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20120827120826 lecture 03_prod_process_n_principles_of_anim


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20120827120826 lecture 03_prod_process_n_principles_of_anim

  1. 1. Dr Tan Wee / 012-9542221Faculty of Art, Computing and CreativeIndustry, UPSI
  2. 2. Lecture Outline Animation production process 12 Principles of Animation How to apply principles of animation in facialexpression How to apply principles of animation in walk cycle
  3. 3. Animation Production ProcessPre-production Idea / imagination /sketching Concept / treatment Thumbnail board Character design Prop & set design Audio design Storyboard design Shooting board design Animatics
  4. 4. Animation Production ProcessProduction (3D) Character modelling Prop & set modelling Texturing & mapping Character set-up Camera set-up / digitallayout design Digital animatic Animating Lighting & RenderingProduction (2D) Draw keyframes Draw in-betweens Test (pencil / preview) Animate background Camera setup Shooting / capturing
  5. 5. Animation Production ProcessPost-production Visual effects Compositing Editing Final Output
  6. 6. Animation Production ProcessInspired 3D ShortFilm Production pipeline
  7. 7. Principles of animation Squash & stretch Anticipation Staging Pose-to-pose & straightahead action Follow-through andoverlapping action Slow-in and slow out Arcs Secondary action Timing Exaggeration Solid modeling Appeal
  8. 8. Squash & stretch A given object possesses some degree of rigidityand intuitively has some amount of mass. This is reflected in the distortion (squash andstretch) of its shape during an action.
  9. 9. Squash & stretch
  10. 10. Anticipation The setup before the main action. It lets the audience know that something is aboutto happen and gathers the necessary energy. Why? In animation, a viewer’s eye ends to lag behind by a fewframes, so it is often necessary to announce thatsomething is about to happen so your audience doesn’tmiss it. Anticipation are often physical movements in theopposite direction of the intended motion. Exception: a growl before an attack or a deep breathbefore a bold statement.
  11. 11. Staging (Composition) Animation is communication. Successful staging will result in the clear presentationof an idea. Choose the best scene layouts and camera angles todeliver that story with appropriate style and mood. If a scene has a singular focus, you need to decidewhether it should be centered or perhaps off to theside a bit. Maybe the best staging for a particular shot would beto put its main focus off the screen (Rule of Third)and reveal the action with sound or dialogue.
  12. 12. Staging Poses should be strong, and elements of your sceneshould work well together visually. Typically, you should not hide important sceneelements behind less important elements
  13. 13. Staging
  14. 14. Pose-to-pose & straight ahead actionStraight Ahead Involves steppingthrough the individualframes of your sceneand manipulatingthem sequentially. Requires more pre-planning Used for stop motionPose to pose Involves defining theextremes & then fillingin the spaces inbetween. Used for CGanimations
  15. 15. Follow-through & overlapping action The extension of a main action. Occur when a secondary appendage, e.g. a tail or anantenna, is indirectly driven by the primary motion of thebody. Occur later than the main action as the force dictatingthe main action takes longer to reach the appendages. When an object in motion changes direction, stopsaccelerating, or stops completely, secondary parts of thatobject will continue in original direction after the changein the main force. Follow-through is often reduced if an appendage has &uses its own muscles.
  16. 16. Follow-through & overlapping action
  17. 17. Follow-through & overlapping action Overlap is the concept that not all moving parts ofa body will start and end at exactly the same time. If you turn your head and point, you armmovement might begin before your head finishesturning. Overlap is nonexist if the head and arm start andstop on the same frame or if the arm waits to moveuntil the head has completed its motion. Such non-overlapped motions tend to look robotic.
  18. 18. Slow-in and slow out The acceleration and deceleration of action, i.e. the waythat an action begins slowly, moves quickly through themain action, and then slows down as it comes to a stoprather than moving linearly from one position to another.
  19. 19. Arcs The visual path of action for naturalmovement. Straight-line paths look stiff. Arcs show the most economical route. With computer animation the inbetweenframes may follow straight lines - may need toadd a curve too it to make it more realistic. Using arcs to animate the movements ofcharacters helps achieve a natural lookbecause most living creatures move in curvedpaths, never in perfectly straight lines.
  20. 20. Secondary action Any motion that is secondary to the main action. E.g. drumming your fingers on your knee while talking. Secondary action often reveal emotional subtleties orhidden thoughts. If secondary action pulls the viewer’s attention awayfrom the main action, however, it becomes the mainaction.
  21. 21. Timing Realism of an object depends on how it looks andmoves. The precise moment and the amount of time thata character spends on an action. Timing adds emotion and intention to thecharacter’s performance. The timing of a response to someone callingus, or a noise; tells a lot about ourattitude, confidence and disposition.
  22. 22. Timing Not too slow or audience eyes wander. Not too fast or action is misunderstood. The faster the motion, the more critical it isto make the audience focus on it.
  23. 23. Exaggeration To increase the readability of emotions and actions. To effectively tell the story of a particular performance. Animation medium don’t deliver all of the sameinformation that exists in real life. Effective exaggeration isn’t always a matter of making amotion larger. Significant decreasing an action is also a type ofexaggeration. E.g. completely stopping a character’s motion for anunnaturally long period of time can demonstrate aparticular emotion, e.g. shock or disgust. Exaggeration is especially appropriate in cartoon-styleanimation.
  24. 24. Solid drawing /modeling & rigging Each individual drawing should be a work of art onits own. Each drawing should look like the character beingpresented. Avoid inconsistency in terms of character’s size &volume
  25. 25. Appeal In the context of animation, appeal means that acharacter or its performance is visually interesting. The most subjective of all the principles. Is the presentation of your idea pleasant (or unpleasant)to look at? Apply fundamental aesthetic principles to yourshots—though appeal doesn’t necessarily meanattractive.