Character Animation:
Careful not to make the
timing too even – there should be planning and rhythm to these movements
Some close together, some
far apart, and when appropriate, grinding to a halt, not moving at all and
settling into a hold.
Timing:
If holding character> MAX
2-3 seconds
-
Should be broken
up by a blink or subtle secondary animation
Should start moving your
character no earlier than eight-frame hold
Holds should always be MIN
of 6 frames
Arcs:
Follow arcs in all
movements!
Think about overlapping
Think: signal triggered by
brain, sending that signal through the body. Whats closest to the brain moves
first.
Anticipation:
Easing in and out
Performance:
Think of your character and
who he is…
What ever goes on inside
your characters head will affect how it moves and performs on the outside!
My character:
- Old/frail
- Sad/depressed
through loss
Slower movements, close
together, requires more frames!
When acting out your
character bare in mind the following:
-
Who is the
character?
o An old man who has suffered the loss of his wife and
relives his memories through their memory book as he takes his last breathe of
life.
-
What mood is he
in?
o Sad/depressed, but reminiscing on happy times with
his wife as he looks through their memory book
-
What is he doing
in the scene and why?
o Looking through a memory book of him and his wife as
he misses her dearly
-
What happened
right before this scene took place?
o He went to pick up the book and just sat down in his
chair
-
How does the
character feel about what is going on?
o He’s sad that he is alone and his wife is no longer
with him but is enjoying looking back on his memories.
Study other animations- look
closely at the acting choices> when you notice a good performance, what
makes it good?
Always important to think
about movements that may occur and to make sure there is enough negative space
around the character to make this happen.
-
Could be applied
to Spirit character scene going into book?
Think what sort of movements
will suit your character
Pose-test:
Also known as pop-through
Key poses> idea is to
block out a practice run of what the animation might look like in the final.
Visual Effects:
Look at Ray Harryhausen’s
films
The goal for any film should
be to create inspiration!
Don’t use VFX just for the
sake of it- don’t draw attention to them, they should serve the story!
Film Compositing:
Blue/Green screen
Which colour is more present
in the set?
-
More or less the
same amount of blue and green in the set… does this mean it won’t work?
Motion Blur:
Ron Cole technique:
Created at least 3 copies of
each animated scene; he then removed the 1st frame from the 1st
copy, the first 2 frames from the 2nd copy, and then left the 3rd
as it is.
Then layered together, ad
the opacity was altered in each of the layers.
Overlapping each other,
centre being the most visible.
Another technique is using
the smudge tool and Gaussian blur in Photoshop.
**An effective blur should
follow the objects path of action.
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