Ebook Hybrid Animation: Integrating 2d and 3d Assets, by Tina O'Hailey
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Hybrid Animation: Integrating 2d and 3d Assets, by Tina O'Hailey
Ebook Hybrid Animation: Integrating 2d and 3d Assets, by Tina O'Hailey
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Artist imaginations continue to grow and stretch the boundaries of traditional animation. Successful animators adept and highly skilled in traditional animation mediums are branching out beyond traditional animation workflows and will often use multiple forms of animation in a single project. With the knowledge of 3D and 2D assets and the integration of multiple animation mediums into a single project, animators have a wealth of creative resources available for a project that is not limited to a specific animation medium, software package or workflow processs.
Enhance a poignant scene by choosing to animate the scenic background in 2D while the main character is brought to life with 3D techniques. Balance the budget demands of a project by choosing to integrate a 2D or 3D asset to save time and expense. Choose which medium Hybrid Animation, learn the systematic development of the 2D and 3D assets and the issues surrounding choices made during the creative process.
- Sales Rank: #2753223 in eBooks
- Published on: 2012-11-12
- Released on: 2012-11-12
- Format: Kindle eBook
Review
"It takes a self starter to tackle and learn different skills in any field. Learning animation is no different, and with Tina's book, each reader is one step ahead of the game to develop hybrid animation."--School Tech Talk Blog and MacDirectory.com
About the Author
Tina O'Hailey is a professor of Animation at Savannah College of Art and Design. Having worked as an artisitc trainer for Electronic Arts, Walt Disney Feature Animation and Dreamworks Animation , she has extensive experience in feature animation and game development. She has trained artists and worked on many animated films including Brother Bear (2003), Lilo and Stitch (2003), Mulan (1998) and Prince of Egypt (1998)." She is the author of Hybrid Animation published by Focal Press.
Most helpful customer reviews
1 of 1 people found the following review helpful.
Still Timely and Wonderful-- a MUST HAVE for Animators
By Let's Compare Options Preptorial
Looking to 2013, I disagree with the "vine" types who trash this book as out of date. I've animated for 20 plus years at Shader Joe's and find Tina's book timely and packed with practical advice you won't find integrated this way anywhere else. One of these supposedly expert reviewers dings her for mentioning Shake instead of After Effects or Nuke, and doesn't seem to understand the difference between animating, rendering and compositing. On page 81 O'Hailey clearly explains the difference between these programs and does mention Nuke.
If I have a criticism, it is that I'd like to see more explanations of codecs and media choices based on technology, not just line mileage. For example, Tina explains media choices based on the artist's visual targets (and distinguishes between paint, line and other styles), but doesn't include the very key variables of photorealistic rasters vs. user controllable and scalable vectors. This and codec incompatibility is why gamers still separate video sequences from sprite control, although Unity is making amazing progress in integrating these. The author clearly explains, for example, that compositing alpha channels is an important feature of your compositing software, but doesn't mention that some codecs support alphas and some dont: Flash vs. After Effects.
OK, if she's art oriented, we can take this from a different angle: oils vs. line vs. pastels. Bold oilers can be happy with RGB; pastelers will die (or kill) if they don't have their 80 shades of gray converted to 50 varying densities of png: meaning: alpha channels. If you're web/game oriented in your 2D 3D combining, you've certainly discovered (hopefully not the hard way) that the "world standard" of H.264, as well as Sorenson Spark, do NOT support alpha channels if you're exporting in Flash. Only On2 VP6 (for FLV) will do it. For very technical (but important) details like this, I'd refer you to any book written by Chris Jackson, but especially his awesome combo book of Flash + After Effects, Second Edition: Add Broadcast Features to Your Flash Designs.
All in all, O'Hailey is an awesome read, whether you're just starting out in animation, or are an old retiring pro trying to keep up!
1 of 1 people found the following review helpful.
An amazing specialty book that will become your go-to guide
By KWJ
I'm always amazed when a specialty book like this makes it to market, but Focal Press has done it again with the excellent coverage provided in this book. As someone who is learning both 2D and 3D animation, I have been looking for solid information on how to combine the two elements. This book is an astounding treaty on that specific subject, and goes beyond the "theory" of animation, and gets down to the nitty gritty of "now click this, and now do this" type of instruction that gives the reader a real-world view of just how to accomplish certain tasks.
Liberally peppered throughout are actual examples of main stream animated films that have combined 2D and 3D, the challenges they faced, and how they met those challenges. It's like sitting and looking over the shoulder of the production designer at Disney, as they solved the everyday problems of bringing animation to life. In fact, the author worked at Disney during her career (as well as Dreamworks and Electronic Arts) so she knows of what she speaks. She now teaches (lucky students) at Savannah College of Art and Design as a professor of animation.
While this book is clearly intended as a supplement to the classes she teaches, the reader does not have to be one of her physical students to benefit from the enormous amount of information and hands-on instruction provided in these pages. The chapter on developing a pipeline and "nailing" the moments of the story in animation is worth the price of admission alone. The discussion on using the camera in "flat," "limited" and "deep space," add to make this a must-have book for anyone seriously considering animation as a profession.
Whether you are a newbie, intermediate, or pro, this book will prove to be a solid reference that you will refer to time and again as you continue to hone your skills as an animator.
1 of 1 people found the following review helpful.
The go-to book for how to mix animation media
By Amazon Customer
When I was studying digital animation the thing I was most interested in using CG to enhance traditional animation. And as CG has become a bigger and bigger part of all types of animation I've been waiting for a book to better lay out how to combine 2D and 3D disciplines to expand the possibilities of the medium. "Hybrid Animation" is that book.
The first two chapters cover the art direction/production design process that leads to mixing assets. The remaining chapters each focus on a specific approach to combing 2D & 3D; 2D and 3D characters in a scene, 2D characters with 3D parts, 3D characters with 2D parts, effects animation and camera work.
While the CG side of things is all in Maya, the author shows a variety of ways to handle both the 2D animation (paper, Photoshop, Flash, Toon Boom, and even Corel Painter) as well compositing the levels together. (After Effects, Shake and Toon Boom Pro)
The writing is very straight-forward and practical with examples from major animated features and specific step-by-step instructions for what's being taught. It does occasionally feel a bit sketchy, like some sentences are missing. Given this was likely culled from class lectures it's a bit understandable. It would've been nice to see more about developing the look to make the two elements blend together, but that's a topic for its own book.
The companion site is rather flush with bonus material, the files needed to complete the examples and links to books suggested in the readings. However the forum mentioned heavily throughout the book doesn't exist.
Now that anyone can afford to use both 2D and 3D animation "Hybrid Animation" is an essential book to learn the principles needed to extend your visual options to whatever you can imagine.
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