Release. Pressure. Animate.

Recommendations

Info

should if possible be removed, and preferably become smooth, joyful and comfortable to produce. Animators should first get lots of ideas, plan out and constantly improve towards better poses and action before starting the complex animation process. Having constant inspiration and motivation gives guidance to the act and thus creates a sense of control and a way to work towards a predefined goal. Animators do switch to new tools or workflow, but not every single adjustment that comes to their field is used. There seems to be a couple of rules to get people to switch or shift towards trying new tools and actually have animators to start using them in production. Of course, the usage of a new workflow, pipeline or tool should be beneficial; preferably it should even seem to be so at first eye-sight. And/or it should provide new possibilities and techniques that wouldn‟t have been possible without. If something new becomes possible with it that you need in production you‟ll have to use it anyway, because it can only be done this way. Nevertheless the animator should quickly feel comfortable (like Wacom Cintiq vs. Wacom Intuos.) Again, preferably it should be instinctively more comfortable, because as with paper versus the Wacom Intuos the old and rusty can have a hard time switching and will (if possible) choose to not switch at all. If it simplifies tedious daily tasks or helps being consequent the animators already start getting interested. As you can see there‟s already a lot of useful information in the discussed animation fields. The usefulness of ideas and the similarities and differences between these key points and those that will be found throughout the next chapter will be distilled into useful guidelines for our tool development later in this thesis. 2.6 Concluding the style difference. Within stop-motion, 2D traditional animation, 2D digital animation and motion capture I‟ve mentioned and explained the pretty different styles of animation it results in. There are a couple of differences we can find in the style. The following list portrays the contrasts that have been found. Versus Choppy Motion Clean and Smooth Curves Intuitive „magic‟ Literal planning Rotoscopy/Performance capture Exaggerated essence Rich textures Simple shading Graphical Sketchy 2. The difference in Animation fields 5 6
Simple thinking Complex effects Full redraw Frame-by-frame part positioning Stop motion is acclaimed for its non-smooth motion and clearly falls in the choppy motion part. But, stop motion can be clean and smooth, like with Coraline (2009). Though, most often you‟ll find stop motion to have a somewhat choppy motion. This is because the animator can‟t smooth out or clean up the animation afterwards and everything is animated in one straight ahead run. The same accounts for traditional cut- out. For 2D animation, traditional as well as digital, creating clean and smooth curves is often easier as the animator can tweak parts of the animation whenever he wants. Even if the basic run is done in straight ahead, the clean-up and touch-up afterwards can smooth out the overall motion. This extra pass then cleans up any hiccups or unwanted choppiness in the animation, whereas stop motion doesn‟t allow for that. This is also very well possible within the 3D animation workflow, as the data can easily be adjusted anytime. There‟s also motion capture, which takes a real-life performance as input data and outputs that as data on a virtual character. Often this has a little bit of both sides; it offers great texture/finesse in the animation from human motion creating choppy motion combined with clean and smooth curves. This added detail can be a benefit, but a letdown as well like we‟ve seen with the uncanny valley effect. Often the flow of 3D Animators leads towards the smoother - starters often end up with fluid feeling animation - motion, because of the inbetweening of the computer. I‟ve also seen this happening with bad digital cut-out animation as well, but its watery motion is generally accepted as a bad thing. We, the audience, prefer exciting motion which we perceive in the combination of hard and fast curves opposing with smooth curves. Avoiding this is best done by not allowing the computer to control too much of your animation, thus needing you to plan out the animation before allowing the computer that control. With animating there‟s a style difference coming from pose-to-pose and straight ahead. Working straight ahead can make the animator go along with the action and movement as he draws and go to places and poses the animator might not at first had intended to go for, it‟s magic. Though, good planning is needed for good timing with voice acting and clear storytelling as straight ahead can stretch to a way longer time than you originally intended to. But still, straight ahead gives good follow-through and motion in mass as you constantly think how everything will react on touches and emotions while keeping its current velocity in mind, it really gives a feel for action. Whereas planning often leads to great poses and predictable timing, but can lack the „magic‟ for as well the animator as the audience. Often a combination of the two is used, giving the best of both sides. 2. The difference in Animation fields 5 7
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 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
Page 57 and 58: issue. “While early production mo
Page 59 and 60: There‟s a need for a strict goal
Page 61: Simplicity is what animators seem t
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?