畢業(yè)設(shè)計(jì)外文資料翻譯-動(dòng)畫的時(shí)間掌握

1、畢業(yè)設(shè)計(jì)外文資料翻譯學(xué) 院： 專業(yè)班級(jí)： 學(xué)生姓名： 學(xué) 號(hào)： 指導(dǎo)教師： 外文出處： Timing for Animation _附 件：1.HYPERLINK l _Java技術(shù)介紹外文資料翻譯譯文； 2.HYPERLINK l _Java_Technical_Description外文原文 指導(dǎo)教師評(píng)語(yǔ)：該英文資料選擇合理，翻譯準(zhǔn)確度較高，譯文較為流暢。翻譯工作認(rèn)真細(xì)致，嚴(yán)格按照規(guī)定，翻譯材料能與原文保持一致，能正確的表達(dá)出原文的意思，希望能夠?qū)⒓?xì)節(jié)部分處理得更加得當(dāng)。簽名： 2015 年 10 月 14 日1外文資料翻譯譯文 動(dòng)畫的時(shí)間掌握畫面劇本視覺(jué)上的自然流暢是任何影片特別是動(dòng)畫片

2、的主要目標(biāo)。好的連貫性取決于角色動(dòng)作、舞蹈設(shè)計(jì)、場(chǎng)景變換和鏡頭移動(dòng)的協(xié)調(diào)。這些方面不能孤立的對(duì)待，必須全面統(tǒng)一的計(jì)劃。同時(shí)還要把角色的態(tài)度行為考慮在內(nèi)。故事情節(jié)是任何電影項(xiàng)目的藍(lán)圖，作為影片的第一視覺(jué)印象。這一階段決定了影片主要內(nèi)容的設(shè)計(jì)。人們普遍認(rèn)為只有完成了令人滿意的畫面劇本，并考慮和解決了影片生產(chǎn)過(guò)程中可能產(chǎn)生的創(chuàng)作和技術(shù)上的主要問(wèn)題之后，才能展開(kāi)繪制工作。一部電影所需的草圖的張數(shù)，取決于項(xiàng)目的類型、性質(zhì)和內(nèi)容。一般來(lái)說(shuō)，大約每一分鐘影片約要100張草圖。但是，如果一部電影技術(shù)上是復(fù)雜的，草圖的數(shù)量要翻倍。商業(yè)電視片，需要更多的草圖，因?yàn)樵谳^長(zhǎng)的電影中有更多的場(chǎng)景變化和更多的動(dòng)作。導(dǎo)演的

3、職責(zé)導(dǎo)演負(fù)責(zé)整個(gè)故事或其中某一特殊段落的總的設(shè)計(jì)和節(jié)奏。這將包括幾分鐘時(shí)間或僅僅幾秒鐘時(shí)間的連續(xù)鏡頭，他還必須決將這些鏡頭組織成場(chǎng)景。每一個(gè)鏡頭應(yīng)該有多長(zhǎng)時(shí)間？鏡頭中動(dòng)作長(zhǎng)度是多少？為了保持觀眾的興趣，動(dòng)作的節(jié)奏應(yīng)該是怎樣的？如何才能把最好的情節(jié)交代給觀眾？這是導(dǎo)演必須解決的問(wèn)題。涉及到較短的段落，責(zé)任由導(dǎo)演同動(dòng)畫師分擔(dān)，但導(dǎo)演仍掌控全局。動(dòng)畫師可以加入一些自己的想法去達(dá)到效果，正想一個(gè)演員演出時(shí)所做的那樣。至于最小的單元個(gè)每一張畫和格數(shù)-幾乎完全是動(dòng)畫師的領(lǐng)地，這也是動(dòng)畫特殊技能的用武之地。球如何反彈？一個(gè)角色受驚時(shí)或捻動(dòng)手指時(shí)是怎樣的反應(yīng)？這些都要?jiǎng)赢嫀熡盟母杏X(jué)和學(xué)科知識(shí)來(lái)解決。一部動(dòng)畫

4、片通常需要很長(zhǎng)的時(shí)間來(lái)制作。在這段時(shí)間內(nèi)，導(dǎo)演應(yīng)該保持固定的檢查，如何制定生產(chǎn)進(jìn)展，以及關(guān)注密切相關(guān)的時(shí)間和概念。一部動(dòng)畫片經(jīng)常需要較長(zhǎng)的生產(chǎn)周期。這是其中導(dǎo)演必須經(jīng)常檢查生產(chǎn)進(jìn)度以及原來(lái)的時(shí)間掌握和設(shè)想是否已見(jiàn)諸實(shí)施。一個(gè)商業(yè)性電視片必須有準(zhǔn)確的幀數(shù)目，較長(zhǎng)的片子也可能只有少許的伸縮度。導(dǎo)演需要解決的問(wèn)題之一就是使動(dòng)作去適應(yīng)規(guī)定的時(shí)間。首先把故事分為不同長(zhǎng)度的段落。然后思考每一段落必須包括哪些情節(jié)。用秒表定下時(shí)間，將所有時(shí)間加起來(lái)得到總數(shù)。這有可能與預(yù)定數(shù)不大符合，如果比較接近，看看是否有某一段落能調(diào)整一下，使總數(shù)正好符合。如果太短，則要加入更多的部分填補(bǔ)時(shí)間。如果太長(zhǎng)，有可能要?jiǎng)h掉一整個(gè)段

5、落。動(dòng)畫中的基本單位動(dòng)畫時(shí)間掌握的基礎(chǔ)是固定的放映速度，計(jì)每秒鐘24幀格，電視里每秒25格，不過(guò)這區(qū)別是難以察覺(jué)的。如果一個(gè)動(dòng)作在屏幕上一秒24幀的電影，半秒則12幀，以此類推。如果是“一拍一”，每一格需要一張畫，一秒鐘的動(dòng)作需要24張畫。如果同樣的動(dòng)作是拍雙格的，每一張畫連續(xù)拍攝兩次，每秒只需要畫12張。這兩種情況所拍的畫格數(shù)目相同，因而動(dòng)作的速度也是相同的。屏幕上的動(dòng)作無(wú)論是在什么情緒或節(jié)奏下，無(wú)論是瘋狂的追逐或浪漫的愛(ài)情場(chǎng)景，都必須根據(jù)放映機(jī)每秒鐘連續(xù)24格來(lái)計(jì)算時(shí)間。所以動(dòng)畫家掌握時(shí)間的單位是1 / 24秒。他必須學(xué)習(xí)的一個(gè)重要技巧，就是如何把握這1/24秒像在屏幕上的“感覺(jué)”。實(shí)踐的

6、動(dòng)畫師也要熟悉類似的幀的倍數(shù)，8幀，12幀等。時(shí)間線上的時(shí)間當(dāng)導(dǎo)演對(duì)影片的總體時(shí)間安排有一定的思考時(shí)，他進(jìn)入了更詳細(xì)的時(shí)間設(shè)置，同時(shí)記錄在設(shè)計(jì)表上。這像音樂(lè)的樂(lè)譜紙，有幾條平行線，上面記錄對(duì)話、音響效果、音樂(lè)和動(dòng)作。動(dòng)畫家記錄動(dòng)作時(shí)用的是獨(dú)特的標(biāo)記方式。設(shè)計(jì)表的橫線上計(jì)有格數(shù)，并用粗線按16格一英尺標(biāo)出英尺數(shù)。把表示動(dòng)作的線畫在表上，可以據(jù)此計(jì)算出片子的長(zhǎng)度。如果音樂(lè)或?qū)υ捠窍绕阡浺舻脑?，?yīng)事前根據(jù)聲帶規(guī)定好的動(dòng)作表明在設(shè)計(jì)表的相應(yīng)位置上。動(dòng)畫家有他們自己特有的標(biāo)志：一般來(lái)說(shuō)，一條水平線表示停止，一根曲線意味著某種動(dòng)作，一個(gè)環(huán)狀線表示一個(gè)動(dòng)作前的準(zhǔn)備，一個(gè)波浪線意味著一個(gè)循環(huán)等。如果一個(gè)動(dòng)作必

7、須在某個(gè)特定的幀中進(jìn)行，可在這一格上畫一個(gè)十字記號(hào)。動(dòng)作設(shè)計(jì)同時(shí)應(yīng)用文字記錄場(chǎng)景指示、重復(fù)動(dòng)作指示還以及其他有關(guān)指示。在制作一部動(dòng)畫電影之前，導(dǎo)演在設(shè)計(jì)表上拍攝的時(shí)間。他決定分鏡頭劇本，每一個(gè)鏡頭的實(shí)際長(zhǎng)度以及每一格鏡頭有哪些動(dòng)作。他同時(shí)設(shè)計(jì)故事的步伐，決定哪里要推拉搖移和疊化等，使故事情節(jié)以最好的方式表現(xiàn)出來(lái)。在設(shè)計(jì)表上規(guī)定動(dòng)畫時(shí)間是一個(gè)高度技術(shù)性的工作，導(dǎo)演需要大量的經(jīng)驗(yàn)，在實(shí)際繪制未開(kāi)始前，通過(guò)深入思考將整個(gè)片子的時(shí)間確定下來(lái)。當(dāng)他把自己的想法寫在設(shè)計(jì)表上時(shí)，他就是用電影語(yǔ)言來(lái)講述故事了：那就是切換鏡頭，規(guī)定動(dòng)作、時(shí)間和節(jié)奏。他必須反復(fù)思考故事的情節(jié)，把故事的不同部分用戲劇語(yǔ)言連接起來(lái)。

8、同時(shí)，他也必須不斷地判斷，來(lái)判斷一個(gè)觀眾的初次觀感是什么。導(dǎo)演在電影開(kāi)始時(shí)，知道要發(fā)生什么，但是觀眾不指導(dǎo)。因此，電影開(kāi)始的時(shí)候節(jié)奏要慢一點(diǎn)，直到觀眾已經(jīng)了解了影片的場(chǎng)合、角色和基調(diào)。如果它是一個(gè)短片，在這之后將會(huì)走向高潮；如果是長(zhǎng)片，將會(huì)形成幾個(gè)高潮。設(shè)計(jì)表規(guī)定了影片全部的鏡頭順序，有長(zhǎng)度和其他說(shuō)明指示，用處很多，它可作為作曲的基本依據(jù)。最后，又可供剪輯參考。生產(chǎn)圖表的細(xì)目。在導(dǎo)演已經(jīng)決定的時(shí)間、分鏡頭以后，就記載在這張生產(chǎn)圖表上，表明鏡號(hào)、英尺數(shù)、背景編號(hào)等等。當(dāng)鏡頭繪制結(jié)束時(shí)，將圖標(biāo)上相應(yīng)的小方格涂上顏色，可是制作進(jìn)度一目了然。攝影表當(dāng)導(dǎo)演完成了影片的設(shè)計(jì)表后，導(dǎo)演獎(jiǎng)每一個(gè)鏡頭的指示意見(jiàn)

9、分別記下分給動(dòng)畫工作者們。動(dòng)畫時(shí)間用印好的攝制表記錄，一些工作室在每張紙上分96幀為一單元。有些主要為電視片工作的單位，在電視上的速度是每秒25幀，使用每張100幀的攝制表。導(dǎo)演在攝制表的左邊一欄上規(guī)定了時(shí)間，動(dòng)畫師以此作為依據(jù)，在另外一欄上定出完成每一動(dòng)作所需要的動(dòng)畫張數(shù)。這些規(guī)定對(duì)動(dòng)畫師、他們的助手和攝影師等動(dòng)畫制作單位的所有成員都有用處。在制作動(dòng)畫時(shí)，還有賽璐珞片的層次排列和拍攝指導(dǎo)。某一鏡頭的一個(gè)完整的攝制表的一部分。每一橫格代表影片的一格。導(dǎo)演對(duì)動(dòng)畫時(shí)間的指示列在左邊欄內(nèi)，對(duì)攝影的指示列在右邊。動(dòng)畫師將動(dòng)畫的編號(hào)寫在中間六欄中。動(dòng)畫與物質(zhì)的特性動(dòng)畫師不斷問(wèn)自己的基本問(wèn)題是：“發(fā)生這樣

10、的對(duì)象時(shí)，外力作用，它將是什么？。他的動(dòng)畫的成功很大程度上取決于他如何回答這個(gè)問(wèn)題。自然界中的所有事物都有其自身的重量、結(jié)構(gòu)和程度的靈活性，因此當(dāng)受力作用于它時(shí)，每個(gè)行為都有其自身的行為。這種行為，是位置和時(shí)間的組合，這是動(dòng)畫的基礎(chǔ)。動(dòng)畫是由圖畫組成的，它們既沒(méi)有重量，也沒(méi)有任何力量作用于它們。在某些抽象動(dòng)畫種，圖紙可以被視為活動(dòng)的平面圖案。為了賦予動(dòng)作的真實(shí)感，動(dòng)畫師必須參照牛頓運(yùn)動(dòng)定律。它包含所很多方面，其中包含著使角色、物體活動(dòng)起來(lái)的一切必要知識(shí)。牛頓定律對(duì)本書中提到的許多方面是重要的，當(dāng)然，不是從字面上去理解這些定律而是從對(duì)物體運(yùn)動(dòng)的觀察中去理解。例如，每個(gè)人都知道物體不會(huì)從靜止突然開(kāi)

11、始運(yùn)動(dòng)即使是一發(fā)炮彈，發(fā)射時(shí)也要加速到最大速度。物體也不會(huì)從運(yùn)動(dòng)中突然靜止一輛汽車撞在水泥墻上，在最初的撞擊后，仍然向前沖，隨后才成為殘骸。動(dòng)畫動(dòng)作的精髓或核心不是物體重量的夸張，而是去夸張重量。一個(gè)動(dòng)畫場(chǎng)景的時(shí)間掌握有2個(gè)方面：1、無(wú)生命物體運(yùn)動(dòng)的時(shí)間掌握。2、有生命角色運(yùn)動(dòng)的時(shí)間掌握對(duì)無(wú)生命物體來(lái)說(shuō)，直截了當(dāng)是動(dòng)力學(xué)問(wèn)題?！耙簧乳T關(guān)上需要多長(zhǎng)時(shí)間？”“云在天空中有多快？”，“一輛蒸汽壓路機(jī)失去控制，沖下坡去，穿過(guò)一道墻需要多長(zhǎng)時(shí)間？”對(duì)有生命的角色來(lái)說(shuō)也存在相同的問(wèn)題，角色是血肉之軀，讓它移動(dòng)也必須受力的支配。但是，要使這個(gè)角色在熒幕上有生氣地活動(dòng)，就必須再加上他精神上的作用。他必須像是有

12、意識(shí)的在活動(dòng)。通過(guò)動(dòng)作應(yīng)該可以看出他經(jīng)過(guò)思考做出決定，根據(jù)自己意志力和肌肉的動(dòng)作移動(dòng)自己的身體。一組沒(méi)有重量的連續(xù)的動(dòng)畫稿。在屏幕上動(dòng)畫的成功與否很大程度上取決于這些圖畫以怎樣夸張的方式反應(yīng)重量和力量對(duì)他們的作用。動(dòng)作與夸張我們周圍的大多數(shù)日常物品的運(yùn)動(dòng)是由力作用于物質(zhì)的作用引起的。物體的運(yùn)動(dòng)對(duì)我們來(lái)說(shuō)是如此的熟悉，在潛意識(shí)里，這些運(yùn)動(dòng)給了我們很多關(guān)于物體本身的信息，以及對(duì)它們的作用力。這不僅是無(wú)生命的物體，而且生物尤其是人。動(dòng)畫師的工作是賦予適當(dāng)?shù)膭?chuàng)造性，使運(yùn)動(dòng)看起來(lái)自然。動(dòng)畫電影的表現(xiàn)形式是漫畫化的。每一個(gè)主體的特征及其表達(dá)的運(yùn)動(dòng)都是夸張的。對(duì)象可以被認(rèn)為是漫畫化的力作用于漫畫化的物體。動(dòng)

13、畫電影同樣也是戲劇性的表現(xiàn)形式。這種特性可用加快動(dòng)作速度和高度夸張的動(dòng)畫時(shí)間等方式來(lái)達(dá)到。一個(gè)動(dòng)作所包含的漫畫性、幽默感或戲劇性的區(qū)別是很微妙的。對(duì)于動(dòng)畫的時(shí)間掌握有了足夠經(jīng)驗(yàn)，才有可能去強(qiáng)調(diào)這種區(qū)別。漫畫化的物體和自然狀態(tài)的物體有著同樣的特性，只是前者更夸張一點(diǎn)。要了解動(dòng)畫片中物體是如何行動(dòng)的，必須先對(duì)自然界中物體如何行動(dòng)進(jìn)行深入細(xì)致的觀察。動(dòng)畫是漫畫化的一種形式，自然的寫實(shí)的動(dòng)作在動(dòng)畫中顯得軟弱無(wú)力。要觀察現(xiàn)實(shí)生活中的動(dòng)作是如何發(fā)生的，將動(dòng)作簡(jiǎn)化，提煉出重點(diǎn)，然后給予大膽的夸張。因果關(guān)系一個(gè)力加在一個(gè)物體上，會(huì)產(chǎn)生一系列的因果關(guān)系。這就是力通過(guò)一個(gè)更能變形的物體的結(jié)果。這是一個(gè)好的動(dòng)畫動(dòng)作

14、的一個(gè)方面。一個(gè)動(dòng)畫師必須了解物體的自然運(yùn)動(dòng)力學(xué)，然后把這個(gè)知識(shí)存儲(chǔ)在他腦子里，當(dāng)他從事動(dòng)畫創(chuàng)作時(shí)，才能畫好一個(gè)個(gè)動(dòng)作，創(chuàng)造情緒和表達(dá)正確的感覺(jué)。 牛頓運(yùn)動(dòng)定律每個(gè)物體都有它的重量，每一個(gè)對(duì)象只有當(dāng)一個(gè)力應(yīng)用到它身上時(shí)才移動(dòng)。這是牛頓第一定律：靜止的物體傾向于保持靜止或勻速移動(dòng)除非一個(gè)力作用于它。物體的重量越重，它的質(zhì)量越大，就越需要改變其運(yùn)動(dòng)的力。一個(gè)沉重的身體比一個(gè)輕的身體有更多的慣性和更多的動(dòng)能。一個(gè)靜止的重物，如炮彈，需要很大的力來(lái)移動(dòng)它。當(dāng)大炮發(fā)射的炮彈，炸藥的力量作用于炮彈，由于炸藥的力量確實(shí)是非常大的，這是足以加速炮彈以相當(dāng)快的速度。一個(gè)較小的力作用時(shí)間很短，例如短時(shí)間的腳踢，對(duì)

15、于炮彈可能沒(méi)有影響。事實(shí)上，它更可能傷害到球員的腳。然而，持久地施加不是很強(qiáng)的力，會(huì)逐漸開(kāi)始使炮彈滾動(dòng)，它最終會(huì)相當(dāng)快地滾動(dòng)。一旦炮彈是移動(dòng)的，它傾向于保持同速運(yùn)動(dòng)，而需要一定的力量來(lái)阻止它。如果它遇到一個(gè)障礙，取決于障礙物的速度來(lái)讓它停止。如果是在粗糙的表面上滾動(dòng)，很快便會(huì)停止，但如果在光滑的平面上滾動(dòng)，需要相當(dāng)長(zhǎng)的摩擦來(lái)讓它停止。在處理非常沉重的物品時(shí)，導(dǎo)演必須允許足夠的時(shí)間來(lái)表現(xiàn)開(kāi)始、停止或改變方向，以使他們的體重看起來(lái)更有說(shuō)服力。動(dòng)畫師的任務(wù)是畫出大量的力量作用于炮彈的起動(dòng)、停止或改變方向。輕的物體抵抗力小得多，所以力量對(duì)他們的行為有很大的不同。一個(gè)玩具氣球需要很少的時(shí)間來(lái)使它移動(dòng)。手

16、指輕彈足以使它迅速加快。當(dāng)移動(dòng)時(shí)，它因?yàn)閯?dòng)能很小，空氣的摩擦阻力使速度減緩，所以它不會(huì)運(yùn)行很遠(yuǎn)。一只氣球只需要一個(gè)小的力量去移動(dòng)它，但空氣阻力很快就讓它停止。在這兩個(gè)例子中，一個(gè)圓圈是動(dòng)的。它的動(dòng)作的時(shí)間可以使它看起來(lái)沉重或輕的屏幕上。一個(gè)對(duì)象在屏幕上的重量感，完全取決于動(dòng)畫的間距，而不是圖形本身。如果炮彈在運(yùn)動(dòng)時(shí)不象一個(gè)炮彈，畫稿上的炮彈畫的再逼真也沒(méi)有用。同樣情況適用于氣球或任何其他對(duì)象物體。拋過(guò)空中的物體如果一個(gè)物體垂直向上，其速度逐漸減小為零。然后又開(kāi)始加速向下。它上升的高度取決于它被拋出的速度，但減速的速度與加速度完全相反。事實(shí)上，同一分格可以用于加速和減速。2.外文原文Timing

17、 for AnimationThe storyboardA smooth visual flow is the major objective in any film, especially if it is an animated one. Good continuity depends on co-ordinating the action of the character, choreography, scene changes and camera movement. All these different aspects cannot be considered in isolati

18、on. They must work together to put across a story point. Furthermore the right emphasis on such planning, including the behaviour of the character, must also be realised.The storyboard should serve as a blueprint for any film project and as the first visual impression of the film. It is at this stag

19、e that the major decisions are taken as far as the films content is concerned. It is generally accepted that no production should proceed until a satisfactory storyboard is achieved and most of the creative and technical problems which may arise during the films production have been considered.There

20、 is no strict rule as to how many sketches are required for a film. It depends on the type, character and content of the project. A rough guideline is approximately 100 storyboard sketches for each minute of film. If, however, a film is technically complex, the number of sketches could double. For a

21、 TV commercial, more sketches are produced as a rule because there are usually more scene changes and more action than in longer films.Responsibility of the directorThe director is responsible for decisions regarding the overall pacing and planning of the whole story or a particular sequence of it.T

22、his can involve sequences of several minutes duration or of only a few seconds. He must also decide how these sequences should be organised into scenes.How long should each scene be? What should be the pace of the action in the scene? What should be the pace of the action in order to hold the intere

23、st of the audience? How can ideas in the story best be put over to the audience? These are the problems the director must solve. Going down to yet shorter periods of time, to individual actions, the responsibility is shared between the director and the animator. But the director still has overall co

24、ntrol.The animator should, however, add some ideas of his own as to how certain effects can be achievedjust as an actor would in live action. The smallest unitsindividual drawings and framesare almost entirely the animators province, and this is where his particular skill lies. How does a ball bounc

25、e? How does a character react in surprise, or snap his fingers? These are problems the animator must solve by his feeling for and knowledge of the subject.An animated film usually takes a long time to produce. During this period it is essential that the director should keep a constant check on how t

26、he production is progressing and how closely the original timing and concept have been followed.Most animated films are made to a predetermined length. A TV commercial must be an exact number of frames and a longer film will probably have to fit between fairly narrow limits. One of the directors pro

27、blems is to fit the action to the time available.First divide the story into sections or sequences of convenient lengths. Run through each section mentally as many times as necessary to absorb all the important story points. Then run through each section again, timing it mentally with a stop watch.

28、Add up all the timings to give an overall total. This is sure to be more or less wide of the mark. If it is fairly close, see whether a sequence can be adjusted to bring the total about right. If it is much too short, more business must be invented to fill the time available. If it is much too long,

29、 maybe a whole sequence must be omitted.The basic unit of time in animationThe basis of timing in animation is the fixed projection speed of 24 frames per second (fps) for film and video. While other projection speeds have been used in the past the standard projection rate for film of all formats16m

30、m, 35mm and 70mm remains 24 fps. On television and video this becomes 25 frames per second (PAL) or 30 fps (NTSC), but the difference is usually imperceptible.The thing to remember is that if an action on the screen takes one second it covers 24 frames of film, and if it takes half a second it cover

31、s 12 frames and so on.24 frames of film go through the projector every second (25 on television). This fixed number of frames provides the basis on which all actions are planned and timed by the director.For single frame animation, where one drawing is done for each frame, a second of action needs 2

32、4 drawings. If the same action is animated on double frames, where each drawing is photographed twice in succession, 12 drawings are necessary out the number of frames and hence the speed of the action would be the same in both cases.Whatever the mood or pace of the action that appears on the screen

33、, whether it be a frantic chase or a romantic love scene, all timing calculations must be based on the fact that the projector continues to hammer away at its constant projection rate. That is24 fps for film and either 25 fps or 30 fps for television and video depending on format. The unit of time w

34、ithin which an animator works is, therefore, 1/24 sec, 1/25 sec or 1/30 sec and an important part of the skill, which the animator has to learn is what this specific timing feels like on screen. With practice the animator also learns what multiples of this unit look like3 frames, 8 frames, 12 frames

35、 and so on.Timing on bar sheetsWhen the director has given some thought to the overall timing of a film, he proceeds to more detailed timing and puts this down on paper on specially printed bar sheets. These are much like music manuscript paper, with several horizontal lines having spaces for dialog

36、ue, sound effects, music and action. He is concerned with timing the action and this is entered in the spaces very much as music is written, but in a kind of animators shorthand.The horizontal lines of the bar sheet are marked in frames with heavy lines marking every foot, that is, every 16 frames.

37、The footage divisions on the required number of bar sheets are then numbered for the length of the film, and the timing of the action is ready to begin. If there is prerecorded music or dialogue to which the action must fit, this is charted beforehand from the soundtrack and entered into the appropr

38、iate spaces on the bar sheets.People have their own individual shorthand, but generally a horizontal line means a hold, a curve means an action of some sort, a loop means the anticipation to an action, a wavy line means a repeat cycle and so on. If an action must take place on a certain frame, this

39、is marked with a cross on the required frame. The action is also written out verbally with stage directions, repeat animation instructions and other relevant information.Before production of an animated film starts, the director works out the timing of the film on bar sheets. He decides on scene con

40、tinuity, the exact length of each scene and what action takes place within it. He also plans the pace of the storytelling and decides where tracks, pans, mixes etc, are needed to put the story over in the best possible way.Timing on bar sheets is an extremely skilled operation. The director needs a

41、great deal of experience to time out a film mentally before any drawing is done. When he commits his ideas to paper on the bar sheets, he is telling the story in terms of film, that is, cutting, timing and pace (movement).He must run forwards and backwards through the story many times in his mind, r

42、elating the different parts of the story to one another in terms of dramatic flow. At the same time, he must be trying continually to judge what the effect will be on an audience who come fresh to it and who see the film through once only.At the beginning of the film the director knows what is about

43、 to happen but the audience does not. The timing at the start of a film is, therefore, probably rather slow until the audience has been introduced to the location, the characters and the mood of the film. Once this has been done the pace may build up to the climax if it is a short film. If it is a l

44、onger film it may build up to a series of climaxes.The bar sheets can also be useful in that having defined the complete continuity of the film, with scene lengths and other information, they can also serve as the basic reference for the composer, and for the editor when the final film is assembled.

45、Part of a production breakdown chart. After the director has decided on the timing, scene continuity and so on, this information is transferred to a chart showing scene numbers, footages, background numbers etc. As scenes are passed out and completed, boxes are shaded in on this chart so that the st

46、ate of production can be seen at a glance.Exposure chartsWhen the director has completed the bar sheets for a film, the information is split up scene by scene ready for distribution to the animators.The timing is transferred to printed exposure charts (known as dope sheets in the USA). Some studios

47、use charts with units of 4 seconds (96 frames) on each sheet. Others who primarily work in television where the speed of projection is 25 frames per second, use sheets in 100 frame units which provide 4 seconds of running time for television.Animation timing is usually indicated by the director in t

48、he left column of exposure charts, so that the animator can work out the number of drawings required to complete each action in the other columns. This information is useful to all members of an animation unit; the animators, their assistants and the cameraman. Alongside the production of animation,

49、 the exposure charts are filled in according to the levels of celluloids to be photographed and eventually serve as guides for photography.Part of a completed exposure chart for an individual scene. Each horizontal division represents one frame of film. The directors timing is in the lefthand column

50、 and the camera instructions are on the right. The animator has written the numbers of his drawings in the middle six columns.Animation and properties of matterThe basic question which an animator is continually asking himself is: What will happen to this object when a force acts upon it?. And the s

51、uccess of his animation largely depends on how well he answers this question.All objects in nature have their own weight, construction and degree of flexibility, and therefore each behaves in its own individual way when a force acts upon it. This behaviour, a combination of position and timing, is t

52、he basis of animation. Animation consists of drawings, which have neither weight nor do they have any forces acting on them. In certain types of limited or abstract animation, the drawings can be treated as moving patterns. However, in order to give meaning to movement, the animator must consider Ne

53、wtons laws of motion which contain all the information necessary to move characters and objects around. There are many aspects of his theories which are important in this book. However, it is not necessary to know the laws of motion in their verbal form, but in the way which is familiar to everyone,

54、 that is by watching things move. For instance, everyone knows that things do not start moving suddenly from resteven a cannonball has to accelerate to its maximum speed when fired. Nor do things suddenly stop deada car hitting a wall of concrete carries on moving after the first impact, during whic

55、h time it folds itself rapidly up into a wreck.It is not the exaggeration of the weight of the object which is at the centre of animation, but the exaggeration of the tendency of the weightany weightto move in a certain way.The timing of a scene for animation has two aspects:The timing of inanimate

56、objectsThe timing of the movement of a living characterWith inanimate objects the problems are straightforward dynamics. How long does a door take to slam?, How quickly does a cloud drift across the sky?, How long does it take a steamroller, running out of control downhill, to go through a brick wal

57、l?.With living characters the same kind of problems occur because a character is a piece of flesh which has to be moved around by the action of forces on it. In addition, however, time must be allowed for the mental operation of the character, if he is to come alive on the screen. He must appear to

58、be thinking his way through his actions, making decisions and finally moving his body around under the influence of his own will power and muscle.Animation consists of sequences of weightless drawings. The success of animation on the screen depends largely on how well these drawings give the impress

59、ion of reacting in an exaggerated way when weight and forces are made to act upon them.Movement and caricatureThe movement of most everyday objects around us is caused by the effect of forces acting upon matter.The movement of objects becomes so familiar to us that, subconsciously, these movements g

60、ive us a great deal of information about the objects themselves and about the forces acting on them. This is true not only of inanimate objects, but also of living thingsespecially people.The animators job is to synthesize movements and to apply just the right amount of creative exaggeration to make