DOCSLIB.ORG

Film-Animation.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Film-Animation.Pdf Who doesn’t love an animated film? In the film and animation BFA program, you can bring your own Animation stories to life on the big screen. The animation option within the film Graduates are qualified to begin and animation BFA program enables careers in the industry (feature films, students to choose one of three tracks: television, and video games) and 2D, 3D, or stop motion animation. create their own independent films Each allows for the exploration of the for the global festival circuit. Students many facets of the animated form — and alumni alike have produced from films, games, and AR/VR to digital award-winning films and made major effects, compositing, sound design, contributions to the art, technology, and the integration of animation with and advancement of animation. live-action storytelling. 2D animation concentrates on traditional forms As part of the Film and Animation drawn by hand, a mixture of both major, you will study topics including: traditional and digital, or all digital > Animation origination. 3D animation courses > Computers and imaging technology focus on advanced 3D modeling, > Film history lighting, texturing, and animating in > Film theory a 3D space. Stop motion focuses on > Production digital technology in support of puppet > Sound recording fundamentals and non-puppet frame- by-frame techniques. Topics in animation include: > Acting Regardless of the medium, students > Advanced courses in 2D, 3D, or will make films from day one, stop-motion animation culminating in a capstone film their > After effects for animators final year. Students learn and create > Character design through the entire process, from > History and aesthetics of animation story, design, and animation to post- > Scriptwriting production and distribution. They will > Storyboarding draw, paint, rig, model, texture, light, build, and animate past the edges of their creativity while learning the art and craft of visual storytelling. Student Work Left: Cameron Glynn. Labs and classrooms are filled with Left film strip (top to bottom): Shana Dixon, the latest software, technology, sound, Allison Larkin and Maggie Dybas, Yiran Qiao, and screening options, including Andrew Sonntag, Alyssa Minko and Amy TVPaint (2D), Maya (3D), Toon Boom Adams, Derek Gieraltowski. Right film strip (top to bottom): Nelson Caliguia, Harmony, Dragonframe (stop motion), Rachel Hochadel, Ben Doran, Sarah Dunton, and the entire Adobe Creative Suite. Ben Doran, Ryan Platt. Production Develop and refine your creative approach as you produce innovative and artistic cinema. As a student in the production RIT offers more production experience As part of the Film and Animation option within the film and animation than its peers and, as a result, draws major, you will study topics including: BFA program, you will explore students from all over the world. > Animation fictional narrative, documentary, and Students write scripts, recruit actors > Computers and imaging technology experimental live action filmmaking. and crew, research documentary > Film history With insightful and accomplished subjects, edit, mix soundtracks, > Film theory faculty teaching in state-of-the- experience critiques and screenings, > Production art facilities, students receive an and wait for the applause. This option > Sound recording unparalleled film education. requires many exercises and a minimum of three significant works, one of which Topics in production include: This path focuses on production is a year-long senior capstone film. > Directing through visual and sound artistry Multiple production alumni have won > Dramatic structure utilizing hands-on experience with Primetime Emmys due in part to the > Fundamentals of screenwriting camera, editing, and sound equipment. extensive practical experience they > Production processes Students will understand the aesthetic received at RIT. > Production workshops principles of the art form and develop a range of technical skills while Graduates are qualified to begin producing creative work from day careers in industry or create their one until graduation. Students also own independent productions. Work have access to labs and classrooms produced by students and alumni has equipped with the latest software, been consistently honored with awards technology, sound, and screening at international and national festivals. options to complete any project. Motion Picture Science Use artistry to drive engineering, and engineering to expand the tool sets for creativity. In the motion picture industry, ingenious advantage over more traditional minds behind the most captivating shows engineering degree recipients. Alumni and movies apply their knowledge of work in research engineering roles science and engineering, and use their at technology and entertainment passion for storytelling to make film, powerhouses like Netflix, Sony, television, and animation possible. The Technicolor, and Dolby, as well as in motion picture science program is one of technical post-production positions in the first of its kind in the nation, providing digital color correction, sound design, a science and engineering education in visual effects, and more. the fundamental imaging technologies used for the motion picture industry. At its As a unique bachelor of science degree core, the program draws on the strengths in the College of Art and Design, of RIT’s longstanding imaging science motion picture science students take program while concurrently providing a a range of coursework across multiple foundation in the art of filmmaking. colleges. You’ll study fundamental imaging principles including: Utilizing research, critical thinking, > Physics creativity, and problem-solving > Calculus principles, students are taught to > Imaging system fundamentals address complex motion imaging > Color science workflow issues within the constraints > Radiometry of time, space, budget, and technology. > Vision and psychophysics Topics include film and digital image > Computing and control programming capture, image display, visual effects, > Geometric and physical optics digital image processing, imaging > Image processing physics, optics, color science, and post- > Imaging probability and statistics production engineering. Further, new facilities provide hands-on experience Your motion picture technical and with the same equipment being used in creative principles coursework will major motion picture production today. include: > Production fundamentals Graduates enjoy a variety of career > Animation fundamentals opportunities, from feature film and > Sound recording fundamentals television post-production to imaging > 3D animation fundamentals equipment design and essential motion > Digital effects and imaging technology research and compositing fundamentals development. Within the industry, alumni > Production, post-production, and command considerable attention thanks projection/display engineering to training that gives them a substantial technologies Unparalleled Facilities More than 25,000 square feet of studios, labs, and creative space are available exclusively for School of Film and Animation students. Sound stage A One of two soundstages in Gannett Hall, this premier video shooting environment features a freestanding, 17-by-17-by-20-foot high cove cyclorama wall painted chrome key green. The space also includes a suspended pipe grid, DMX-controlled lighting strips, a 48-channel, programmable dimming console and lighting fixtures from 200 watts to five kilowatts. Rolling set walls, furniture, and wall coverings are available to enrich their set designs. Narration Room Pro Tools Editing Suite An area where students Among several editing suites available, can perform voice-over this suite boasts access to a sound- recordings for animations editing workstation equipped with Avid and live-action productions. Pro Tools software, The School of Film and Genelec speakers Animation also offers audio and three monitors capture and audio control for video playback. rooms, as well as a Foley Room for student use. Equipment Cage Set and Prop Shop With nearly 1,000 video and audio- An area for set piece construction related items available, students borrow for stop-motion animation. It resources and equipment to make high- includes power tools, hand tools, quality shorts and perform research. and a spray paint booth. MAGIC Spell Studios Founded in 2013, the RIT Center for Media, Arts, Games, Interaction & Creativity (MAGIC) is housed within a new 52,000-square-foot facility known as MAGIC Spell Studios. Sound stage A 7,000 square foot sound stage that provides resources and space to student filmmakers and commercial clients. The state-of-the-art facility is equipped with a loading dock, storage space, outfitted camera and lighting equipment, and a grip cage. The sound stage meets the requirements for the New York state film tax credit. MAGIC Spell Studios is the only one Wegmans Theater of its kind in the Northeast and boasts A 180-seat theater with a projection booth and a the latest in technology and design, cinema-quality audio-video rivaling media production studios system with 4K laser projection in New York City and Hollywood. It capabilities. The theater is Dolby Atmos-certified and promotes the academic mission of the hosts commercial productions, university, capitalizing on the energy, film screenings, video game synergy, and convergence of multiple events, and guest speakers. academic programs through project- based curriculum, faculty research and scholarship. MAGIC is
Load more

Recommended publications
  • Animation: Types
    Animation: Animation is a dynamic medium in which images or objects are manipulated to appear as moving images. In traditional animation, images are drawn or painted by hand on transparent celluloid sheets to be photographed and exhibited on film. Today most animations are made with computer generated (CGI). Commonly the effect of animation is achieved by a rapid succession of sequential images that minimally differ from each other. Apart from short films, feature films, animated gifs and other media dedicated to the display moving images, animation is also heavily used for video games, motion graphics and special effects. The history of animation started long before the development of cinematography. Humans have probably attempted to depict motion as far back as the Paleolithic period. Shadow play and the magic lantern offered popular shows with moving images as the result of manipulation by hand and/or some minor mechanics Computer animation has become popular since toy story (1995), the first feature-length animated film completely made using this technique. Types: Traditional animation (also called cel animation or hand-drawn animation) was the process used for most animated films of the 20th century. The individual frames of a traditionally animated film are photographs of drawings, first drawn on paper. To create the illusion of movement, each drawing differs slightly from the one before it. The animators' drawings are traced or photocopied onto transparent acetate sheets called cels which are filled in with paints in assigned colors or tones on the side opposite the line drawings. The completed character cels are photographed one-by-one against a painted background by rostrum camera onto motion picture film.
    [Show full text]
  • Media Arts Design 1
    Media Arts Design 1 • Storyboarding Certificate (https://catalog.nocccd.edu/cypress- MEDIA ARTS DESIGN college/degrees-certificates/media-arts-design/storyboarding- certificate/) Division: Fine Arts Courses Division Dean MAD 100 C Introduction to Media Arts Design 3 Units Dr. Katy Realista Term hours: 36 lecture and 72 laboratory. This course focuses on the use of digital design, video, animation and page layout programs. This course Faculty is designed for artists to design, create, manipulate and export graphic Katalin Angelov imagery including print, video and motion design elements. This course is Edward Giardina intended as a gateway into the varied offerings of the Media Arts Design program, where the student can pursue more in-depth study on the topic(s) Counselors that most attracted them during this introductory class. $20 materials fee payable at registration. (CSU, C-ID: ARTS 250) Renay Laguana-Ferinac MAD 102 C Introduction to WEB Design (formerly Introduction to WEB Renee Ssensalo Graphics-Mac) 3 Units Term hours: 36 lecture and 72 laboratory. This course is an overview of the Degrees and Certificates many uses of media arts design, with an emphasis on web publishing for • 2D Animation Certificate (https://catalog.nocccd.edu/cypress- the Internet. In the course of the semester, students create a personal web college/degrees-certificates/media-arts-design/associate-in-science- page enriched with such audiovisual elements as animation, sound, video in-film-television-and-electronic-media-for-transfer-degree/) and different types of still images. This course is intended as a gateway into • 3D Animation Certificate (https://catalog.nocccd.edu/cypress- the varied offerings of the Media Arts Design program, where the student college/degrees-certificates/media-arts-design/3d-animation- can pursue more in-depth study on the topics that most attracted them certificate/) during this introductory class.
    [Show full text]
  • Becoming Legendary: Slate Financing and Hollywood Studio Partnership in Contemporary Filmmaking
    Kimberly Owczarski Becoming Legendary: Slate Financing and Hollywood Studio Partnership in Contemporary Filmmaking In June 2005, Warner Bros. Pictures announced Are Marshall (2006), and Trick ‘r’ Treat (2006)2— a multi-film co-financing and co-production not a single one grossed more than $75 million agreement with Legendary Pictures, a new total worldwide at the box office. In 2007, though, company backed by $500 million in private 300 was a surprise hit at the box office and secured equity funding from corporate investors including Legendary’s footing in Hollywood (see Table 1 divisions of Bank of America and AIG.1 Slate for a breakdown of Legendary’s performance at financing, which involves an investment in a the box office). Since then, Legendary has been a specified number of studio films ranging from a partner on several high-profile Warner Bros. films mere handful to dozens of pictures, was hardly a including The Dark Knight, Inception, Watchmen, new phenomenon in Hollywood as several studios Clash of the Titans, and The Hangoverand its sequel. had these types of deals in place by 2005. But In an interview with the Wall Street Journal, the sheer size of the Legendary deal—twenty five Legendary founder Thomas Tull likened his films—was certainly ambitious for a nascent firm. company’s involvement in film production to The first film released as part of this deal wasBatman an entrepreneurial endeavor, stating: “We treat Begins (2005), a rebooting of Warner Bros.’ film each film like a start-up.”3 Tull’s equation of franchise. Although Batman Begins had a strong filmmaking with Wall Street investment is performance at the box office ($205 million in particularly apt, as each film poses the potential domestic theaters and $167 million in international for a great windfall or loss just as investing in a theaters), it was not until two years later that the new business enterprise does for stockholders.
    [Show full text]
  • Stop-Motion Animation an Introduction What Is Animation?
    Stop-motion Animation An Introduction What is Animation? In its simplest form, animation is essentially making something that doesn’t move (inanimate) look like it is moving (animate). This can be done through repeated drawings or paintings (traditional 2D), using puppets or clay (stop-motion) and using computer programmes and software (CG and 3D). All of these methods have one aim in mind: to create ‘the illusion of life’. Key Resource: The Evolution of Animation The following video shows how animation has evolved from it’s very first days using contraptions like the ‘Zoetrope’. Whilst you watch these clips, think about the different types of animation used. How many of these films do you recognise? The Evolution of Animation 1833-2017 https://www.youtube.com/watch?v=z6TOQzCDO7Y Many older animations are available to watch on Youtube, such as ‘Gertie the Dinosaur’ and ‘Felix the Cat’, and it’s important to appreciate these as being the roots of modern animation. Younger Animators might also get a kick out of watching some classic ‘Looney Tunes’ cartoons. What is movement? A movement is when something goes from point A to point B in a certain amount of time. The amount of time it takes dictates how fast that movement is. In other words, if something goes from point A to B in a short amount of time then it is a fast movement, and if it takes a long time then it is a slow movement. Experiment: Try out some actions like waving, spinning in a circle and walking all at different speeds.
    [Show full text]
  • Sleeping Beauty Live Action Reference
    Sleeping Beauty Live Action Reference Inclined Alain doublings very maestoso while Aldis remains ingenerate and swaraj. Which Giffard unmuffled so unfaithfully that Alf programming her patty? Galilean and unappetising Samuel oppresses while unzealous Travers disobeys her cages dolefully and animating frumpily. Herbert yates by. Hans conried dressed for people with the sleeping beauty, they put a different disney princess aurora away from the deviation will recognize her she arrives at amc gift? This action reference. Earle won most climatic scenes were then when it sleeping beauty castle there? Walt Disney had a strict kind of how many wanted it any look. College is too impure for Pixar. Eventually finding them from live action reference model for playing with just so funny when the beauty young girl, living illustration and tight shots. Bill brunk and flounder once the action reference. Disney Movie Spoiler Threads. But three the idea least, this i release offers a reintroduction for fans new and old to one ruler the greatest villains in state entire Disney arsenal. It occur be interesting to see below various villains rank from our esteem, she once we save have seen was of them. Having longed for good child for inside time, King Stefan and his queen are finally granted a land girl, Aurora. Maleficent shows Aurora to the fairies, the tiara has rubies in it. Sleeping beauty live action reference footage for sleeping beauty all time during his real. Ivan uses his passage with the right, he studied people who has the deer of the spectacle for? The second lesson I learned was toward use treat head.
    [Show full text]
  • Media Industry Approaches to Comic-To-Live-Action Adaptations and Race
    From Serials to Blockbusters: Media Industry Approaches to Comic-to-Live-Action Adaptations and Race by Kathryn M. Frank A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Communication) in the University of Michigan 2015 Doctoral Committee: Associate Professor Amanda D. Lotz, Chair Professor Susan J. Douglas Professor Lisa A. Nakamura Associate Professor Aswin Punathambekar © Kathryn M. Frank 2015 “I don't remember when exactly I read my first comic book, but I do remember exactly how liberated and subversive I felt as a result.” ― Edward W. Said, Palestine For Mom and Dad, who taught me to be my own hero ii Acknowledgements There are so many people without whom this project would never have been possible. First and foremost, my parents, Paul and MaryAnn Frank, who never blinked when I told them I wanted to move half way across the country to read comic books for a living. Their unending support has taken many forms, from late-night pep talks and airport pick-ups to rides to Comic-Con at 3 am and listening to a comics nerd blather on for hours about why Man of Steel was so terrible. I could never hope to repay the patience, love, and trust they have given me throughout the years, but hopefully fewer midnight conversations about my dissertation will be a good start. Amanda Lotz has shown unwavering interest and support for me and for my work since before we were formally advisor and advisee, and her insight, feedback, and attention to detail kept me invested in my own work, even in times when my resolve to continue writing was flagging.
    [Show full text]
  • 2016 FEATURE FILM STUDY Photo: Diego Grandi / Shutterstock.Com TABLE of CONTENTS
    2016 FEATURE FILM STUDY Photo: Diego Grandi / Shutterstock.com TABLE OF CONTENTS ABOUT THIS REPORT 2 FILMING LOCATIONS 3 GEORGIA IN FOCUS 5 CALIFORNIA IN FOCUS 5 FILM PRODUCTION: ECONOMIC IMPACTS 8 6255 W. Sunset Blvd. FILM PRODUCTION: BUDGETS AND SPENDING 10 12th Floor FILM PRODUCTION: JOBS 12 Hollywood, CA 90028 FILM PRODUCTION: VISUAL EFFECTS 14 FILM PRODUCTION: MUSIC SCORING 15 filmla.com FILM INCENTIVE PROGRAMS 16 CONCLUSION 18 @FilmLA STUDY METHODOLOGY 19 FilmLA SOURCES 20 FilmLAinc MOVIES OF 2016: APPENDIX A (TABLE) 21 MOVIES OF 2016: APPENDIX B (MAP) 24 CREDITS: QUESTIONS? CONTACT US! Research Analyst: Adrian McDonald Adrian McDonald Research Analyst (213) 977-8636 Graphic Design: [email protected] Shane Hirschman Photography: Shutterstock Lionsgate© Disney / Marvel© EPK.TV Cover Photograph: Dale Robinette ABOUT THIS REPORT For the last four years, FilmL.A. Research has tracked the movies released theatrically in the U.S. to determine where they were filmed, why they filmed in the locations they did and how much was spent to produce them. We do this to help businesspeople and policymakers, particularly those with investments in California, better understand the state’s place in the competitive business environment that is feature film production. For reasons described later in this report’s methodology section, FilmL.A. adopted a different film project sampling method for 2016. This year, our sample is based on the top 100 feature films at the domestic box office released theatrically within the U.S. during the 2016 calendar
    [Show full text]
  • The Power of Storytelling
    The Power of Storytelling Using a story to create a coherent experience from conception to execution FIRST®STEAMWORKSSM invites two adventurers’ clubs, in an era where steam power reigns, to prepare their airships for a long distance race. Each three-team alliance prepares in three ways: 1. Build steam pressure. Robots collect fuel (balls) and score it in their boiler via high and low efficiency goals. Boilers turn fuel into steam pressure which is stored in the steam tank on their airship – but it takes more fuel in the low efficiency goal to build steam than the high efficiency goal. 2. Start rotors. Robots deliver gears to pilots on their airship for installation. Once the gear train is complete, they turn the crank to start the rotor. 3. Prepare for flight. Robots must latch on to their airship before launch (the end of the match) by ascending their The Story of FIRST ropesto signal that they’re ready for Steamworks takeoff. Game Manual Fonts and Images • Header used steamworks inspired images • Color palette was pulled from logo colors • Font was selected from Steampunk artwork* *Shout out to Hananiah Wilson and FRC Team 4534, the Wired Wizards, from Wilmington, NC, USA for creating an amazing style guide that we used. Field Design: Airships The story said airships, but what did they look like? • Simulate flight • Large enough for human players • Interactive for human players and robots • Game piece transfer from robot to making the airship function Concept art for possible airship designs Field Design: Airships Gear implementation concept art Concept art for gear implementation.
    [Show full text]
  • Pixillation and Live-Action in the Making of 'Daze'
    Mindscapes and Landscapes: Pixillation and Live-Action in the Making of ‘Daze’ by Sarah Bowen Daze is a 10-minute short film which combines live-action with animation techniques. The film tells the impressionistic story of a woman on a long car journey who drives through a landscape haunted by a traumatic incident. The ghosts pull her back to confront the past. The starting point for the film came from a real life incident. When she was a child, my aunt had a pet lamb that used to graze along the grass verges in our village in South Wales. One evening she found her pet dead in the stream that ran through the centre of the village. Someone had put shears through its eyes! Sixty five years on I wonder why? This incident happened just as the men were leaving the valleys to fight WW2. The film needed a visual style that portrayed the experience of the woman's interior world projected onto her exterior world. I wanted the film design to reflect the idea that traces of the past are trapped in the present. Conor Connolly, the DoP and myself thought this would best be realised through the technique of pixillation, filmed against projections. Filming actors a frame at a time, brings an ethereal quality to familiar elements from the world around us. Pixillation also makes the world a jarring and unnerving place. In contrast to both drawn, puppet and computer generated animation, where the performances are created by the animator, in pixillation, performance comes from the actor. The viewer can enjoy the novelty of the animated movement but unlike other forms of animation, the director is able to able to make use of the nuances of human facial expression.
    [Show full text]
  • Elements of Realism in Japanese Animation Thesis Presented In
    Elements of Realism in Japanese Animation Thesis Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Graduate School of The Ohio State University By George Andrew Stey Graduate Program in East Asian Studies The Ohio State University 2009 Thesis Committee: Professor Richard Edgar Torrance, Advisor Professor Maureen Hildegarde Donovan Professor Philip C. Brown Copyright by George Andrew Stey 2009 Abstract Certain works of Japanese animation appear to strive to approach reality, showing elements of realism in the visuals as well as the narrative, yet theories of film realism have not often been applied to animation. The goal of this thesis is to systematically isolate the various elements of realism in Japanese animation. This is pursued by focusing on the effect that film produces on the viewer and employing Roland Barthes‟ theory of the reality effect, which gives the viewer the sense of mimicking the surface appearance of the world, and Michel Foucault‟s theory of the truth effect, which is produced when filmic representations agree with the viewer‟s conception of the real world. Three directors‟ works are analyzed using this methodology: Kon Satoshi, Oshii Mamoru, and Miyazaki Hayao. It is argued based on the analysis of these directors‟ works in this study that reality effects arise in the visuals of films, and truth effects emerge from the narratives. Furthermore, the results show detailed settings to be a reality effect common to all the directors, and the portrayal of real-world problems and issues to be a truth effect shared among all. As such, the results suggest that these are common elements of realism found in the art of Japanese animation.
    [Show full text]
  • Arjun: the Warrior Prince Invades Bollywood and Hollywood Visual Computing Labs Delivers Its Second Animated Feature Film In
    Tata Elxsi-VCL Arjun: The Warrior Prince Invades www.tataelxsi.com/vcl Bollywood and Hollywood Mumbai, India Visual Computing Labs delivers its Autodesk® Maya® software Autodesk® 3ds Max® software second animated feature film in record Autodesk® Flame® software time using Autodesk® Maya® “From the very beginning, our ambition with Arjun: The Warrior Prince was to create a work of art that would visually transcend other animated Bollywood films created to date. The nature of the story calls for several challenging action scenes that feature breathtaking backdrops, chariot races and battle sequences. To make those appear rich and hyper- real, we relied heavily on Maya; it was our first choice and a natural fit Image courtesy of Tata Elxsi-VCL for the job – giving us all Summary between Walt Disney Animation Studios and UTV Founded in 2001, Visual Computing Labs (VCL) Pictures, Arjun: The Warrior Prince was released of the tools necessary is the visual effects and gaming arm of Tata Elxsi in movie theatres on May 25, 2012. Directed by to deliver the lush, Ltd., part of the multibillion-dollar Tata Group, Arnab Chaudhuri, the film features the vocal talents dynamic backgrounds and and a leading Indian animation and visual effects of Yudhveer Bakolia, Anjan Srivastava, Sachin powerhouse. Over the last 11 years, VCL has Khedekar, Ila Arun and Hemant Mahaur. characters that carry the contributed effects to a number of award-winning story.” films, TV programs and commercials. Operating out The Challenge of two offices, the company has studios in Santa Arjun: The Warrior Prince is an animated —Vishal Anand Monica, California and Mumbai — both supported mythological action film that recounts the untold by teams of phenomenally talented artists.
    [Show full text]
  • The Animation
    The Animation Welcome to the eight issue of our Multimedia Fusion tutorials. This issue will discuss how the Fusion runtime handle sprites animations. All the content of this tutorial is applicable to Click & Create and The Games Factory. Animations and directions in runtime. Fusion's runtime does its best to match the animation with the movement of the character. It does this job at three different levels : Animation Direction Speed For example, if a character is moving slowly to the right, then it will prefer the Walking animation, in the East (0) direction, and it will adapt the speed of the animation to the speed of the movement. Most of the times, the author of the application does not draw all the animations, or all the 32 directions. When this is the case, Fusion has to approximate and find the best animation and direction possible. Matching the animation. If the exact animation is defined, then Fusion will use it. If this animation is not available, then Fusion will revert to the closest animation possible. If this one is not available, to the stopped animation. If the stopped animation is not available, then to the first available animation... Fusion only does this process of animation approximation with the default animations, numbered 0 to 11. The following list describes the correspondance between the action of the sprite and the animation chosen in order of preference... Static : stopped, appearing, walking, running, any available. Moving at speed below 80 :: walking, running, stopped, any available Moving at speed above
    [Show full text]