Pixar Class Week 2

• Not showing anticipation-----feel like some other force applied to
• accelerate until foot leaves
• after contact frame-----spacing is getting more small
• need show very obvious contact frame!!
• it is difficult to stay at the same place when the torso moves so much spaces-----step forward
• contact frame is STRAIGHT
• at least 3 frames are required to let audience see what it going on the screen
• heavy ball takes a lot more frames to stop-----root is the heaviest part of the body(ball)
• every frame should be able to tell a story-----posing is very important

Polish Checklist

1. Show People
2. Pose++
3. (Drag) Loosen Body
4. PBJ-----Physics Believable Jiggly
5. Intersection
6. Arcs&Spacing-----trace root, nose, wrists, elbows, feet and knees
7. Show People!!

• Trace nose-----can see what causes weird movement going on the torso
• Jiggling-----(ex, 4frames-6frames-8frames start move around with 4 frames)
• GLEN KEANE-----TILT, RHYTHM, TWIST
• SEE contact poses!! not only feet but hands, contact pose is straight!
• Neck-----massage overall shape of the torso

AnimSchool -- Selections From Animation Principles Lecture

Looks Awesome :D

Pantomime

Can You Provide Some Tips For Good Pantomime?

The biggest challenge of pantomime is clarity.

A good technique for judging how clear your poses are is to look at them in silhouette.

Also, video reference is incredibly useful as a tool for good body mechanics.

-Strive for clarity in your pantomime so that an audience can clearly understand both what the characters are doing and also what they are thinking and feeling.

-Focus on strong, clear poses that are both aesthetically pleasing and tell the story.

-Make sure that the timing in your shot helps the character feel like it is thinking as well as doing.

-Give the eyes plenty of attention in your animation, because they can totally sell your character's internal process.

-Make sure that your acting choices feel real and not contrived. Avoid the cliches when possible. Pantomime can be cartoony or realistic, but the character needs to be believable in either scenario.

-Use video reference as a tool for planning your shot and as a reference for body mechanics.

-Be sure to enjoy yourself. Shots always turn out better when you have fun working on them

Bad Acting Speed

Acting speed depends on the character's emotion, in the certain circumstance. I kind of liked this acting, when he reacts what he saw on the dish. He goes like..frozen. I used to like this contrast and pose BUT, what do you think he's seeing inside that? He moves super quick and frozen...umm I was actually thinking inside that was something he does't like but look at his face!!

He is more like SCARED!!...it actually more looks like someone pointing a gun to him...and I was like"what the hell is this crap pose, and timing?"

There's no great pose without any definition of circumstance, character and situation. I will change this pose and timing and will pose it later how this pose changes.

I remember what Pixar animator said, exaggeration is not big pose but -ER pose!! I need to change this pose more "ew I don't wanna eat this"er pose. and Tom also told me, acting speed depends on the emotion, if he is happy, he might move slowly and if he is surprised, he might move quickly (OF COURSE, the kind of happiness also need to be considered!! like... WHY he is happy? What is he surprised at?, which means he can move very very slow, even if he surprised) ...see? Depends!!

Follow-Thought / My Animation Notes: "Well, It's About Poses !"

Follow-Thought / My Animation Notes: "Well, It's About Poses !"

I remember that my Animation Lead once points me out a mistake that starting animator will sometime do. He points me out that beginner animator will sometime add more poses (breakdowns) in their animation trying to fix an animation where poses are already not working well together, as if adding more poses would “solve the problem”.

Don't fall into the trap of believing that people will understand your animation once it starts moving [they should understand it just by seeing a few poses with clear intentions]”

Posing

Act out and see if each pose is not too extreme, and physically natual