Eat, Sleep, Worm, Repeat. – Week 9 & 10

These weeks we’re focusing on pose-to-pose and forward animation as as well as staging. We were also given a worm rig to mess about with.

This video explains how staging can be used to convey the message of the animation more clearly. When trying to show emotion, over-exaggerate it and also remove the things in the shot that will draw attention from the main action.

This website explains the difference between stepped and splined animation.


From what I understand from Richard Williams, is that Key poses are the most basic poses used to show the storyline of the scene (like a comic strip of only the important stages), the extremes are poses that show the stages inbetween (for instance when a bouncing ball comes into contact with the floor, every strike would be an extreme –  the key poses would be the ball in the air at the start of the drop and at the end when it’s resting on the floor) and then the inbetweens are the poses inbetween them that fill the void.

There are three ways to animate; straight ahead (forward animation)pose to pose and the combination. The combination being the preferred method. These methods are used to animate the main movement first, then the most important feature (clothes etc.) secondly and so on instead of animating everything at once.

The More on Spacing chapter (“The Animator’s Survival Kit” – Richard Williams) has some great tips on middle positions and how the inbetween poses cluster on the outside of the arcs (as is seen when actions ease in/out). It also shows you classic mistakes for inbetweens such as an object’s shape changing before it comes into contact with an external force.

Anyway, straight ahead animation is when you animate freely from the start until you reach what you decide is the end. It allows for more spontaneous and creative animations but is a poor choice when you have to animate within a certain time frame – it’s a gamble whether or not you’ll fit it all in! Pose-to-pose animation is when you set out key poses throughout the allocated timeframe. This ensures your animation fits nicely within the scene and can run along in tune with any music/rhythm. Finally the combination method is you’ve guessed it the incorporation of both straight ahead and pose-to-pose. This bring both the fluidity and creativity as well as the structured timing into your animation!

Straight-Ahead-and-Pose-to-Pose


I had a go at trying to convey emotion and I picked shyness. This sheet was a good source of inspiration:

flour-sack-emotional-poses-021-700x459

My shy worm:

Also here’s this:

 

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