IT AIN’T OVER TILL THE CHARACTERS LIVEJust a reminder, if you have a special topic request for next time, or just want to get your favorite cocktail tried out, then be sure toemail me at: tipsandtricks@animationmentor.com right away! Something else I'm toying with is a "lightning-round" of questionansweringfor questions that I've received that don't need a giant article-long answer, so if you have even a tiny topic suggestion orquickie question, send it along!Ok, and now back to our regularly-scheduled newsletter article...Today's topic was suggested by Avner Engel, who emailed to ask a really great question. Basically, he's wondering how you knowwhen you stop working on a shot, call it done, and move on to the next one. It's a tough question, and one I've heard pretty oftenwhen talking to students, so I figured it'd be a good one to tackle!I mean, it *is* something that we all have to wrestle with, to one degree or other. Obviously all of us have our own particular situationsand set of circumstances. Some of us have directors to contend with, some have teachers to follow, some are just animating athome, or working on a piece for their demo reel. But no matter the circumstances of where we're at in our career (or hobby), we allat some point have found ourselves leaning back in our chair, watching our animation looping over and over, and wondering, "So...am I done?"That's such a HUGE question, isn't it? How many times have you asked yourself that? If you're an animator, I guarantee it's in thethousands. Every time you render your work to take a look at where you're at, you're asking that question. Am I done? Is this goodenough? Does it work? What do I have to change?In a way, this is the most basic primal question that an animator constantly wrestles with. When are these characters finally, truly,alive? When can I set this aside and move on with my life!?There's really no easy answer to this, but I'll give it the ol' college try...*TIP 23: It Ain't Over Till the Characters Live*In my mind, it seems like there are three times that you know when you're finished with a shot:1) When there is nothing mechanically wrong with the movement and the performances truly LIVE2) When you're out of time3) When the director says soObviously, the first one is the one that we should all strive for with every single shot we do. This is the ideal in animation. A believable83Copyright 2008 by <strong>Animation</strong><strong>Mentor</strong>.com. All rights reserved. This ebook may not be reprinted or distributed in electronic, print, web, or other format withoutexpress written permission.
performance in every way - physically *and* emotionally. But then again - the question is still hanging there as to how we knowEXACTLY WHEN the performance IS believable. I mean, we've seen this stupid shot ten gajillion times by now, and we're so used toit we can't possibly see it through fresh eyes, right? Of course the emotional performance reads perfectly to us, we CREATED it! Wecould tell you the exact frame that she flips from content to worried!If we're so intimately familiar with our shot after spending so many hours tangled up in it, how can we pull back and figure out if it'sreally working?Well, guess what? We can't.Ok, well - sometimes we can, it depends on the shot. Especially shots that are primarily physical - these we can usually moreaccurately judge, but even with these, we still need to try to find a way to figure out if the sucker is actually FINISHED or not.Some people use the mirror method, which I think I've mentioned here before – basically, you hold a mirror up to your screen andwatch your animation in the mirror. This tricks your brain into seeing the shot "fresh" and can be a huge help in determining whereyou are at with the shot. I do this myself sometimes and find it very helpful.However, the most accurate and helpful way to determine your shot's true level of completion is to (buckle up for this one!) SHOWIT TO SOMEONE!I know you all know that, but it bears repeating. We're too close to the shot, and once it comes close to being done, you absolutely*must* show it to someone who hasn't seen it 10,000 times already. Ideally, you'll show it to a few different people to get a bettercross-section of your potential "audience."Keep in mind, these people do NOT have to be animators. You can show your parents, your friends, your siblings, the neighbor,a janitor - ANYONE. They all have a valid point of view, since they all are potentially the audience for the work you are doing, andat this point, you aren't necessarily looking for a real animation critique – if you think you're finished, you're more just looking forpeople to validate that suspicion.You just need to see if regular people know what the character is doing, feeling, and why. That's it. Ask a few people. If they do,and you think the physical movements are feeling right, then ta-daaa! You're done! Time to pack up and move on down the roadto the next shot.The second way that you know you're done with your shot (and sadly, this can sometimes be more often than actually scaling themountain of animation perfection and planting your flag in Perfect Shot Peak) is when you're out of time.Bummer, I know. But I also know that a LOT of you have banged your head up against this very often in your animation career. We'veall come up against this one at one time or another.Deadlines are a fact of life in this industry, and sometimes that deadline rolls along and your shot is only halfway up that mountain,and you have to set it aside. While this isn't ideal for your demo reel, it *is* potentially ideal for your project's schedule, not tomention for your continuing success in your current job. Deadlines are paramount, and if you are animating for a living, there is littlethat is more important than hitting your deadlines.I know that's no fun to hear as an artist, but it's simply the way the world works. If we want someone to pay us for creating this art,then we have to understand that the trade off is that they will need that art to be finished by a certain time. That's it.But what happens when we run out of time and the shot doesn't look quite right yet?Well, it doesn't matter. You're out of time, so that's that. You put it away and move on.HOWEVER, that's not to say that you can't go back to that shot someday, heave it back up onto its feet, and like Sam carrying Frodoup Mount Doom, drag it the rest of the way up the mountain to Perfect Shot Peak.Remember, these animation files aren't going to magically disappear if you can save them somewhere! My advice if you are on a84Copyright 2008 by <strong>Animation</strong><strong>Mentor</strong>.com. All rights reserved. This ebook may not be reprinted or distributed in electronic, print, web, or other format withoutexpress written permission.
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Animation Tips & TricksBY: Shawn Ke
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INTRODUCTIONWelcome to the First Ed
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FOUNDERS BIOSBobby BeckBobby was an
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TESTIMONIALS“Three things come to
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PLANNINGBecause this is the first a
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REFERENCE MATERIALSWe've been talki
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THUMBNAILSWelcome back!This month w
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BLINKS HAVE MEANINGTip 1: Blinks Ha
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Then a thought occurs to him: “is
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has his shovel in hand. His eyes ar
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THE FACEHey there animators! Welcom
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OPERATIVE WORDSHello Animators!Welc
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So, to make a long story short - ch
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Well, for one thing, you want to sp
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KEEP SECONDARY CHARACTERS SECONDARY
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might glance at him to gauge his re
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ACTINGHello Animators!Welcome back!
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If you ignore the principles of act
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Anyway, if the whole point of exagg
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FORGET ABOUT THE LEGSHello animator
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