Release. Pressure. Animate.

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4.4.1 Concepts for preplanning ....................................................................... 107 4.4.2 Concepts for character posing ................................................................ 112 4.4.3 Concepts for notations and logging ......................................................... 123 5. Stress testing the toolset ................................................................................. 132 5.1 The Mac „n‟ Cheese (2011) production .......................................................... 132 5.2 Using the tool together with other animators ................................................. 135 5.3 Productivity test......................................................................................... 137 5.4 Does it influence my/our style? .................................................................... 143 Conclusion ......................................................................................................... 145 Reference Sources .............................................................................................. 149 Attachments ...................................................................................................... 153
Introduction Not a very long time ago I had a discussion with one of my best friends, to be more precise my girlfriend, who is also into animation. I remember the discussion clearly because it has been a life altering discussion and ever since, getting dressed and undressed has been a pleasure. Sometimes even without her around there has been some improvement in the act of dressing and undressing. It all started when I was getting undressed after a long day of work and I heard her laugh from across the room. I, of no wrong doing aware, asked her: “Why are you laughing?” She answered: “It‟s the way you take your shirt off. It‟s a boys thing. Girls do it differently.” She told me she had noticed this through the years out of her interest in body movement and motion. At first the discussion was pretty pointless, as there was just „that‟ difference. But after a while and after trying out the different techniques I‟ve found out that the man‟s technique of taking off a T-Shirt is actually a lot slower than how a girl does it. The girls‟ style is a gentle approach, where the arms follow a nice curvature and give flow to the body where she can proudly, and if she wishes be sexy, shake her hips while she undresses. Think of a woman walking towards you while she is undressing on some striptease music and you‟ll understand the basic motion. Men on the other hand have a different approach; it‟s not at all based on smooth lines and fluent motion but is pretty straight forward. It might be just me, but my instinct tells me that if you want to move something you just pull it, and it doesn‟t really matter where you grab the object you want to move as long as there‟s just a result of your action. Here, the removal of the shirt. Ever since I‟ve been switching gender on the matter of this subject I‟ve been able to make a choice on how I want the resulting motion of the act to be. Sometimes it doesn‟t matter at all how you undress, but it might be, sometime, the most important thing of all. Say you‟re getting undressed in front of the girl you love, you wouldn‟t want to screw that up, would you? Or, you might be an animator. And the motion, the curvature, the result and speed of any approach that differ might have a function in your work and its results. Introduction 1
Page 1 and 2: PRESSURE. RELEASE. ANIMATE. How to
Page 3 and 4: “Art challenges technology. Techn
Page 5: Table of Contents Table of Contents
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 and 30: This paragraph is about what in gen
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
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issue. “While early production mo
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There‟s a need for a strict goal
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Simplicity is what animators seem t
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Simple thinking Complex effects Ful
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creating a thorough plan that doesn
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Because using the early computer sy
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work you‟re looking at, regardles
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we‟ll see. According to a job des
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day polishing splines, arcs and spa
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It‟s important to allow supervisi
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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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