Download Basic Animation Stand Techniques by Brian G. D. Salt PDF

By Brian G. D. Salt

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This means that if we wish to make the animation stand capable of shooting fields smaller than the width of the camera gate, every point on the vert­ ical scale and every figure on the zoom counter will repres­ ent two field widths, one smaller and one larger than the width of the camera gate, This is obviously inconvenient, and when producers began to demand that animation stands should be capable of shooting such very small fields, (for example, parts of a transparency taken on a miniature still camera), a different arrangement for focus was introduced on the stands.

Courtesy Neilson-Hordell Ltd. Figure (21) The Glass Insert Between bars 3 and 4 a glass panel is fitted into the table top, normally measuring about 12 inches by nine inches. This can be seen in figure (19). The purpose of this is to permit the use of back lighting, and to enable the fitting of 46 aerial image or conventional back projection. The principal use of back lighting is for the shooting of line tests, and also occasionally for the making of travelling mattes. When an animator has prepared a set of drawings on paper of the animation of a character, he generally requires a line test to be made in order to check his animation before tracing and painting on cells.

Some machines therefore have two bars only in positions Instead they have 2 and 5. These bars carry no pegs. threaded screw-holes down their centre-lines. Peg plates are provided for these machines which are thin metal plates with a set of three pegs fitted near one edge and screw-holes near the other. When two such plates are screwed onto the two bars so that the pegs lie inside the bars themselves, the lines of the pegs are the correct distance apart for a 12 field set-up. When the two peg plates are screwed onto the two bars so that the pegs lie outside the bars themselves, the lines of the pegs are the correct distance apart for an 18 field set-up.

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