Friday 17 December 2010
Wooden man animation!
http://www.youtube.com/watch?v=raq0kjen5GI&feature=related
I have since seeing this video chosen to animate a wooden doll for my stop motion animation, an will begin a final stage of testing to implement this to see if it will work to my liking.
12 prinsipals of animation
12 Principles
THE 12 BASIC PRINCIPLES OF ANIMATION Paraphrased from the "Illusion Of Life" by Frank Thomas & Ollie Johnston.(pp.47-69)
1. Squash and stretch
2. Anticipation
3. Staging
4. Straight Ahead Action and Pose to Pose
5. Follow Through and Overlapping Action
6. Slow In and Slow Out
7. Arcs
8. Secondary Action
9. Timing
10. Exaggeration
11. Solid Drawing
12. Appeal
1. SQUASH AND STRETCH
This action gives the illusion of weight and volume to a character as it moves. Also squash and stretch is useful in animating dialogue and doing facial expressions.
2. ANTICIPATION
This movement prepares the audience for a major action the character is about to perform, such as, starting to run, jump or change expression. A dancer does not just leap off the floor. A backwards motion occurs before the forward action is executed. The backward motion is the anticipation.
3. STAGING
A pose or action should clearly communicate to the audience the attitude, mood, reaction or idea of the character as it relates to the story and continuity of the story line. The effective use of long, medium, or close up shots, as well as camera angles also helps in telling the story. There is a limited amount of time in a film, so each sequence, scene and frame of film must relate to the overall story.
4. STRAIGHT AHEAD AND POSE TO POSE ANIMATION
Straight ahead animation starts at the first drawing and works drawing to drawing to the end of a scene.
5. FOLLOW THROUGH AND OVERLAPPING ACTION
When the main body of the character stops all other parts continue to catch up to the main mass of the character, such as arms, long hair, clothing, coat tails or a dress, floppy ears or a long tail (these follow the path of action). Nothing stops all at once. This is follow through. Overlapping action is when the character changes direction while his clothes or hair continues forward. The character is going in a new direction, to be followed, a number of frames later, by his clothes in the new direction. "DRAG," in animation.
6. SLOW-OUT AND SLOW-IN
As action starts, we have more drawings near the starting pose, one or two in the middle, and more drawings near the next pose. Fewer drawings make the action faster and more drawings make the action slower. Slow-ins and slow-outs soften the action, making it more life-like.
7. ARCS
All actions, with few exceptions (such as the animation of a mechanical device), follow an arc or slightly circular path. This is especially true of the human figure and the action of animals. Arcs give animation a more natural action and better flow.
8. SECONDARY ACTION
This action adds to and enriches the main action and adds more dimension to the character animation, supplementing and/or re-enforcing the main action. Example: A character is angrily walking toward another character. The walk is forceful, aggressive, and forward leaning. The leg action is just short of a stomping walk. The secondary action is a few strong gestures of the arms working with the walk.
9. TIMING
Expertise in timing comes best with experience and personal experimentation, using the trial and error method in refining technique. The basics are: more drawings between poses slow and smooth the action. Fewer drawings make the action faster and crisper. A variety of slow and fast timing within a scene adds texture and interest to the movement. Most animation is done on twos (one drawing photographed on two frames of film) or on ones (one drawing photographed on each frame of film). Twos are used most of the time, and ones are used during camera moves such as trucks, pans and occasionally for subtle and quick dialogue animation.
10. EXAGGERATION
Exaggeration is not extreme distortion of a drawing or extremely broad, violent action all the time. It¹s like a caricature of facial features, expressions, poses, attitudes and actions.
11. SOLID DRAWING
The basic principles of drawing form, weight, volume solidity and the illusion of three dimension apply to animation as it does to academic drawing. The way you draw cartoons, you draw in the classical sense, using pencil sketches and drawings for reproduction of life.
12. APPEAL
A live performer has charisma. An animated character has appeal. Appealing animation does not mean just being cute and cuddly. All characters have to have appeal whether they are heroic, villainous, comic or cute.
food fight!!
Cool animations i came across
EA Games, Fifa, PES and my animation in industry
PES 11 Konami
Fifa 11 EA Games
My Animation falls Quite within the football arcade game category, not in medium but in stile. To Quote the Pixar site 4 out of 5 of the animators who did the first toy story were new to computers when they started. My refernceing of motion is very acurate however in comparison to the depth that games such as PES and Fifa show it is very one dimensional. For example Fifas massive new brain child is Personality + where by different players show different attributes depending on what sort of player they are, this translates in to animation as the speedster and agile players have 5 times more different dribble run cycles and touches. this data base of animation is near unfathomable in size and is growing with each game release.
About Personality plus video
EA Games- The Quality's they look for in designers.
Placing the future in graduates, it is EAs belief that the future of the gaming industry is in graduates. As the future leaders of the industry it is important to develop certain skill sets. Leadership, been a creative leader, driving your team and establishing, directing and outlining your vision to them. Vision, as a leader you must be able to appreciate new idea and different opinions, able to take on board focus groups and be addable and flexible to advice. Communication, one of the most important skill in design, you must be able to communicate the vision of your game with your team and to your audience. If you cant inspire through your communication your idea wont make it past the pitch to your peers and management. Design, creating your game within its target audience. you must be able to define your game and design accordingly within its niche, a jack of all trades will captivate no one. Execution, the ability to accept feed back and able to balance that against game design perimeters, ensuring high equality is achieved by polishing up those rough edges.
Placing the future in graduates, it is EAs belief that the future of the gaming industry is in graduates. As the future leaders of the industry it is important to develop certain skill sets. Leadership, been a creative leader, driving your team and establishing, directing and outlining your vision to them. Vision, as a leader you must be able to appreciate new idea and different opinions, able to take on board focus groups and be addable and flexible to advice. Communication, one of the most important skill in design, you must be able to communicate the vision of your game with your team and to your audience. If you cant inspire through your communication your idea wont make it past the pitch to your peers and management. Design, creating your game within its target audience. you must be able to define your game and design accordingly within its niche, a jack of all trades will captivate no one. Execution, the ability to accept feed back and able to balance that against game design perimeters, ensuring high equality is achieved by polishing up those rough edges.
Talks from EA Games about career paths within EA
Horse gallop!
Eadward Muybridge practically invented animation when he took time lapse photos of animals against a gridded backdrop.In this mini-movie , each frame was separated and animated.
Pixar :D Making a movie the pixary way!
Pixar and Pixar Internships:
At Pixar, you will be contributing to the making of our films. How can that be possible? Well, we value everyone's contributions to our films whether your internship is in film production, software development or any of our support functions. You will work side by side with some of the most talented bunch of people in the film animation business. You will apply what you’ve been learning in school in a very direct way. Not only that, but you’ll learn the day-to-day operations of an animation shop in action.
When your internship wraps it’s not just with a nice parting gift, although we love swag! All interns are given valuable feedback and receive consideration for full-time positions. Our ultimate goal of our internship program is to give you the best educational internship experience of your life.
Pixar mainly offer interships in these areas areas:
• Film Production/Shorts/Post Production • Software/Tools Development • R & D
Jamie, Animation intern experience at Pixar 2009/10 'Daily life as an intern is pretty cool, too. There always seems to be something going on at Pixar whether it’s a film screening, presentation from a visiting Director, Friday Beer Bash, Company events, department gatherings and more.
Get this: Pixar has company paid internship housing, full workout facility, basketball & volleyball courts, outdoor swimming pool, soccer field, exercise classes, foosball and pool tables, subsidized cafe, an impressive and free wall of cereal and more. Our workspace is pretty cool, designed to encourage fun, communication and creativity.'
A great Quote from the FAQs on Pixars website:
“What software should I learn?” The answer is implied by the above: “Software doesn’t matter; learning to animate matters.” Still, you might expect that learning the software that Pixar uses would give you a leg up. However, even this isn’t true: Pixar uses its own proprietary software. Your knowledge of basic animation fundamentals is the foundation for your computer training, not the other way around.
Looking in to stopmotion within industry
Jason and the Argonauts.
http://www.youtube.com/watch?v=5yYeZMx1Y7U
This renowned piece (Harryausen 1963), is a considered one of the greatest stop motion animations, also see 'The 7th Voyage Of Sinbad' (Harryausen 1958)
http://www.youtube.com/watch?v=PiTSyZbIjAg&feature=related
Harryausen is constantly cited as a major influence by contemporary artists ranging from Phil Tippett to James Cameron, Futermore is referenced in recent blockbuster films, Henry Selicks Nightmare Before Christmas (1993), in the underwater skeleton battle and in Pixars Monsters inc (2002), in which the top class resturant is called Harryausen's.
http://www.youtube.com/watch?v=5yYeZMx1Y7U
http://www.youtube.com/watch?v=PiTSyZbIjAg&feature=related
Harryausen is constantly cited as a major influence by contemporary artists ranging from Phil Tippett to James Cameron, Futermore is referenced in recent blockbuster films, Henry Selicks Nightmare Before Christmas (1993), in the underwater skeleton battle and in Pixars Monsters inc (2002), in which the top class resturant is called Harryausen's.
action shot capture!
MOVEMENT BREAKDOWN.
storry boards
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