION PDF
Timing for Animation. Harold Whitaker and John Halas. Updated by Tom Sito. AMSTERDAM • BOSTON • HEIDELBERG • LONDON • NEW YORK • OXFORD. Core Animation: Simplified Animation Techniques for Mac and iPhone Development · Read more · Winning!! Zodiacal Timing Revised. This books (Timing for Animation [PDF]) Made by Harold Whitaker. Book details Author: Harold Whitaker Pages: pages Publisher: Focal Press Language: English ISBN ISBN Alive Character Design: For Games, Animation and Film: For.
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TIMING. ANIMATION. PDF provided by ppti.info By Glen * Timing for animation tends to be quicker than real time. Time out. Animation. • Each frame is a photograph, drawing, or computer generated image . Timing for animation, Harold Whitaker, John Halas, Focal Press, Pixar animators, Aaron Hartline and Victor Navone, share some timing & spacing advice to make your movement and animation more realistic.
By just animating a background color or applying an animated Transform , you can create dramatic screen transitions or provide helpful visual cues. This overview provides an introduction to the WPF animation and timing system. It focuses on the animation of WPF objects by using storyboards. Introducing Animations Animation is an illusion that is created by quickly cycling through a series of images, each slightly different from the last. The brain perceives the group of images as a single changing scene.
In film, this illusion is created by using cameras that record many photographs, or frames, each second. When the frames are played back by a projector, the audience sees a moving picture. Animation on a computer is similar.
For example, a program that makes a drawing of a rectangle fade out of view might work as follows. The program creates a timer. The program checks the timer at set intervals to see how much time has elapsed. Each time the program checks the timer, it computes the current opacity value for the rectangle based on how much time has elapsed.
The program then updates the rectangle with the new value and redraws it. Prior to WPF, Microsoft Windows developers had to create and manage their own timing systems or use special custom libraries. WPF animation makes it easy to animate controls and other graphical objects. WPF handles all the behind-the-scenes work of managing a timing system and redrawing the screen efficiently. It provides timing classes that enable you to focus on the effects you want to create, instead of the mechanics of achieving those effects.
WPF also makes it easy to create your own animations by exposing animation base classes from which your classes can inherit, to produce customized animations.
These custom animations gain many of the performance benefits of the standard animation classes. Most important is that, in WPF, you animate objects by applying animation to their individual properties. For example, to make a framework element grow, you animate its Width and Height properties. To make an object fade from view, you animate its Opacity property.
Run Cycle - Overview and Workflow
For a property to have animation capabilities, it must meet the following three requirements: It must be a dependency property. It must belong to a class that inherits from DependencyObject and implements the IAnimatable interface.
There must be a compatible animation type available. If WPF does not provide one, you can create your own. See the Custom Animations Overview. WPF contains many objects that have IAnimatable properties. Most of their properties are dependency properties.
You can use animations almost anywhere, which includes in styles and control templates. Animations do not have to be visual; you can animate objects that are not part of the user interface if they meet the criteria that are described in this section. Manipulating the speed and amount of change between the frames is the secret alchemy that gives animation the ability to convey the illusion of life.
In animation, there are two fundamental principles. We determine the speed of an action by how many pictures, or frames, it takes to happen.
The more frames something takes to happen, the more time it spends on screen, so the slower the action will be. The fewer frames something takes to happen, the less screen time it takes, which gives us faster action.
Timing for Animation
You can describe it in words, say, something will take 6 frames, 18 frames, or so on. But to really get a sense of it, you need to act it out or experience it as it would happen in, well, real time. What is doing the acting, and why?
What makes a ball bounce? The degree to which these invisible forces apply, and the reason why the ball behaves the way it does, all depends on the physical properties of the ball. A golf ball is small, hard and light.
A rubber ball is small, soft and lighter. A beach ball is large, soft and light. When a moving object such as a person comes to a stop, parts might continue to move in the same direction because of the force of forward momentum. These parts might be hair, clothing, jowls, or jiggling flesh of an overweight person. This is where you can see follow-through and overlapping action.
The secondary elements hair, clothing, fat are following-through on the primary element, and overlapping its action. Follow-through can also describe the movement of the primary element though. Take a look at an example from a video we did for ViewBoost.
It takes a little while to accelerate and reach a steady speed. In animation speak, we would call this an Ease Out. Unless you crash into a tree or something.
(PDF Download) Timing for Animation PDF
You step on the pedal and decelerate over a few seconds until you are at a stand-still. Animators call this an Ease In. Carefully controlling the changing speeds of objects creates an animation that has a superior believability. In this clip from an explainer video we did for Tworkz , the woman raises her arm slowly at first, but it picks up speed as the motion continues. The ease in, ease out technique works to make the action more fluid and realistic. Most living beings — including humans — move in circular paths called arcs.
Arcs operate along a curved trajectory that adds the illusion of life to an animated object in action. Without arcs, your animation would be stiff and mechanical. The speed and timing of an arc are crucial. Sometimes an arc is so fast that it blurs beyond recognition. In the above example from Scandis , the man passes the cash along from one person to another by reaching his arms across the frame.
The fluid arcing motion of the arms adds grace to the animation. Secondary actions are gestures that support the main action to add more dimension to character animation. They can give more personality and insight to what the character is doing or thinking. In the above example from a video we did for DeerPro , a deer takes a bite of a leaf sprayed with DeerPro repellant.
Timing is about where on a timeline you put each frame of action. The reason this is a popular assignment is that there is a lot of wisdom to be gained from it! Notice that at the top of each bounce, the balls are packed closer together. That is because the ball is slowing down as it reaches the peak of the bounce.
As the ball falls from its peak it and accelerates, the spacing starts becoming wider. Notice also how many drawings there are in each bounce. As the momentum of the ball diminishes, the bounces become shorter and more frequent i. In practice, the success of your animation is going to depend on your sense of timing. Train yourself to listen to the rhythms and timings of your animation.The scene then turns to the young couple watching in horror as the deer ruins their shrubbery.
Art Cafe Feb 17, at In animation speak, we would call this an Ease Out. The leg action is just short of a stomping walk. Timing for Animation [PDF] 1.
A SYSTEM FOR PLANNING AND TIMING ANIMATION PDF provided by
And incidentally, this distinction is just as important in computer animation, where molding a pose at each keyframe is the equivalent of making a drawing. Google Scholar 6. This exaggeration of their facial features is way more effective than a slight frown or small gasp might be.
To change the order that objects are animated: Drag the name of the object up or down in the list in the Timing panel.