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Books on the topic 'Direct animation'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

Noble, Robert Arthur. Direct sculpting of flexible objects for coherent animation. Leicester: De Montfort University, 1998.

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2

Alexander, Enzmann, ed. Making movies on your PC: Dream up, design, and direct 3-D movies. Corte Madera, Calif: Waite Group Press, 1993.

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3

Granberg, Carl. Character animation with Direct3D. Boston, Mass: Charles River Media, 2009.

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4

Character animation with Direct3D. Boston, Mass: Charles River Media, 2009.

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5

Granberg, Carl. Character animation with Direct3D. Boston, Mass: Charles River Media, 2009.

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6

Vaughan, Peter. Director close-up: Interactivity & animation, versions 4 and 5. Belmont, Calif: Wadsworth Pub., 1997.

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7

Anthony, Head, ed. 3D for the Web: Interactive 3D animation using 3ds max, Flash and Director. Amsterdam: Elsevier Focal Press, 2005.

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8

Macromedia Director MX and Lingo: Training from the source. Berkeley, CA: Macromedia Press, 2003.

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9

MacGillivray, Carol. 3D for the Web. San Diego: Elsevier Science & Technology, 2010.

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10

1966-, Gross Michael, ed. Macromedia Director 8.5 Shockwave Studio for 3D: Training from the source. Berkeley, CA: Macromedia Press, 2002.

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11

Adams, Jim. Advanced Animation with DirectX (Focus on Game Development). Course Technology PTR, 2003.

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12

Mollaghan, Aimee. Rebalancing the Picture-Sound Relationship. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0011.

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This chapter explores how experimental filmmaker Lis Rhodes subverts the hegemonic relationship between sound and image across her body of moving image work in order to highlight and address inequitable power structures and the absence of the female voice in music and society. This is achieved on a material level by translating the optical soundtrack into visual presentations in her direct animation Dresden Dynamo (1971–72) and within an expanded, performative context in her audiovisual composition Light Music (1975). Further to this, Rhodes’s later films, Light Reading (1978) and A Cold Draft (1988), continue to rebalance the audiovisual relationship by giving countenance to the female voice, acousmatised from the images presented on screen.

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13

Neupert, Richard. John Lasseter and the Rise of Pixar Style. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040153.003.0001.

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This chapter chronicles the rise of John Lasseter's career and the groundbreaking animated films he directed, revealing ways he and his colleagues at Pixar changed the direction of commercial animation forever. Lasseter is the much-celebrated chief creative officer for Pixar Animation Studios, Walt Disney Animation Studios, and Disneytoon Studios. He is also one of the best known and most successful animators in the world. He has contributed to the revival of character animation and helped propel a return to feature-length animation in Hollywood and beyond. Moreover, Lasseter may have done more to foster thinking, embodied computer-generated characters than anyone else. The chapter details the creation of films such as Toy Story (1995), A Bug's Life (1998), and Cars (2006).

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14

MacGillivray, Carol, and Anthony Head. 3D for the Web: Interactive 3D animation using 3ds max, Flash and Director (Focal Press Visual Effects and Animation). Focal Press, 2004.

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15

Ramalho, Felipe de Castro. A representação do diverso no cinema de animação. Brazil Publishing, 2020. http://dx.doi.org/10.31012/978-65-5861-217-9.

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This book is the result of a doctoral research that sought to analyze the characters of the industrial animation cinema that present characterizations, mannerism, behavior and sexual stereotypes, which create an unknown idea about their sexualities. Animated films, often considered an exclusive product for children, do not directly address sexualities that differ from heteronormativity. For this reason, we call “diverse” those possible characters that are different from the norms of standard heterosexuality, in order to map, analyze, quantify and qualify the purpose of these representations. In the first moment, the concepts of the theoretical Stuart Hall on representational practices capable of producing ideologies, discourses and signs are applied in animation cinema and associated with anthropomorphism, which we believe to be a camouflaged way of representing such characters. Then, we characterize the “diverse” and the reasons for choosing the term, so that we can propose a debate about cinema as an instance capable of inscribing gender norms and how animation cinema acts as a media capable of proposing a cultural specific pedagogy. Then, based on the principle of similarity and difference, we mapped the “diverse” characters present in the history of animation cinema at the main North American studios: Disney, Pixar and DreamWorks. After this process, we analyze and qualify the intention of the representations of the “diverse” in the characters of animated films. Therefore, do not be alarmed when faced with classic characters such as Ursula, Genius, Scar, Timon, Pumbaa, Edna Mode, King Julien and many others who present different facets of sexuality.

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16

Director Close-Up: Interactivity & Animation Versions 4 and 5. Wadsworth Pub Co, 1996.

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17

Goodrich, Peter. Pictures as Precedents. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190456368.003.0011.

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Contemporary expansion of the use of images, photographs, film, animation and other visual media in legal argument has given rise to a practice and subdiscipline of visual advocacy. Less studied and commented on, this scopic dimension to legal practice has also resulted in an increasing use of images in judicial decisions. Recent case law provides examples of an image of an ostrich with its head buried purportedly remonstrating against failure to cite binding precedent, a smiling emoji in a decision relating to child custody, numerous splash pages and online order icons in cases relating to consumer purchases over the net, and many further instances of pictures coming to play the law. This chapter directly addresses the role of the eye and the impact of the visual upon the reasoning of judgments, as also on the status and import of precedents that include pictures.

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18

White, Christine. ‘Humming the Sets’. Edited by Robert Gordon and Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.17.

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This chapter discusses the impact of stage design on musical theatre, and the development of musical theatre as a product packaged for consumption across the world. Its focus is chiefly on British musicals of the late twentieth and early twenty-first centuries, during which ‘scenography’ has become recognized as the term for describing the whole theatre-designed space, encompassing, set, costume, sound, light, and more recently including film, animations, and a host of projection technologies and digital media. The chapter refers to contemporary reviews of productions, their success and failure, and the nature of the musical as a form in harmony with new scenic production aesthetics. What becomes apparent in this chapter is the interconnectedness of scenic practices and production aesthetics, which relates directly to the visual impact of musicals on the British stage and the interchange of production styles and modes of the UK and North America.

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19

Gross, Mike, and Phil Gross. Macromedia Director 8.5 Shockwave Studio for 3D: Training from the Source. Macromedia Press, 2001.

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