Release. Pressure. Animate.

We can get nice drawings and clearly
readable positions.
It‟s in order – the right things happen at
the right time and in the right place in the
overall time allotted.
The director loves us.
It‟s easy to assist.
It‟s a quick way to work and frees us up to
do more scenes.
The producers loves us.
We keep sane, our hair isn‟t standing on
end.
We earn more money as we are seen to be
responsible people and clearly not mad
artists. Producers have to deliver on time and
on budget, so brilliance is not rewarded as
much as reliability. I speak from experience
working both sides of the fence. They don‟t pay
us for „magic‟. They pay us for delivery.
– equally unnatural
It can be too literal – a bit cold-blooded.
No surprises
Where‟s the magic?
The list on pose-to-pose from Animator‟s Survival Kit. (Thomas, Johnston, 1995)
With pose to pose everyone in the teams knows pretty soon what the end resulting poses
will be like and the animator himself has a better focus on timing and positioning. This
makes the director happy and the team happy as they‟ll be able to see what you‟ll finally
produce pretty early on. It can also relieve some stress of the animators mind as he
knows what the character will be doing at those key moments. Creating the key elements
and storytelling poses first will make the animator try to tell everything in that one frame
clearly. If he‟s able to do so he has often made a good pose which he can work from,
likely an exaggerated essence. Because these key elements are extremely important for
the story, one might put some more time into them and really focus on what they tell;
taking the form of the character, believability of the pose and attitude into account. Then
in pose to pose the animator starts adding in the next most important poses, and the
next important poses, again and again until he‟s done all frames in-between. Although
2. The difference in Animation fields
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