Computer Animation Complete: All-in-One: Learn Motion by Rick Parent, David S. Ebert, David Gould, Markus Gross,

By Rick Parent, David S. Ebert, David Gould, Markus Gross, Chris Kazmier, Charles John Lumsden, Richard Keiser, Alberto Menache, Matthias Müller, F. Kenton Musgrave, Mark V. Pauly, Darwyn Peachey, Ken Perlin, Hanspeter Pfister, Jason Sharpe, Mark R. Wilkins,

As a 3D Animator and teacher, i used to be super dissatisfied with this booklet. lots of the info reads like a handout from a technical demo that they use at SIGGRAGH. The movement catch part is really a background lesson of the advance of the gear. many of the Maya animation classes are taken from different books which are now four to six years old-fashioned. don't waste your cash buying this publication.

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Extra info for Computer Animation Complete: All-in-One: Learn Motion Capture, Characteristic, Point-Based, and Maya Winning Techniques

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To direct the attention of the viewer to what you want the viewer to see. For example, the eye will naturally follow converging lines, the gaze of figures in the image, a progression from dark to light or dark to bright, and an identifiable path in the image. 3 ANIMATION PRODUCTION Although producing a fi nal animated fi lm is not the subject of this book, the production process merits some discussion in order to establish the context in which an animator works. It is useful for technical animators to have some familiarity with how a piece of animation is broken into parts and how a finished piece is produced.

This tag is calculated from the beginning of the sequence. This allows an editing station to record the absolute frame number for an edit and then store the edit location in a fi le that can be retrieved for later use. The process described so far is assemble editing. Insert editing is possible if a control signal is first laid down on the output tape. Then sequences can be inserted anywhere on the tape in forming the fi nal sequence. This provides some nonlinear editing capability, but it is still not possible to easily lengthen or shorten a sequence without repositioning other sequences on the tape to compensate for the change.

5 A Brief History of Computer Animation 27 represent a musical performance. Mostly, the commands take the form of “note x on” and “note x off” where x is any of the standard musical notes. There are also control commands to set pitch, loudness, etc. Some devices can also send out MIDI commands as they are played in order to record the performance as keys are depressed and released. MIDI supports up to 16 channels and devices can be daisy-chained so that, for example, a device can be set up to respond only to a particular track.

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