
<[Sysop] J.COLE18> Before we start and go to formal mode, I want to

point out that there will be a short answer period after the lecture.  Use

'/rai' to get my attention to ask a question.


<[Sysop] J.COLE18> Ok, lets get this going :-)

<[Ringo.] R.MONFORT1> Ok!

Room is now in listen-only mode.

<[Sysop] J.COLE18> Ok, here we go...

<[Sysop] J.COLE18> Tonight we begin the Lexicor Virtual Cinematography

<[Sysop] J.COLE18> and Graphics arts class.  The lecture is about an

<[Sysop] J.COLE18> introduction to animation, and explains many of the

<[Sysop] J.COLE18> concepts involved with animation in general.  Homework

<[Sysop] J.COLE18> will be posted along with a full transcript of this

<[Sysop] J.COLE18> conference tonight.  The due date for the animation

<[Sysop] J.COLE18> homework is Feb. 18.  

<[Sysop] J.COLE18> LECTURE #1

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> An Introduction to Computer Animation

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> Animation is not just a series of funny pictures strung

<[Sysop] J.COLE18> together in a film. At its most creative, it is a truly

<[Sysop] J.COLE18> beautiful art form. Yet the techniques used to create

<[Sysop] J.COLE18> computer animations are not widely known outside of a

<[Sysop] J.COLE18> very small circle of professionals in the film

<[Sysop] J.COLE18> industry.  While still in its infancy, computer

<[Sysop] J.COLE18> animation has already changed the way traditional

<[Sysop] J.COLE18> animation is performed.

<[Sysop] J.COLE18> Until the advent of the personal computer,

<[Sysop] J.COLE18> animated film-making has traditionally not been

<[Sysop] J.COLE18> the available to the individual artist. For

<[Sysop] J.COLE18> complex animations, it takes a large team of

<[Sysop] J.COLE18> dedicated, talented and cooperative artists to

<[Sysop] J.COLE18> produce even a short animation using paper,

<[Sysop] J.COLE18> pencils, film and paint. The individual artist, no

<[Sysop] J.COLE18> matter how gifted, could not produce the vast

<[Sysop] J.COLE18> quantities of individual drawings required to

<[Sysop] J.COLE18> create the animation by themselves.

<[Sysop] J.COLE18> The objective of this tutorial is to offer the

<[Sysop] J.COLE18> computer animator accepted terminology and

<[Sysop] J.COLE18> methodological approaches that are currently

<[Sysop] J.COLE18> accepted practice in the professional film and

<[Sysop] J.COLE18> computer animation industry.

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> At its best, animation is a wonderfully varied

<[Sysop] J.COLE18> form of art that has no potential limitations of

<[Sysop] J.COLE18> imagination or technique. Sadly though, what may

<[Sysop] J.COLE18> be exciting and inspirational ideas are often

<[Sysop] J.COLE18> spoiled by inadequate abilities and/or lack of

<[Sysop] J.COLE18> attention to necessary details. In addition to

<[Sysop] J.COLE18> being an art, animation is a craft; and, as with

<[Sysop] J.COLE18> any craft, it can be taught. The basic

<[Sysop] J.COLE18> requirements needed to become an accomplished

<[Sysop] J.COLE18> animator are patience, commitment and effort.

<[Sysop] J.COLE18> The first step in becoming an animator is to

<[Sysop] J.COLE18> completely understand the processes involved in

<[Sysop] J.COLE18> making an animated film.

<[Sysop] J.COLE18> Animation is the most costly way possible, both in

<[Sysop] J.COLE18> time and money, to produce a moving image on

<[Sysop] J.COLE18> film. If the average viewer knew what was involved

<[Sysop] J.COLE18> in the production of an animation, their respect

<[Sysop] J.COLE18> for the underlying creativity would increase

<[Sysop] J.COLE18> measurably. So, just what is involved in the

<[Sysop] J.COLE18> production of an animation?

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> The Storyboard: After the script has been done,

<[Sysop] J.COLE18> the artist produces a storyboard. A storyboard is

<[Sysop] J.COLE18> a series of images that graphically portray the

<[Sysop] J.COLE18> sequence of action to be shown in the animation.

<[Sysop] J.COLE18> Again, these drawings need only be minimal at

<[Sysop] J.COLE18> first. For computer-generated animations, the

<[Sysop] J.COLE18> artist must consider what computer tools are

<[Sysop] J.COLE18> available for this step. If you are using the

<[Sysop] J.COLE18> Phase-4 animation series you have several choices

<[Sysop] J.COLE18> -- a graphics tablet, already created 3D objects

<[Sysop] J.COLE18> or a combination both.

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> The Soundtrack: After the scripting and

<[Sysop] J.COLE18> storyboarding is complete, the next step is to

<[Sysop] J.COLE18> record the sounds effects, music and dialogue to

<[Sysop] J.COLE18> be used in the animation. Without these, the

<[Sysop] J.COLE18> animator will have no way of synchronizing the

<[Sysop] J.COLE18> animation with what is on the final soundtrack.

<[Sysop] J.COLE18> This soundtrack is finalized and separated in to

<[Sysop] J.COLE18> its component parts -- a precise breakdown based

<[Sysop] J.COLE18> on the number of frames to be used each second.

<[Sysop] J.COLE18> Such things as lip-synching are always done

<[Sysop] J.COLE18> "phonectically" rather than by spelling. All this

<[Sysop] J.COLE18> information is written on a "bar sheet" designed

<[Sysop] J.COLE18> to correlate every frame of the animation with the

<[Sysop] J.COLE18> audio track.

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> The Design: Each object or character in the

<[Sysop] J.COLE18> animation is drawn from many different angles and

<[Sysop] J.COLE18> placed on a single sheet or in a single file on

<[Sysop] J.COLE18> disk. The principal background styling for all the

<[Sysop] J.COLE18> major scenes are produced as picture files and

<[Sysop] J.COLE18> saved in sequentially numbered files.

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> The Leica Reel: Using the bar sheets and the other

<[Sysop] J.COLE18> graphic materials already created, the artist

<[Sysop] J.COLE18> produces a Leica reel of the whole animation. The

<[Sysop] J.COLE18> Leica reel is basically a filmed or animated story

<[Sysop] J.COLE18> board, which can be sychronized with the final

<[Sysop] J.COLE18> soundtrack. Adjustments to the number of frames in

<[Sysop] J.COLE18> the animation are done at this time to ensure that

<[Sysop] J.COLE18> the lip movement and sound effects occur at

<[Sysop] J.COLE18> exactly the right time.  For the computer artist,

<[Sysop] J.COLE18> this is a matter of creating and saving .SEQ,

<[Sysop] J.COLE18> .FLM, etc. files using stand-ins and draft

<[Sysop] J.COLE18> animations created using Prism Paint and the Prism

<[Sysop] J.COLE18> Graphics Tablet or Chronos 3D objects in draft

<[Sysop] J.COLE18> form.

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> The Line Test: When the Leica reel is acceptable,

<[Sysop] J.COLE18> the animator finally moves to blending one scene

<[Sysop] J.COLE18> into another and producing the final versions of

<[Sysop] J.COLE18> the drawings or 3D objects as they will appear in

<[Sysop] J.COLE18> the final action. Overlays of action and objects

<[Sysop] J.COLE18> are also tested, but are not meant to be combined

<[Sysop] J.COLE18> at this time. They exist as sequentially numbered

<[Sysop] J.COLE18> files and saved in folders labeled to match the

<[Sysop] J.COLE18> bar sheets and dope sheets.

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> The Clean Up: This is where minor drawing and 3D

<[Sysop] J.COLE18> object corrections are done. For most

<[Sysop] J.COLE18> computer-generated objects, this step is not

<[Sysop] J.COLE18> required unless additions have been added by hand.

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> Tracing and Painting: When the line tests are

<[Sysop] J.COLE18> finished, the animator moves on to adding the dark

<[Sysop] J.COLE18> outlines to the drawn characters and adding the

<[Sysop] J.COLE18> colors in each cel or for each separate frame in

<[Sysop] J.COLE18> an animation.  For the animator using 3D objects,

<[Sysop] J.COLE18> this requires nothing more than selecting the

<[Sysop] J.COLE18> desired rendering mode and re-rendering the

<[Sysop] J.COLE18> necessary objects.

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> Backgrounds: Everything behind (or sometimes in

<[Sysop] J.COLE18> front of) the moving characters should now be

<[Sysop] J.COLE18> finished. For animators using limited color

<[Sysop] J.COLE18> palettes, care must be taken to ensure that the

<[Sysop] J.COLE18> same palette is used in every frame of the

<[Sysop] J.COLE18> computer animation.

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> Checking: As the finished cels and backgrounds are

<[Sysop] J.COLE18> completed they are matched up and saved in "Take

<[Sysop] J.COLE18> files." In these files, the colors and action are

<[Sysop] J.COLE18> matched and checked for consistency.

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> The Final Shoot: After all the takes have been

<[Sysop] J.COLE18> matched, checked and touched up if required, they

<[Sysop] J.COLE18> are processed for the last time. This may be

<[Sysop] J.COLE18> nothing more than saving the animation as an .FLM

<[Sysop] J.COLE18> or .SEQ file.  Or, it may be the layering and

<[Sysop] J.COLE18> rendering out of many separate elements of both

<[Sysop] J.COLE18> animated and still, or background, files.

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> Dubbing: When the final animation sequences are

<[Sysop] J.COLE18> finished, the animator proceeds to add sound to

<[Sysop] J.COLE18> the animation. This may be done using computer

<[Sysop] J.COLE18> tools such as ST REPLAY or may be done in a film

<[Sysop] J.COLE18> or video tape transfer at a commercial effects

<[Sysop] J.COLE18> company.

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> Answer Print: This is the final master animation.

<[Sysop] J.COLE18> It may exist as a computer file on floppy disk,

<[Sysop] J.COLE18> hard disk or hard disk cartridge or on video tape

<[Sysop] J.COLE18> or motion picture film.

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> Animation is an exacting art. To create successful

<[Sysop] J.COLE18> animations, the animator must have the appropriate

<[Sysop] J.COLE18> tools for their creation.

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> The first decision for the computer animator is

<[Sysop] J.COLE18> what kind of animation is to be done --

<[Sysop] J.COLE18> traditional cel animation, CAD-3D object

<[Sysop] J.COLE18> animation, or some combination of the two. These

<[Sysop] J.COLE18> two basic methods require very different computer

<[Sysop] J.COLE18> tools.

<[Sysop] J.COLE18> For the cel type of animation, the artist will

<[Sysop] J.COLE18> need a graphics tablet, desktop hole punch, lots

<[Sysop] J.COLE18> of paper and pencils, acetate by the roll, a color

<[Sysop] J.COLE18> monitor and a computer with at least 2 megabytes

<[Sysop] J.COLE18> of RAM. To create commercially acceptable

<[Sysop] J.COLE18> animations, the artist will require, in the Atari

<[Sysop] J.COLE18> arena, at least a 68030 TT computer or Atari Mega

<[Sysop] J.COLE18> ST4 and an ISAC high resolution color board and a

<[Sysop] J.COLE18> Multisync monitor.

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> For real time playback, the artist will need one

<[Sysop] J.COLE18> of the 44 megabyte cartridge hard drives and

<[Sysop] J.COLE18> several cartridges, in addition to at least a 60

<[Sysop] J.COLE18> Megabyte fixed hard drive system.  In general, the

<[Sysop] J.COLE18> more RAM and the larger the hard drive the better.

<[Sysop] J.COLE18> After this, any speed up tools or hardware

<[Sysop] J.COLE18> upgrades are also desirable.

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> For the CAD-3D animator, the tools are much the

<[Sysop] J.COLE18> same, with the exception that the graphics tablet

<[Sysop] J.COLE18> is not required and a full 24-bit color board may

<[Sysop] J.COLE18> be used in place of the ISAC system.

<[Sysop] J.COLE18> Paper and Cel

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> For the computer animator, it might seem there

<[Sysop] J.COLE18> would be no need for paper and cel. To some extent

<[Sysop] J.COLE18> this is true, but in reality the computer animator

<[Sysop] J.COLE18> will need to understand how they are used, since

<[Sysop] J.COLE18> both of these items will inevitably be used from

<[Sysop] J.COLE18> time to time.

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> In the course of normal animation, these tools are

<[Sysop] J.COLE18> used to keep an assortment of hand-drawn figures

<[Sysop] J.COLE18> in the desired alignment. To do this, the animator

<[Sysop] J.COLE18> uses a "peg bar," which is pre-punched paper and

<[Sysop] J.COLE18> acetate.  This allows the artist to draw many

<[Sysop] J.COLE18> sequential versions of a given figure which shows

<[Sysop] J.COLE18> how the movement of the characters will appear.

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> Peg Bar

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> Depending on the kind of computer animation to be

<[Sysop] J.COLE18> done, it may be useful to have a peg bar system

<[Sysop] J.COLE18> set up with a graphics tablet to digitize the

<[Sysop] J.COLE18> individual cels for use in the computer. In this

<[Sysop] J.COLE18> way, the animator can do both traditional and

<[Sysop] J.COLE18> computer animation with the same tools.

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> Graticule

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> One essential item that the animator should always

<[Sysop] J.COLE18> have is a field-size graticule which, when placed

<[Sysop] J.COLE18> on the pegs or the computer screen, provides a

<[Sysop] J.COLE18> reference guide to the area of the drawing or

<[Sysop] J.COLE18> screen that will be seen in the final version of

<[Sysop] J.COLE18> the animation. The area chosen for the "Camera" to

<[Sysop] J.COLE18> cover in any piece of art is known as the "field"

<[Sysop] J.COLE18> size. There are traditionally two standard field

<[Sysop] J.COLE18> sizes for animations -- 12 inches and 15 inches.

<[Sysop] J.COLE18> Suitable graticules for both sizes are readily

<[Sysop] J.COLE18> available. The computer animator can obtain these

<[Sysop] J.COLE18> and make suitable conversions to suit whatever

<[Sysop] J.COLE18> screen display and graphics tablet they have

<[Sysop] J.COLE18> available.

<[Sysop] J.COLE18> Bar Sheets and Dope Sheets

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> Normally, these are provided in a professional

<[Sysop] J.COLE18> animation house for the independent animator.

<[Sysop] J.COLE18> These are necessary to keep track of camera and

<[Sysop] J.COLE18> sound dubbing instructions.

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> Production Folders

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> It is essential to keep the dope sheet

<[Sysop] J.COLE18> instructions for each scene separate from each

<[Sysop] J.COLE18> other, in order to avoid the disaster of getting

<[Sysop] J.COLE18> this information mixed up. For any production, no

<[Sysop] J.COLE18> matter how simple, the bar sheets and dope sheets

<[Sysop] J.COLE18> are stapled into a folder known as a 'production

<[Sysop] J.COLE18> folder'. On the outside of each production folder,

<[Sysop] J.COLE18> a great deal of information can be written,

<[Sysop] J.COLE18> including the production title, sequence number,

<[Sysop] J.COLE18> scene number, scene title, footage length,

<[Sysop] J.COLE18> animator's name, etc.

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> The computer animator should get used to using

<[Sysop] J.COLE18> these tool even if it seems unnecessary. Every

<[Sysop] J.COLE18> professional outside customer will expect the

<[Sysop] J.COLE18> animator to not only understand these terms, they

<[Sysop] J.COLE18> will also expect the animator to use the same

<[Sysop] J.COLE18> formats and tools in presenting ideas to be sold

<[Sysop] J.COLE18> to the client or other animators. In other words,

<[Sysop] J.COLE18> if you wish to be an animator you must speak the

<[Sysop] J.COLE18> language.

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> Paper/Cel Rack

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> This is an organizing tool for the animator in

<[Sysop] J.COLE18> which the animator stores a number of paper/cels.

<[Sysop] J.COLE18> This unit is simply a box with closely spaced

<[Sysop] J.COLE18> shelves which can hold the current paper/cels

<[Sysop] J.COLE18> being used in a small space. The average rack

<[Sysop] J.COLE18> measures 20 inches wide, 20 inches deep and stands

<[Sysop] J.COLE18> 30 inches high with shelves spaced every two

<[Sysop] J.COLE18> inches.

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> Getting Started

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> The process of actually creating an animated sequence
using a

<[Sysop] J.COLE18> computer can be accomplished one of three ways:

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> 1. Through traditional hand-drawn cels, using the
computer alone

<[Sysop] J.COLE18>    or the computer and a graphics input system such as a

<[Sysop] J.COLE18>    digitizing tablet or image scanning tool.

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> 2. Through CAD object creation and motion control.

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> 3. A combination of the above.

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> To better understand how to use the computer

<[Sysop] J.COLE18> tools (programs) that control object motion, we

<[Sysop] J.COLE18> will cover the fundamentals using the hand-drawn

<[Sysop] J.COLE18> figures found in the more traditional animation

<[Sysop] J.COLE18> world. By learning how this kind of motion is

<[Sysop] J.COLE18> created, you will know how to apply motion to

<[Sysop] J.COLE18> three dimensional objects using computer programs.

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> Inbetweens

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> An 'inbetween' (or 'tween' for short) is a

<[Sysop] J.COLE18> drawing that is usually exactly between two

<[Sysop] J.COLE18> extremes, or Key drawings. Consider, for example,

<[Sysop] J.COLE18> a ball rolling from A to C. The inbetween of A to

<[Sysop] J.COLE18> C is B.

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> If the animator wants more inbetweens between the

<[Sysop] J.COLE18> Key drawings (frames), say 1 to 9, they would

<[Sysop] J.COLE18> appear as:

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18>                [1]  2  3  4  (5)  6  7  8  [9] ^

<[Sysop] J.COLE18>                 ---------------------   ^ Key

<[Sysop] J.COLE18>                 Inbetween        Key Frame Frames

<[Sysop] J.COLE18>                 Frame

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> In a studio, an assistant does the inbetweens.

<[Sysop] J.COLE18> For the independent animator, the same system of

<[Sysop] J.COLE18> charting the motion is used. This provides the

<[Sysop] J.COLE18> animator with the same tools as the commercial

<[Sysop] J.COLE18> studio and the same level of perfection in the

<[Sysop] J.COLE18> finished work.

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> To plan just how many inbetweens are needed

<[Sysop] J.COLE18> between two keys, the animator draws a chart.

<[Sysop] J.COLE18> Drawing (5) is indicated in parenthesis because it

<[Sysop] J.COLE18> is the first inbetween to be done between [1] and

<[Sysop] J.COLE18> [9] (the brackets are used to indicate the Key

<[Sysop] J.COLE18> drawings/frames). It is called the breakdown

<[Sysop] J.COLE18> drawing.

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> When the breakdowns between all Key drawings are

<[Sysop] J.COLE18> completed, the animator then puts in the drawings

<[Sysop] J.COLE18> between the Key frames and the breakdowns. In our

<[Sysop] J.COLE18> above example, these would be the two inbetween

<[Sysop] J.COLE18> drawings in the middle of 1 and (5) and in the

<[Sysop] J.COLE18> middle of (5) and 9 -- drawings 3 and 7,

<[Sysop] J.COLE18> respectively.

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> When these are completed, they are then "shot."

<[Sysop] J.COLE18> This will produce an evenly paced movement of the

<[Sysop] J.COLE18> subject, because the amount of movement and the

<[Sysop] J.COLE18> distance traveled is divided equally between each

<[Sysop] J.COLE18> of the frames "shot."

<[Sysop] J.COLE18> Slowing In and Slowing Out

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> When the animator wants to create animations that

<[Sysop] J.COLE18> are more life-like, much thought must be given to

<[Sysop] J.COLE18> the fact that all motion is not even and smooth.

<[Sysop] J.COLE18> This is where "slowing in" and "slowing out" comes

<[Sysop] J.COLE18> in. These techniques are used when the animator

<[Sysop] J.COLE18> wants movement to slow down or speed up between

<[Sysop] J.COLE18> two key frames.

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> Always remember that the more frames used to

<[Sysop] J.COLE18> produce movement, the slower the movement will

<[Sysop] J.COLE18> appear to be. Conversely, the fewer frames used,

<[Sysop] J.COLE18> the faster the movement. Therefore, if more frames

<[Sysop] J.COLE18> are placed toward the end of movement, it will

<[Sysop] J.COLE18> appear to slow down the motion.  This is known as

<[Sysop] J.COLE18> "slow-in," because the action is slowing into the

<[Sysop] J.COLE18> final Key position.

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> If, on the other hand, the animator places most

<[Sysop] J.COLE18> of the inbetween frames at the beginning of the

<[Sysop] J.COLE18> movement, it is known as "slow-out."

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> Homework Assignments

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> Throughout this "class," you will be given

<[Sysop] J.COLE18> homework assignments.  Read each assignment

Job 1)<[Sysop] J.COLE18> carefully and follow the instructions.

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> IMPORTANT: NEVER, NEVER discard any of the "end

<[Sysop] J.COLE18> result" animations you create for these homework

<[Sysop] J.COLE18> assignments. You never can tell when we might ask

<[Sysop] J.COLE18> you to dig one of them up in a future homework

<[Sysop] J.COLE18> assignment!

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> ASSIGNMENT #1: Creating Inbetweens

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> Tools Needed: Prism Paint or other drawing

<[Sysop] J.COLE18> package with animation capabilities.

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> Download: HW1.LZH

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> Using the Key drawings in files HW_WALK.FLM,

<[Sysop] J.COLE18> create inbetweens for each action.  Then save this

<[Sysop] J.COLE18> as a sequential animation using .DLT, .SEQ, .FLM,

<[Sysop] J.COLE18> etc. file format (or as individual picture files

<[Sysop] J.COLE18> usable by a "slide show" program). Play the

<[Sysop] J.COLE18> animation and look for jumps, kicks or other

<[Sysop] J.COLE18> problems that disrupt smooth movement of the

<[Sysop] J.COLE18> action.

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> (NOTE: This assignment is due to be turned in no

<[Sysop] J.COLE18> later than February 18th for grading.)

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> NEXT CLASS: Tuesday, February 11th. Same Bat

<[Sysop] J.COLE18> Time, Same Bat Place.

<[Sysop] J.COLE18> 

<[Sysop] J.COLE18> And now for any questions.  Remember, you can use the
'/rai' to raise your hand to get my attention.

<L.SEILER> thanks
<L.SEILER> So any questions

<[Ringo.] R.MONFORT1> John. Thank you. I will let Lee first.

<[Sysop] J.COLE18> Bill Wheler has a question.  Bill...

<[Ringo.] R.MONFORT1> Lee, the Cycle in Chronos can be use for the
between effects?

<[Bill] B.WEHLER> For those of us who do not have Prism

<L.SEILER> yes that is correct.

<[Bill] B.WEHLER> Paint yet, is there a conversion to .SEQ

<L.SEILER> But a bit different in that when doing cad

<[Sysop] J.COLE18> Bill, there will be a .SEQ file included with the
HW1.LZH

<L.SEILER> animations the compyter will do all the frames including the
<L.SEILER> key frames. We will get to that in up comming classes.

<[Bill] B.WEHLER> Great!

<L.SEILER> OK

<[Sysop] J.COLE18> Bob Sims is next...

<[BOB] B.SIMS3> LEE, will the HW1 file be available in mono?

<L.SEILER> I am not sure? if not we will make one that is. won't we John

C!

<[BOB] B.SIMS3> How about it John?

<[Sysop] J.COLE18> Yes, I will make a PI3 file for you.  There will be
.PI1 files that can be converted with picswitch to use in your favorite paint
program.

<L.SEILER> Next!

<[Sysop] J.COLE18> Bill Wheler again ;-)

<[Bill] B.WEHLER> When will we be able to DL the homework assignment?

<L.SEILER> John?

<[Sysop] J.COLE18> Bill, that depends on how soon GEnie puts them up,
they are ready except for the SEQ file, and I will add that right after the
class and then up it goes!

<[Sysop] J.COLE18> Ringo is up...

<[Ringo.] R.MONFORT1> Will be have GIF files?

<L.SEILER> For what?

<[Ringo.] R.MONFORT1> for the single frames.

<L.SEILER> Why do you need gif files of the home work?

<[Sysop] J.COLE18> Ringo, there will be GIF, PNT, PI1, IFF, NEO, and PI3
along with .SEQ and .FLM animation files.

<[Ringo.] R.MONFORT1> Thanks John C.

<L.SEILER> RUMble Rumble...

<[Sysop] J.COLE18> They will be all LZH'ed together so one stop will get
them all (about 60K all told)
<[Sysop] J.COLE18> Are there any more questions?

<[Sysop] J.COLE18> Bill has another one!

<[Bill] B.WEHLER> One more.  Is there any recommended reading to go
along with the tutorials.

<[Sysop] J.COLE18> Lee, that one is for you :-)

<L.SEILER> Yes there is. Go to your local library and gead everything you
<L.SEILER> can on traditional animation, Disney, what ever. I can't
stress
<L.SEILER> enough how important this is. I know it seems unimportant
<L.SEILER> for computer animations but take my word for it that if

<[Ringo.] R.MONFORT1> I would say this and Lee is going to kill me but
here it goes. He has an animation book.

<L.SEILER> any one wanting to do this kind of work on computers does
<L.SEILER> any commerical work you must understand the terms and
functions
<L.SEILER> of the traditional approach. not to mention that in learning
<L.SEILER> these techniques you will also create better animations
<L.SEILER> and more exciting action in computer generated animations.
<L.SEILER>  OK

<[Bill] B.WEHLER> Let's have it Ringo.  Thanks Lee :-)

<[Ringo.] R.MONFORT1> The book is one that he created.  It recommended
reading.

<[Sysop] J.COLE18> Ok, Great!  I now end the formal portion of the first
class and return you to frenzy mode...

Room is now in the talk mode.

<L.SEILER> FrenZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZy

<[Bill] B.WEHLER> Lee, you created a book?  Or is Ringo dead?

<[Sysop] J.COLE18> and what was that rumble stuff? :-)

<[Ringo.] R.MONFORT1> Lee talk about animation work has always help me.

<L.SEILER> Riingo may or may not be dead? who can really say, but yes

<[John] J.CROMWELL2> I would say that given what I just read, I do have
a lot more respect for the amount of work that goes into a full length
animation.

<L.SEILER> I wrote a book some years back dealing with stop motion
<L.SEILER> animation.

<[BOB] B.SIMS3> LEE, Will you discuss the professional side of
individual animators, ie.,

<[Bill] B.WEHLER> I would love to get a copy if one is available.

<[BOB] B.SIMS3> pricing of services, avenues for obtaining clients, etc.?

<[Ringo.] R.MONFORT1> Bill, he even tell you how to create creatures.

<[Sysop] J.COLE18> Thanks to everyone for attending tonights RTC, if
anyone has questions on the homework after tonight, leave Email to J.Cole18 or
drop by next week for a 'tween' RTC where we will be available for help.  See
everyone in two weeks.  Thanks again.

<L.SEILER> BOB sure I can talk about that: first and formost the artist

<[Bill] B.WEHLER> Cool.

<L.SEILER> must have some knid of demonstration of their skill.
<L.SEILER> By john!

<[Ringo.] R.MONFORT1> John Cole. Very good work tonight! Nice going.

<[Bill] B.WEHLER> Bye John.

<[John] J.CROMWELL2> yes, thanks fior the info

<L.SEILER> This does not need to be the greatest animation ever done.

<[Sysop] J.COLE18> Thanks Ringo,  oh yea, I'm not going anywhere at the

moment, just a closing remeark for the transcirpt :-)

<L.SEILER> it really needs to be good solid work which demonstrates know-
<L.SEILER> ledge of animation. it can even be a animated wire frame.
<L.SEILER> Next the artist needs to send their work to any one who will
<L.SEILER> take the time to view it. it helps to get involved in any
<L.SEILER> local UHF or VHF tevelision station. This leads to meeting
<L.SEILER> people who are in the industry.

<[BOB] B.SIMS3> Lee, Understood - you will have some indication of skill
by virtue of the class-work turned in.  Hopefully you will give feedback as to
possible future based ondemonstrated skill in the assignments completed.

<L.SEILER> Read everything you can on animation, all kinds and see
<L.SEILER> and or collect as much animations as you are able. You can not
<L.SEILER> see to many or have to many animations in you libary.

<[Ringo.] R.MONFORT1> Lee, the Video tape that you send me is very good.
 I did not see any bad pixel lines. The 24bit images are great. How did you
create them?!>

<L.SEILER> get a still frame VCR (4) head ...very common these days
<L.SEILER> and tape animations. watch them one frame at a time.
<L.SEILER> make some sketches of motion, try to understand why things
<L.SEILER> work.

<[BOB] B.SIMS3> Lee, I have 2 4-head VCR's and the still frame tears. 
Could be that I need a   newer unit or possibly a 5 head unit.

<L.SEILER> try adjusting the tracking while in pause, you may get a
<L.SEILER> lousy play but you are interested in stills.

** <V.HUTZ> is here.

<[Ringo.] R.MONFORT1> WElcome back V.Hutz!

<V.HUTZ> Genie is screwie tonight, must be Pres. Speach?

<[Ringo.] R.MONFORT1> Animation room is open.