When a moving object such as a person comes to a stop, parts might continue to move in the same direction because of the force of forward momentum. And incidentally, this distinction is just as important in computer animation, where molding a pose at each keyframe is the equivalent of making a drawing. Mastering both techniques and combining them is the best approach to being a successful animator because then you can get both structure and spontaneity. The problem with it is that it’s like running blindfolded… you can’t figure out where you’re supposed to be at any one time. Straight-ahead action is less planned, and therefore more fresh and surprising. The problem with it is that sometimes it comes off as too neat and perfect. ![]() By doing the main poses first, it allows you to catch any major mistakes early. You can see early on where your character is going to be at the beginning and end instead of hoping you’re getting the timing right. Pose-to-pose gives you more control over the action. With pose-to-pose, you draw the extremes – that is, the beginning and end drawings of action – then you go on to the middle frame, and start to fill in the frames in-between. Straight-ahead action is where you draw each frame of an action one after another as you go along. It builds from problem to realization to shared understanding, to the beginning of a solution, all in a visual telling.Ĥ) Straight-Ahead Action and Pose-to-Pose This motivates the cut to a medium shot, which then pulls back to the two-shot to reveal that his colleague is also worried about this problem. The protagonist can’t see his subordinate, but the subordinate is so busy that the sound of his scurrying to and fro is enough to draw his attention. In the clip below from our video for Sevanta Dealflow, the placement of the character within the scene allows us to quickly follow his actions and gives us a good sense of the physical layout. It directs the audience’s attention toward the most important elements in a scene in a way that effectively advances the story. Staging is one of the most overlooked principles. When filming a scene, where do you put the camera? Where do the actors go? What do you have them do? The combination of all these choices is what we call staging. She then bends her knees in anticipation of what’s about to happen and springs into action by leaping from the ground up into the air. We first see the woman as she’s standing on the box. Notice how the progression of action operates in this scene. Let’s take a look at an example of anticipation in animation from a spot we did for Eastlink Wireless: The player striking the soccer ball would be the main action, and the follow-through of the leg is well… the follow through. What’s the first thing you do? Do you swing your foot back to wind up? Steady yourself with your arms? That’s anticipation.Īnticipation is the preparation for the main action. ![]() Imagine you’re about to kick a soccer ball. This conveys a sense of weight in each letter. Conversely, the letters squash horizontally when they come into contact with the ground. When the letters spring from the ground, they elongate to show the impression of speed. Squash and stretch imitates that and exaggerates it to create some fun.Ĭheck out the example below from the TV spot we did for Eastlink: All shapes are distorted in some way or another when acted upon by an outside force it’s just harder to see in real-life. This effect gives animation an elastic life-like quality because although it may not seem like it, squash and stretch is all around you. ![]() The force of the motion squashes the ball flat, but because an object needs to maintain its volume, it also widens on impact. Look at what happens when a ball hits the ground. Squash and stretch is debatably the most fundamental principle. The twelve principles have now become widely recognized as a theoretical bedrock for all animators, whether they are working on animated entertainment, commercials, or web-based explainers.Įach principle is vital to the animation process, so let’s dig deeper into each one. The pair were part of Disney’s “ Nine Old Men,” the core group of animators at Disney who were instrumental in developing the art of traditional animation. In their 1981 book, The Illusion of Life, Disney animators Ollie Johnston and Frank Thomas introduced the twelve principles of animation.
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |