Release. Pressure. Animate.

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- Direct results (WYSIWYG) affect the act of animating by influencing the animator‟s choices. It‟ll be easier for the animator to bond and relate with the character as well as seeing how it will end up in the movie. The close resemblance of the puppet to the final result in the movie will help the animator to see what the audience will end up seeing. But on the other side it is important to remember that stop motion is always done in a straight forward fashion and already animated frames can‟t easily be adjusted. The influence of that effect on the overall animation and its style is arguable but – so I feel – not deniable. Since it introduces at least AN alteration to workflow trying out „different ways of „seeing‟ – even more feeling perhaps - the character. - The direct control and physical touch help bonding with the character and allows the character to „live its animation‟ for the animator. It helps the animator keep focus on the character‟s personality and emotions throughout a shot as the character starts living a life of its own. Closest in a virtual environment would be the briefly mentioned tangible interfaces. The next closest and most important within this is the direct control and instant feedback. Not feeling limited by technicalities but instead feeling like the direct and limitless controller of the character‟s act helps making the character live out its actions almost automatically for the animator influencing the quality of animation positively as well as the state of mind of the animator. - The animator always needs to have full focus on the character and his means of movement. The animator should always keep in account attitude, personality, emotion, mood and action of the shot. As this solely already requires lots of the animator, his focus and his mind it is important to note that every bit that could introduce more focus (by workflow customization and a provided toolset) and fewer distractions should be an aim for this research. - According to our findings in this paragraph one thing that can provide great assistance is a clean preproduction, the reference and tests should be thorough and extensively so the animator has a clear goal and knows what to focus on and solely focuses on only what is exactly then of utmost importance. Intensive testing and trying before the intensive portion of actual animating provides a higher quality and speed in production. 2.2 Flowing lines as animation. (Drawn animations, 2D) 2. The difference in Animation fields 2 2
This paragraph is about what in general is being referred to as traditional animation or classical animation. Simply said, it‟s the pen and paper kind. Traditional animation has quite some different techniques according to Wikipedia, but this chapter is not focused on these different techniques. It‟s more about what the workflow is for traditional animation in general. An obvious pick for workflow references of traditional animation workflow is that of Disney. They are extremely popular and their popularity has survived the decay of time through the years. Besides, Disney and its productions is (for most) the founder of the principles of animation and is therefore a good subject for an inspection of their workflow, but even more their development. Through the years team spirit, collaboration and discussions have been an important part of the development at Disney. Since the beginning Walts persistence on creating better animation has been great motivation for all of them and kept every individual on the edge of his seat and focused on finding out new types of wheels, checking which worked and which didn‟t. These experiments and developments were one of the main reasons why they were having discussions to begin with. Occasionally one individual disagreed with another over interpretation and even recollections, but, then, arguments were always daily occurrences where we were making the pictures. That was an important part of the team effort. (Thomas, Johnston, 1995, p. 9) Even more, in The Illusion of Life it‟s said that these discussions were one of the main reasons they were getting their hands firm on perceivable realism in animation and made them so accomplishable with the principles of animation development. Milt Kahl, one of Disney‟s Nine Old Men (Canemaker, John, 2001), mentioned that the Disney animation (in the older days) differed from others because of its believability. At Disney things had weight, the characters had muscles and they were giving it all the illusion of reality. (cf. Williams, Richard, 2001, p. 5) This is exactly what they‟ve developed and learned to exaggerate with their development of the principles of animation, realism. „Even "cartoony" work needs to be grounded in reality (both in physical motion and in a believable acting performance) for an audience to identify with it. I think that's really important to keep in mind.‟ (Kelly in Freeman, 2011a, shaunfreeman.com) But rotoscoping real-life motion in animation always feels off and floating. (Williams, Richard, 2001) So copying real-life one on one wasn‟t really the way to go. Although the principles of animation were based on realism the animation really started to „live‟ when it got exaggerated. Dave Hand was once doing a test of Mickey riding along in his taxicab, whistling, with everything on the car rattling and bouncing. Dave was sure that the animation he created was a laugh and showed it to Walt Disney. Walt disliked it. Six times Dave corrected it, redrawing until he was nearly through the paper and still Walt 2. The difference in Animation fields 2 3
Page 1 and 2: PRESSURE. RELEASE. ANIMATE. How to
Page 3 and 4: “Art challenges technology. Techn
Page 5 and 6: Table of Contents Table of Contents
Page 7 and 8: Introduction Not a very long time a
Page 9 and 10: This is all evolving around the mai
Page 11 and 12: There are two difficulties in discu
Page 13 and 14: 1.2 How can a flow be maintained or
Page 15 and 16: this piece of art - posing the char
Page 17 and 18: You know that feeling when you watc
Page 19 and 20: without any reference or sketching.
Page 21 and 22: 2.1 Animating like a puppeteer. (St
Page 23 and 24: ond with the character often create
Page 25 and 26: everything done smoothly at the mom
Page 27: same, hence a „tick‟ of the lig
Page 31 and 32: “Too much action spoils the actin
Page 33 and 34: working clean and keeping your head
Page 35 and 36: think in the ways of those strong p
Page 37 and 38: the motion and action of the charac
Page 39 and 40: this can be a reliable way for „i
Page 41 and 42: It‟s hard to have a clear distinc
Page 43 and 44: the background. Any distraction at
Page 45 and 46: or the mixed approach as described
Page 47 and 48: customizing and tweaking the whole
Page 49 and 50: as the character parts don‟t actu
Page 51 and 52: As with traditional animation and m
Page 53 and 54: example you could divide the pipeli
Page 55 and 56: ecognizable style on its own, but f
Page 57 and 58: issue. “While early production mo
Page 59 and 60: There‟s a need for a strict goal
Page 61 and 62: Simplicity is what animators seem t
Page 63 and 64: Simple thinking Complex effects Ful
Page 65 and 66: creating a thorough plan that doesn
Page 67 and 68: Because using the early computer sy
Page 69 and 70: work you‟re looking at, regardles
Page 71 and 72: we‟ll see. According to a job des
Page 73 and 74: day polishing splines, arcs and spa
Page 75 and 76: It‟s important to allow supervisi
Page 77 and 78: doesn‟t. For him they were mainly
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- Discuss with supervisor. - Animat
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the animator (like reviews by the s
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By now I‟ve presented the importa
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the final movie too. They might see
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progression of the shot before star
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In management I‟ve noticed while
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already know exactly what pose happ
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(Autodesk Whitepaper - The New Art
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with a limited amount of informatio
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information to be (possibly) presen
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for. Sometimes it is necessary to a
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pop out is simplicity. For every ta
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goals (based off of storyboard and
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up and shut it down instead of a co
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development 22 . Since the tracking
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The same accounts for playing the a
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animation studios, and if it were u
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on it, as well as use it automatica
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offer functionality for this in a r
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guessing right away what the best t
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to focus on only these parts and ma
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een developed through the years for
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data to handle through the years se
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applying it to your objects animati
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allows you to quickly sculpt tweaks
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quickly and easily check your anima
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without worrying about what and whe
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viewing and commenting accordingly
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stimulation might interfere with ac
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A picture depicting an overview of
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of the animating) could need this t
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tools that really helped with the c
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never really ended up using it as f
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But looking at the character from t
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otate around his head took me at mo
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As stated we worked faster and were
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Conclusion The main focus of my res
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management, start using it and twea
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Reference Sources Animation Mentor
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Hoffman, Hans; T. Weeks, Sara; H. H
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1. Workflow and Pipeline clarificat
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Release. Pressure. Animate.

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