Peter Pan Master Study

ianimate ws5 assign 02 story ideas

originally written in 2013 but didn't post. a good reflection of my process into a dialogue shot at the very early stage:

ws5 journal assign 02
01/11/13 10:24
spent yesterday going through audio clips and landed on what i think is going to be the choice.

the general idea is a car salesman trying to make a hard sell on a lemon. i realise you can take out the opening audio and he doesn't need to be talking about a car. a thought i have is he could nervously touch the car and something falls off it causing him to quickly put it back checking to see if the customer saw.

i feel like i need to be more specific about the scenario and the character. was thinking along the lines of Jerry Lundergard from fargo for character: http://www.youtube.com/watch?v=E5gwc4UizUc

and a scenario like this monty python skit: http://www.youtube.com/watch?v=9igQ18GIqvc

 did some sketching and did the who what where when.  got to remember to follow ed hooks' action objective obstacle, really helps distill what you are trying to say.
i went a bit away from the salesman idea and started sketching a scientist with a james bond type character inspecting his new issue car. what struck me was how adding the 2nd character as  slightly menacing helped with the dynamic of the scene and  to connect with the genuine interactions of these characters.

also note the clear difference in body language and how that instantly sets up the characters and context.
so i went back to the car yard with this new idea of introducing character number 2. the main issue i was having was giving car salesman stakes. why was he so nervous? what worked about prev sketch was the nature of the pose of jb character in contrast to scientist. he is leaning casually on the car but his body is thrusting towards the scientist giving a sense of veiled threat- which is in keeping with a jb type character. it is in this pose alone that introduces the stakes, the audience already sees the threat all we need to do is reinforce it.
at this stage i am bringing in a character that is either a safety inspector or an overly shrewd customer.

the comedy in this i feel is the fact that the threatening character in question is much shorter than salesman.
when going into further development remember to keep the following clear:
head, shoulders, arms, fingers of salesmen in clear silo
head and neck of customer/ safety officer in silo
hood ornament in silo

jupiter run cycle

Playing with the Jupiter rig

Three Flip Studios

toon hole

This is a good resource for looking at posing, staging and simple storytelling.

http://www.toonhole.com/

breaking the joint

in animation, the breaking of a jointed limb is key to showing force travel through the limb.
when an object such as an arm moves through space, the limbs attached below will drag behind until the primary limb has either slowed down, stopped or changed direction. when this occurs, the lower limb will keep moving due to the momentum built up by the primary limb. as the limb swings past the centre line of the primary limb the joint has been broken.

going to the life action ref, you notice the drag occuring in the 2ndary limb (blue) by the straightening out of the arm. Although the movement is slight, this straightening out is what gives the arm its flexibiltiy and ability to generate force through it. as the arm reaches its extreme fwd movement it slows down and the secondary limb to catches up with it. the movement is slight and appears stiff when it is copied.

studying the swing of a human arm you will notice that there is not the xtreme joint breaking as depicted in animations. but its is still important to examine real life movement and see where the oppurtunity for joint breaking can occur.

take that breakdown drawing of the arm mid swing, what if we drag that secondary limb so it passes the upper arms cog, thus "breaking" the joint.

 when we jump to the extreme forward position we feel  the force more clearly being exerted through the arm.

the arm swing now feels more loose and flexible.

surprise take

shot some ref to get poses i liked

                             thumbnailed the action. the final pose took me a few go's to get right.

took thumbs and posed out keys. captured and timed in flipbook

redrew keys and added some breakdowns

the rope pull

Planning:

video reference

Before jumping in to any animation, i usually plan it out beforehand. It is important to understand the body mechanics of an action. Therefore it is often best to act it out and/or gather reference.

In this case i couldn’t find the kind of reference i wanted on YouTube, so i filmed the action out myself:

 Analyzing the reference

From here i studied the motion and extracted the key moments of the footage. It is important to train your eye to understand what these key moments are. I look for things such as: point of direction change in body, extreme high and low points of the hips and when the foot contacts the ground.

Now i have this information i will start to thumbnail these poses and make notes. when i thumbnail, i start by drawing the line of action  of each pose, then draw the hips, torso, head, legs and arms in that order. This helps me to understand the forces at work.

I then adjust the drawings and make notes, i will have this next to me while i animate so i can refer back to it while i am working on a pose. I also make little notes on the timing using timing charts.

Layout:

Once i am fairly confident with the specifics of the action, i then create a layout of the animation. The purpose of this is to map out the parameters of the movement through the shot. Here i am thinking about how each pose will flow in to the next. This will sit at the bottom of my pile of paper as i draw in my key poses.

Animation:

Laying in the keys.

Using the layout as guide, i sketched in my key poses on the light table. I drew these in the same way i tumbnailed, doing a straight ahead pass on the l.o.a then hips, torso etc.

 Flipping the poses back and forth allowed me to see the poses working together and i could see where i needed to adjust. Note the more extreme pose drawn at 37.

I also drew timing charts on keys: 10, 19 and 27. I changed the timing later in the computer but they were a good starting point.

Breaking it down:

Now it’s time to break the poses down. These secondary poses help to define the movement. The breakdown serves 3 basic functions: favouring, arcs and overlap. I refer to the notes made in my thumbnails as well my timing charts for their placement.

Flipbook.

Now i have all the keys and breakdowns done, i shoot the animation and bring it into flipbook and apply the timing

For the most part timing works ok but i shuffle the frames around a bit to tweak timing. then i redraw the keys and bd's in flipbook and do a pass of inbetweens to flesh out the movement some more.

Stagger effect.

Now that i have the ease worked out to show the tension on the rope, it's time to shuffle the frames around in flipbook to convey more effort is being put into pulling on the rope. The way to achieve this is to take all the frames after the point the rope goes taught and interleave the frames. The method in this case is to jump ahead two frames then back one. I do this until i have reached the final frame.

 I draw in a drop shadow and background to give it a bit of context and have also gave the character a bit of antic before moving backwards. I still need to spend more time refine the inbetweens and cleaning up the animation but it will do for now.

flour sack animation

great flour sack animation by Ron Zorman. to me it's a reminder how strong posing can take you so far to success with animation.

http://vimeo.com/40129870

girl spin

hnnngg!

links from ws 4 qnda

thief and the cobbler

http://www.youtube.com/watch?v=bggDbbKyuXk

making of:

http://www.youtube.com/watch?v=P_d2wLwKdnY

roger rabbit:

http://flavorwire.com/376752/10-reasons-who-framed-roger-rabbit-was-revolutionary

demo reel tips

http://www.carlosbaena.com/resource/anim_DemoReels.html

aaron gilman

 Animation supervisor at Weta

http://www.aarongilman.com/

who, me?

ball Kick breakdowns

Ball Kick Flip Book

Been catching up on Jason Ryan's qanda's of late. Really trying to soak up as much of his process as possible. Some points ive observed on the flipbook pass:

The flipbook pass is really good for coming up with a scene from scratch.

Before worrying about timing, spend time on discovering poses that communicate the scene and attitude of the character as well as camera angles and composition.

Work in the antics, overlaps, arcs etc when planning. it so much easier to think about these when they're just drawings.

Figuring out eyeline is important at this stage.

Show the thought process.

Think about how the poses will transition to each other. look for the shape change.

This is where you work out the story. solve all the problems of the narrative.

Spend alot of time on the key poses, make sure they express the right attitude.

Before i got to animating this scene, i spent some time thinking about what i was going to do and did a very ruff storyboard. its a bad idea for me to just open fb and start drawing, i dont have any sort of concept and its very hard to formulate a story.

Also, i found the avery style run in mid air thing easier to solve when i combined the legs area into a blob and moved it as one not trying to think about which leg goes where. this stopped me getting confused by the details. instead i had 2 separate components that i could think about in terms of primary and secondary mover.

"I've Been Animated"

august life drawing

Over the last couple of months I have become more aware of the importance 0f angles to represent form more accurately.

observational sketches