Lip Sync and Character Animation The following short descriptions are paraphrased by Nataha Lightfoot and expanded upon by me from the "Illusion Of Life" by Frank Thomas & Ollie Johnston.(pp.47-69) Look these up and read the original version for a more complete and thorough understanding. Click on any of the principles below to go to the definitions 1. Squash and Stretch 2. Anticipation 3. Here are some additional principles that I've added into the list: Back to Animation School Index Home Page James Baxter - Notes on Acting for Animation Performance Animators are the ones that throw the switch; the ones who make an audience forget that they are animated characters. The most important thing is to try and find the truth. But you can’t do this by “method” animating. Best note of the day: You don’t have to do improv classes (Yeah!) When you act out a scene, it’s important to remember that it is your body you are acting with, not your character’s. Bill Tytla was the first animator to take acting in animation seriously. Real Acting Stanislavsky was the one who focused actors more on their preparation rather than on acheiving results. Meisner believed it wasn’t enough to rely on a sense of memory - that your memories were inadequate for the task of acting. Sandy Meisner’s famous quote that great acting is - “the ability to live truthfully under imaginary circumstances.” Approaching a Scene Many things to consider in your preparation for a scene: • The context of the scene in the sequence • Best way to stage a scene. Staging Posing
Animation Notes Contents Cut Outs - Straight Ahead Animation The projects below are not required submissions but the notes may be of interest to you. Please refer to Chris Barker for your animation assignments Metamorphosis - Hand Drawn AnimationKey Pose drawingsWalk Cycle - Character AnimationLip Sync - Making a Character TalkClaymation "The Audition"Pixillation Experimental Animation Animation Story Writing | Bramhaa Animation Story Writing Lessons Index 1. Magic formula for best animation movie 2 Basic Story Structure (Setup -conflict -resolution) 3. Logline of story 4. 12. 13.Conflict with Situation 14.Progression of Conflict 15. 16 Progression of Conflict in detail 17. 18. 19. 20.Case Study : How to Train Your Dragon : Character Relationships 1. click here 2 . 3.Logline of story what is Logline ? 4. Set up starts with 5 elements they are 1. 5. what are the Rules ? why knowing and applying , introducing Rules is Important? 6. How to Introduce the Character and their Relationships ? What is the Importance of new tool called “Situation”? How this tool can be implemented in story ? 7. How to introduce the Motivation And Goal ? What is the relationship of Motivation And Goal? What is the outcome of Motivation and Goal? How Motivation And Goal Play together? How they work individually? 8. 9.Introduction to Conflict What is the Conflict ? What is the outcome of Conflict ? How to introduce the Conflict ? 10. 11. 12. 16. 1.
Gorilla Resources Page Shawn Kelly on acting. Notes on acting from Doron A. Meir. Victor Navone on exaggeration. Ed Hook's notes on acting for animation from the blog of Carlos Baena. Shawn Kelly on operative words. Notes from Eric Larson. Carlos Baena discusses how to play on an audiences expectations with your acting. Carlos Baena examines some expressions. Victor Navone demonstrates how to animate a facial take. Carlos Baena on internal and external dialogue. Carlos Baena analyses a scene from the Mupet show. Victor Navone has a great new post on animating eyebrows up, I particularly likes the list of common eyebrow behaviours. See how many different animators tackle the same piece of dialogue in the internets biggest animation contest. Some notes and an example from me about the advantages of Acting A Scene Out. This one from Tomas Jech is about giving your character subtext, what I would call gestures with meaning.
rethinking the run cycle While I was looking into options for running again (post hip-arthoscopy), I've started reading a lot about "pose" and "chi" aka, "minimalist" running techniques; essentially landing on the midfoot and keeping a slight bend in the knees as way of lessening impact while running (and preventing more injury) As I looked into it more, I started approaching it all with an animator's eye. One of the things I love the most about animating is researching motion - finding the right movement style for the character, or sometimes just learning how to see deeper into specific types of motion. I'm always used to approaching a run like this: But looking at real life as way to inform your animations: (Examples below (taken from ) This shows the standard footwork in most animated run cycles. Now let's check out the midfoot running style. Another how to by the pose running guru. So what does this mean for animators?
Recipe for Success | ..::avneriginal::.. Today we are going to cook up a shot, roll up your sleeves, put your apron on, cause we are going to have some fun! A few days ago I was watching Master Chef (which is a cooking show for those of you don’t know) and it got me thinking about the parallels between cooking and animating. When cooking or baking you need to make sure you have all the right utensils and ingredients in order to make sure you can follow a recipe from start to finish. There is an elaborate preparation process also known as planning where the animator needs to figure out what he/ she wants to make and how it fits in the picture. I guess what I am getting at, is that you can’t turn on the computer and expect to create something just like you can’t get into the kitchen and expect something to be baked or cooked. Another one of the common occurrences that came to my attention is the term ‘putting the icing on the cake’. Remembering what you ate saw and how it made you feel inspires you to put your own spin on it.
Carlos Baena I'll go over what my method of working is NOT from a Technical point of view, but more from a Planning point of view. Each area is a big area in animation. I wanted to share my thoughts and things that help me in planning a sequence. First of all, whenever I start working on a new shot, I try to keep it as fun as I can regardless of whatever deadlines we have going on. So I try to spend a bit of time at least exploring out the CREATIVE OPTIONS and POSSIBILITIES of whatever shot or sequence I'll be working on. I had some of this material from a talk I gave at Siggraph a few years ago, and I felt it would be helpful for those interested in what are the planning elements I've used in shots, to help me dive into a sequence. Some of these materials were: Previous animated shots with the character Storyboards Layout Film Footage Reference Personal Video Reference Posing Reference Thumbnails. The first one is an obvious one. Then I look at the layout created for the sequence.
Thinking Animation Blog: 10ThingsToThinkAbout 10 Things to Think About - from the book Thinking Animation by Angie Jones and Jamie Oliff. This is one of the lectures I use at the online school ianimate.net. I created this list for my book Thinking Animation to help animators create a clear and solid message with their work. #9 Eyes: (This particular lecture is much longer when I teach. Basic Notes on animating Eyes: Eyes are windows into the soul and the soul is controlled by the mind.Eye darts and glances tell more than any other gestures in the body when used in the right place in the scene. Overview of Eye Movement: Never animate without a reason! ...eye shape: when the iris moves around the eye the lid cuts across it changing its shape from round to oval. ...lid shape: The lid itself changes shape as the eye line changes and the brow pushes down on it with emotional poses. ...darts: Darts tell us the character is thinking, confused or trying to understand something. ...blinks: Never blink unless there is a reason! Eye Darts:
The Animated Cartoon Factory's Animation School Welcome to the The Animated Cartoon Factory In this new section of the website you'll be able to access some really neat free learning materials that will assist you in your studies. If you're already enrolled in an animation school somewhere, this information will suppliment the stuff you're getting in class from your instructors. I've been teaching animation now for 23 years at Seneca, Humber and Sheridan College so I know how it works when you're in school. In this section of the website I want to try to give you as much stuff as you can take. Dig right in. (If you have any suggestions about stuff you'd like to see here, let me know with an e-mail to: firstname.lastname@example.org.) Index
Principles of Animation "Not only do sympathetic characters need appeal in their design, but villians and comics should have just as much. Appeal is the pleasing and fascinating quality that makes a person enjoy looking at any drawing" John K Stuff blog is a really useful blog site for gripping the basics of these principles. I especially liked this quote as it explains the principle of 'appeal' so simply. Appeal is the quality which makes you want to look at something. An obvious example would be to look at the Disney Princesses, as the protagonists of the film, eg. From a brief look at the Disney Princesses, their physical appeal is similar through out - large eyes - heart shaped faces- symmetrical faces are thought to be the most appealing - usually long billowing hair (free loose hair has sexual connotations linking back to the 1800s) - petite waist - further emphasising their femininaty - clothes tailored to exentuate breasts Good night!
Tim's Animation Mentor Blog Job, Joris & Marieke are a small studio based in The Netherlands who produce independent short films, music videos, commercials and illustrations. Their most recognised short thus far, “A Single Life”, earned an Academy Award nomination earlier this year. They have recently followed it up with “( Otto )” which premiered at the Toronto International Film Festival and has been selected as the Dutch submission for the 2016 Academy Awards. I recently spoke with Joris and Marieke about starting their studio after college, their inspiration for ( Otto ) and their unique style. I read you studied graphic design and product design at university, how did you learn your storytelling and animation skills? Joris: Well we learned by ourselves for the most part, we started out with stop motion and we looked at a lot of making of clips and tutorials to learn that part. So how long after university did you start a studio? Tim: Yeah, I definitely know it. Joris: So we did that. Tim: Did he sell them?