Action Analisys for Animation.pdf

Action Analysis for Animators

Action Analysis for

Animators

Chris Webster

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Notices

Knowledge and best practice in this ield are constantly changing. As new research and experience broaden

our understanding, changes in research methods, professional practices, or medical treatment may become

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Library of Congress Cataloging-in-Publication Data

Webster, Chris, 1954-

Action analysis for animators / Chris Webster.—1 [edition].

pages cm

ISBN 978-0-240-81218-2 (pbk.)

1. Animation (Cinematography) I. Title.

TR897.5.W428 2012

777–dc23

2012003486

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library.

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Printed in the United States of America

Typeset by : diacriTech, Chennai, India

For my granddaughter, Madlenka, and for my mother, Connie

Acknowledgments

Everybody knows that trying to balance all of the commitments we face in

life, either the ones we take on voluntarily or those we are pressed into, is a

diicult task. I am certainly not alone in that. The particular pressures I attempt

to balance include teaching my very bright undergraduate and postgraduate

students, maintaining and developing my own animation practice, coping with

the ups and downs of family life, and coping with the regular disappointment

of unsuccessful ishing trips—oh, and of course, writing this book. For those

more capable of achieving such a balancing act I feel nothing but delighted

and a more than a little awe.

For me this rather modest book has been something of a mammoth task, one

that has left its mark. This is perhaps testament to my own inadequacies and

shortcomings rather than relecting the weight and intellectual gravitas of

which there is little, of what I now ofer up to the reader. Even this I would have

found nearly impossible without the help and support of a string of people

who deserve a medal as big as a frying pan, but unfortunately they will have

to make do with this modest though heartfelt thanks and acknowledgment.

Without the following people (and others who I have had to omit for reasons of

space and my poor memory) you would not be reading this right now, not that

they are to blame for any of it!

First and foremost a million thanks must go to Katy Spencer at Elsevier Press

for whom editor seems a ridiculously modest title for what she has done to get

this work anywhere near a bookshelf. My sincere thanks go to her for extend-

ing huge levels of patience, understanding, and support that can only be

matched by his holiness the Dalai Lama. Her patience was a wonderful thing to

behold, something that I never really deserved but always received. Thank you.

Thanks also to Sarah Binns at Elsevier for making sense of the material that

trickled through at a pace so slow it made watching paint dry look like an

extreme sport.

I am delighted to extend my many thanks to my longtime friend and colleague

Mary Murphy, with whom I have had the privilege to work for the best part of

ten years. I was delighted when she agreed to take on the role as the technical

editor for this book.

I received the greatest assistance from my students, for which I am most

grateful, and humbled by their commitment and talent. There are far too many

to name individually but one student above the rest deserves my appreciation

and thanks. So I extend my deepest thanks to Dominique Bongers for all of the

days she spent during her time as one of my postgraduate animation students

working as an unpaid volunteer research assistant. Over many months she

carried equipment, undertook ilming duties (very often performing in front of

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