The Animation Producer's Handbook

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Allen & Unwin, Apr 1, 2006 - Performing Arts - 224 pages
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Wondering what a render wrangler does, exactly? Intrigued by slugging? If you've ever dreamed of working in the animation industry, this is your ideal guide.

Animation is big business. Many of the top grossing movies of the past ten years are fully animated films. But there's more to animation than Shrek there's also TV, video games, advertising, online, and a whole range of interactive products. Whatever the media, producers need to be familiar with the language and procedures of animation.

The Animation Producer's Handbook is an easy to read guide to the business and management processes of producing animation. The authors draw on their wide experience to demystify and describe the producer's role from a project's inception to its conclusion. Covering everything from the initial concept and the pitch', to establishing a core team, developing the script and characters, and budgeting and scheduling, Milic + McConville take you step-by-step through the production cycle from pre- to post-production.

With an extensive glossary, details of funding bodies and tips on industry marketplaces, The Animation Producer's Handbook is an essential reference for budding animation producers everywhere.

'a must have book for all those involved in the animation process or who want to be.' - Jan Nagel, US Representative of AGOGO Corporation and president of Women in Animation International

'a lucid and detailed description of the business of producing animation from the initial pitch to screening strategies It's going on our required reading list.' - Dr Michael Hill, Director of the Master of Animation, University of Technology Sydney
 

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Contents

2 The Producers
9
3 The Concept and the Pitch Bible
14
4 Project Development
23
5 Setting Up the Preproduction Process
42
6 The 2D preproduction process part one
52
Part Two
70
8 2D Production
92
9 Preproduction and 3D animation
116
10 3D production
129
11 Postproduction
140
12 Producing Flash stop motion and multipath movies
161
Glossary
177
Resources
201
Index
207
Copyright

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Page 51 - Property alone, or in composite with other materials including without limitation audio, video, animation, text and graphics, by any means, methods and technologies now known or hereafter to become known...
Page 202 - Acuff, Dan S. What Kids Buy and Why: The Psychology of Marketing to Kids.
Page 51 - Artist's rights and remedies shall be limited to the right, if any, to obtain damages at law and...
Page 51 - Licensed Rights") alone, or in composite with other materials including without limitation audio, video, animation, text and graphics. The Licensed Rights are to be used in connection with the creation, development, production, manufacture, packaging, distribution and promotion of the Product in any format and through any means, methods and technologies now known or hereafter to become known.
Page 51 - Picture and shall be considered a "work made for hire" for Producer as specially commissioned for use as a part of a motion picture in accordance with Sections 101 and 201 of Title 17 of the US Copyright Act. Therefore, Producer shall be the author and copyright owner thereof for all purposes throughout the universe without limitation of any kind or nature. In consideration of the monies paid to Lender hereunder, Producer shall solely and exclusively own throughout the universe in perpetuity all...
Page 191 - TV standard used in many countries consisting of 625 lines scanned at a rate of 25 frames per second.
Page 51 - RESULTS AND PROCEEDS: Work-Made-For-Hire: Writer acknowledges that all results, product and proceeds of Writer's services (including all original ideas in connection therewith) are being specially ordered by Producer for use as part of a Motion Picture and shall be considered a "work made for hire...
Page 51 - Material for all purposes and the sole and exclusive owner, throughout the universe in perpetuity, of all right, title and interest in and to the...
Page 50 - Contractor shall not have any right in such event to terminate or rescind this agreement or any of the rights granted to...
Page 51 - ... and technologies now known or hereafter to become known (the 'Licensed Rights') alone, or in composite with other materials including without limitation audio, video...

About the author (2006)

Lea Milic is an associate development director at Electronic Arts Los Angeles, California, specialising in outsourcing and has also worked as a senior producer, localisation producer, web producer and teacher. She has worked at Yoram Gross/EM TV, Energee Entertainment, Brilliant Interactive, DIC Entertainment, Santa Monica Academy of Entertainment and Technology and McElroy Advertising. Yasmin McConville is a line producer at Yoram Gross/EM TV in Sydney, Australia, and has also worked as a post-production coordinator, motion capture manager and multipath producer.

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