Release. Pressure. Animate.

Recommendations

Info

did not like it. Dave got fed up. “The only thing I knew to do was to do something he wouldn‟t take – to make it so extreme that he would say, „I didn‟t mean that much! „” He showed it to Walt and Walt said, “There, Dave, that‟s just what I wanted!” (cf. Thomas, Johnston, 1995) Walt wanted animation based on realism, but this was only made perceivable in animation when exaggerated. (cf. Thomas, Johnston, 1995, p.66) Thus, important for an animation workflow is not to copy the exact lifelike motions but exaggerate real-life‟s principles and essences. Walt believed in going to the heart of anything and developing the essence of what was found. If a character was sad, make him sadder. This kind of development often starts from one strong key pose that progresses this storytelling. As we‟ll see when we discuss the methods for animating this is one of the greatest benefits of pose to pose animation. Though, for a general workflow this means that even the small (quick „n‟ dirty) thumbnail sketches of a character should be able to bring over the emotions and action of the character clearly. For this to be possible the animator needs to find the essence and build on top of that instead of instantly thinking of a pose that portrays the emotion as a whole. With the use of reference, checking frame-by-frame and actually researching what makes the character look sad gives the animator the ability to portray a pose that is a caricature of this emotion. (Thomas, Johnston, 1995) Reference of real-life is thus often of big importance. There‟ll be more on the use of reference later when discussing other animation fields. Squash and stretch, one of the principles of animation. The constant discussions at Disney lead to constant progression and got animators making signs to remember what they‟ve learned. Keeping track of new rules and things they should check in their animations. Writing this down resulted in less „memory stress‟ trying to remember it all while working and being in the flow. Helping with staying in the flow for when they had to check their animations against a certain goal. Some of the signs that were found throughout the studio in those days said things like: “Does the shot „read‟ or not?” “Don‟t confuse them. Keep it simple.” 2. The difference in Animation fields 2 4
“Too much action spoils the acting.” “Mushy action makes a mushy statement” “Say something. Be brave.” “Why would anyone want to look at that?” “Really now, would anyone other than your mother like it?” (Thomas, Johnston, 1995, p. 23 & 37) Note that these signs weren‟t rules for everyone to obey, but were written by animators themselves to relieve their memory from the need to keep this in their heads for every second through the day. The workspace of an animator is the drawing board and the layout of his drawing tools surrounding that and often these notes were on top of their desk, above a door or in the hallway. Most of the time stuck in places where they looked at occasionally. Not distracting them from their work constantly, because of the absence of it in their direct work space. This helped them to see it only once they take time off from what they are focusing on. During the creation of Mac „n‟ Cheese we had two pieces of paper on our main wall. One saying: “Does it tell what we want to tell?”, and the other: “Can it be sicker?” This was to constantly remind us to check if the shot was progressing the story and if it (especially the physical intense shots) was as intense as possible. This really seemed to help development. This separate location of the notations might seem irrelevant or unimportant, but it isn‟t. As mentioned while discussing creative flow there is a limited amount of information a human mind can handle simultaneously. Keeping this notations separated from the constant mind helps relieving the mind and making room for what it should be full focus on when in the act of animating, the actual animating. This also shows that it‟s important to not try to digitize everything and try putting all information constantly on screen for digital artists, because this is an intrusion of their direct workspace and can collide with their memory span and emotional state. Thus, their flow. Milt Kahl, had already mentioned this minds limitation a long time ago when he agitatedly answered someone who asked him how he planned out the counteraction on a character: “That‟s the wrong way to look at it! Don‟t think of it like that! I just concentrate on giving the performance – that‟s what‟s important! The play‟s the thing. You‟ll get all tangled up if you think of it in a technical way.” (Williams, 2001, p. 9) And Richard Williams first word in Lesson one in Animator‟s Survival Kit is “UNPLUG!” He tells you to take of your head phones, turn off 2. The difference in Animation fields 2 5
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 and 28: same, hence a „tick‟ of the lig
Page 29: This paragraph is about what in gen
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
Page 79 and 80: - Discuss with supervisor. - Animat
Page 81 and 82:
the animator (like reviews by the s
Page 83 and 84:
By now I‟ve presented the importa
Page 85 and 86:
the final movie too. They might see
Page 87 and 88:
progression of the shot before star
Page 89 and 90:
In management I‟ve noticed while
Page 91 and 92:
already know exactly what pose happ
Page 93 and 94:
(Autodesk Whitepaper - The New Art
Page 95 and 96:
with a limited amount of informatio
Page 97 and 98:
information to be (possibly) presen
Page 99 and 100:
for. Sometimes it is necessary to a
Page 101 and 102:
pop out is simplicity. For every ta
Page 103 and 104:
goals (based off of storyboard and
Page 105 and 106:
up and shut it down instead of a co
Page 107 and 108:
development 22 . Since the tracking
Page 109 and 110:
The same accounts for playing the a
Page 111 and 112:
animation studios, and if it were u
Page 113 and 114:
on it, as well as use it automatica
Page 115 and 116:
offer functionality for this in a r
Page 117 and 118:
guessing right away what the best t
Page 119 and 120:
to focus on only these parts and ma
Page 121 and 122:
een developed through the years for
Page 123 and 124:
data to handle through the years se
Page 125 and 126:
applying it to your objects animati
Page 127 and 128:
allows you to quickly sculpt tweaks
Page 129 and 130:
quickly and easily check your anima
Page 131 and 132:
without worrying about what and whe
Page 133 and 134:
viewing and commenting accordingly
Page 135 and 136:
stimulation might interfere with ac
Page 137 and 138:
A picture depicting an overview of
Page 139 and 140:
of the animating) could need this t
Page 141 and 142:
tools that really helped with the c
Page 143 and 144:
never really ended up using it as f
Page 145 and 146:
But looking at the character from t
Page 147 and 148:
otate around his head took me at mo
Page 149 and 150:
As stated we worked faster and were
Page 151 and 152:
Conclusion The main focus of my res
Page 153 and 154:
management, start using it and twea
Page 155 and 156:
Reference Sources Animation Mentor
Page 157 and 158:
Hoffman, Hans; T. Weeks, Sara; H. H
Page 159 and 160:
1. Workflow and Pipeline clarificat
show all

Release. Pressure. Animate.

Create successful ePaper yourself

Delete template?

Save as template?