Wednesday, September 30, 2009
Tuesday, September 29, 2009
Monday, September 28, 2009
Sunday, September 27, 2009
New Mr. Fox poster
A new one-sheet advertising The Fantastic Mr. Fox can now be seen on Internet Movie Poster Awards. Based on Roald Dahl’s popular children’s novel, the stop-motion film will open in theaters on November 25th, and features the voice talents of George Clooney, Meryl Streep, William Dafoe, and Bill Murray.
Dick Cook resigns/fired from Disney
Dick Cook, Chairman of Walt Disney Studios, either resigned or was fired today depending on the source. Several box office bombs and a lack of profitability are the main reasons being given for his leaving. The New York Times has what seems to be the official version, while Nikki Finke has the behind the scenes version of the story. Thanks to Josh in the Animated News & Views Forum for the heads up.
Saturday, September 26, 2009
SP1.: Script as Discussed
Dear Specialization Batch 1.
As Discussed you may give a try to this simple parenting script.
ZV Parent Master (Download Here)
Simple Script. I still will like to put my preference on real Constraints.
Cheers.
As Discussed you may give a try to this simple parenting script.
ZV Parent Master (Download Here)
Simple Script. I still will like to put my preference on real Constraints.
Cheers.
finding refernce for four legged character
got a great question from Sergio, who wrote in to ask: "How do you find your reference for an unusual four-legged character and how do you do your planning for the movements?"
Hi Sergio! First off, thanks for the great question!
I know that's a tough thing that a lot of newer animators struggle with. You have to animate a dragon or a dinosaur or a centaur, but for some reason, there just aren't any centaurs to be found at the zoo.
Well, this is one of those times that you're going to have to put your animation imagination into overdrive, but that doesn't mean that you shouldn't study any reference!
What you want to do is look for animals that have a similar physical makeup to the creature you will be animating. Sometimes this means studying multiple creatures.
An example that comes to mind was Eragon. When we were animating Saphira the dragon, we noticed that her body was very similar in proportion and design to that of a lion, and her wings were designed very similar to eagle wings.
We got right to work amassing a lot of great footage of lions and eagles and started studying the heck out of them, looking for concepts we should be using in our work, and studying how their body mechanics worked. When Saphira was on the ground, we tried to take inspiration from the movement of the lions, and in the air we animated her wings in an eagle-like pattern and fashion.
So just take a long look at your character, and see what it reminds you of, and start investigating the animals out there that might be similar. You can find great reference on Animal Motion Show (Rhinohouse Dvds), youtube, documentaries, movies, BBC motion gallery, etc.
The important thing is to base the movement (and acting) of your creature on REAL LIFE ANIMALS so it will have believable body mechanics that an audience can relate to and accept easily.
Hope that helps! Good luck!
Hi Sergio! First off, thanks for the great question!
I know that's a tough thing that a lot of newer animators struggle with. You have to animate a dragon or a dinosaur or a centaur, but for some reason, there just aren't any centaurs to be found at the zoo.
Well, this is one of those times that you're going to have to put your animation imagination into overdrive, but that doesn't mean that you shouldn't study any reference!
What you want to do is look for animals that have a similar physical makeup to the creature you will be animating. Sometimes this means studying multiple creatures.
An example that comes to mind was Eragon. When we were animating Saphira the dragon, we noticed that her body was very similar in proportion and design to that of a lion, and her wings were designed very similar to eagle wings.
We got right to work amassing a lot of great footage of lions and eagles and started studying the heck out of them, looking for concepts we should be using in our work, and studying how their body mechanics worked. When Saphira was on the ground, we tried to take inspiration from the movement of the lions, and in the air we animated her wings in an eagle-like pattern and fashion.
So just take a long look at your character, and see what it reminds you of, and start investigating the animals out there that might be similar. You can find great reference on Animal Motion Show (Rhinohouse Dvds), youtube, documentaries, movies, BBC motion gallery, etc.
The important thing is to base the movement (and acting) of your creature on REAL LIFE ANIMALS so it will have believable body mechanics that an audience can relate to and accept easily.
Hope that helps! Good luck!
Friday, September 25, 2009
Thursday, September 24, 2009
Sunday, September 20, 2009
Important Things When Posing a Character
The most important thing to look for in a pose would be a strong line of action, if it is an action pose. If the character is mid-action, such as pushing/pulling something, fighting, running, jumping, etc -- in any of those, there should be a really clear line of action, especially in your key poses. A single line that describes the force moving through the body and the momentum of the movement, ideally a line running through the entire body, and hopefully into an arm and/or leg. The stronger, longer, and more connected this line is, the more dynamic and strong the pose will feel.
If it isn't an action pose, then you should probably be more concerned with making sure the pose clearly describes an attitude or emotion. You should be able to tell, from one static frame, whether the character is sad, happy, angry, shy, embarrassed, nervous, excited, or afraid. In these cases, it is OK to sacrifice a strong line of action in order to strengthen the emotion, at least in my opinion, although it's often possible to craft a very communicative pose while still retaining a nice line of action. However, showing us the internal thought process should be the priority in these types of scenes...
Hosted by Shawn Kelly,
co-founder of AnimationMentor.com
and Industrial Light and Magic Animator
If it isn't an action pose, then you should probably be more concerned with making sure the pose clearly describes an attitude or emotion. You should be able to tell, from one static frame, whether the character is sad, happy, angry, shy, embarrassed, nervous, excited, or afraid. In these cases, it is OK to sacrifice a strong line of action in order to strengthen the emotion, at least in my opinion, although it's often possible to craft a very communicative pose while still retaining a nice line of action. However, showing us the internal thought process should be the priority in these types of scenes...
Hosted by Shawn Kelly,
co-founder of AnimationMentor.com
and Industrial Light and Magic Animator
Important Things When Posing a Character
The most important thing to look for in a pose would be a strong line of action, if it is an action pose. If the character is mid-action, such as pushing/pulling something, fighting, running, jumping, etc -- in any of those, there should be a really clear line of action, especially in your key poses. A single line that describes the force moving through the body and the momentum of the movement, ideally a line running through the entire body, and hopefully into an arm and/or leg. The stronger, longer, and more connected this line is, the more dynamic and strong the pose will feel.
If it isn't an action pose, then you should probably be more concerned with making sure the pose clearly describes an attitude or emotion. You should be able to tell, from one static frame, whether the character is sad, happy, angry, shy, embarrassed, nervous, excited, or afraid. In these cases, it is OK to sacrifice a strong line of action in order to strengthen the emotion, at least in my opinion, although it's often possible to craft a very communicative pose while still retaining a nice line of action. However, showing us the internal thought process should be the priority in these types of scenes...
Hosted by Shawn Kelly,
co-founder of AnimationMentor.com
and Industrial Light and Magic Animator
If it isn't an action pose, then you should probably be more concerned with making sure the pose clearly describes an attitude or emotion. You should be able to tell, from one static frame, whether the character is sad, happy, angry, shy, embarrassed, nervous, excited, or afraid. In these cases, it is OK to sacrifice a strong line of action in order to strengthen the emotion, at least in my opinion, although it's often possible to craft a very communicative pose while still retaining a nice line of action. However, showing us the internal thought process should be the priority in these types of scenes...
Hosted by Shawn Kelly,
co-founder of AnimationMentor.com
and Industrial Light and Magic Animator
Important Things When Posing a Character
The most important thing to look for in a pose would be a strong line of action, if it is an action pose. If the character is mid-action, such as pushing/pulling something, fighting, running, jumping, etc -- in any of those, there should be a really clear line of action, especially in your key poses. A single line that describes the force moving through the body and the momentum of the movement, ideally a line running through the entire body, and hopefully into an arm and/or leg. The stronger, longer, and more connected this line is, the more dynamic and strong the pose will feel.
If it isn't an action pose, then you should probably be more concerned with making sure the pose clearly describes an attitude or emotion. You should be able to tell, from one static frame, whether the character is sad, happy, angry, shy, embarrassed, nervous, excited, or afraid. In these cases, it is OK to sacrifice a strong line of action in order to strengthen the emotion, at least in my opinion, although it's often possible to craft a very communicative pose while still retaining a nice line of action. However, showing us the internal thought process should be the priority in these types of scenes...
Hosted by Shawn Kelly,
co-founder of AnimationMentor.com
and Industrial Light & Magic Animator
If it isn't an action pose, then you should probably be more concerned with making sure the pose clearly describes an attitude or emotion. You should be able to tell, from one static frame, whether the character is sad, happy, angry, shy, embarrassed, nervous, excited, or afraid. In these cases, it is OK to sacrifice a strong line of action in order to strengthen the emotion, at least in my opinion, although it's often possible to craft a very communicative pose while still retaining a nice line of action. However, showing us the internal thought process should be the priority in these types of scenes...
Hosted by Shawn Kelly,
co-founder of AnimationMentor.com
and Industrial Light & Magic Animator
Saturday, September 19, 2009
Friday, September 18, 2009
Notes on Animation from the brain of Ollie Johnston
Notes from a Lecture by Ollie Johnston
-----------------------------------------
1. Don’t illustrate words or mechanical movements. Illustrate ideas or thoughts, with the
attitudes and actions.
2. Squash and stretch entire body for attitudes.
3. If possible, make definite changes from one attitude to another in timing and
expression.
4. What is the character thinking?
5. It is the thought and circumstances behind the action that will make the action
interesting.
e.g.: A man walks up to a mailbox, drops in his letter, and walks away.
or
A man desperately in love with a girl far away carefully mails a letter, in which
he has poured out his heart.
6. When drawing dialog, go for phrasing ( simplify the dialog into pictures of the
dominating vowel and consonant sounds, especially in fast dialog.)
7. Hit your pose 4 frames before articulating dialog, but use identical timing of the
mouth as on the X-sheet. (Some suggest articulating dialog 2 frames before its
placement on the sheet.)
8. Changes of expression, and major dialog sounds are points of interest. If possible
hold the character still for time. If the head moves to much you won’t see more subtle
action.
9. Don’t move anything without a purpose.
10. Concentrate on drawing Clearly, not Cleanly.
11. Don’t be careless.
12. Everything has a function. Don’t draw it before knowing why.
13 The facial expression should not be contradicted by the body. The entire pose should
express the thought.
14. Use thumbnails, explore all avenues to get the clearest picture in your drawing.
15. Analyze a character in a specific pose for the best areas to show squash and stretch.
Keep those areas simple.
16. Picture in your head what it is you’re drawing.
17. Think in terms of drawing the whole character, not just the head or eyes, etc.
Keep a balanced relationship between all parts of the drawing.
18 Strive for the most effective drawing.
19. Draw a profile of the drawing you’re working on, every once in a while.
Check the proportions against each other. The profile will usually clarify any
perspective problem.
20. The break in the eyebrow usually relates to the high point of the eye. Keep
this relationship consistent.
21. The eye is pulled by the eyebrow muscles.
22. Keep skull size consistent, but get a plastic quality in the face; cheeks, mouth
and eyes.
23. Keep drawings loose. Strive for a rhythmic quality.
24. Animate simple shapes.
25. The audience will lose the first 6-8 frames of your scene.
26. Does the secondary action contribute to the main idea, or confuse it?
27. Think of your scene in continuity, visually and emotionally. Don’t animate for
the sake of animation.
28. Actions can be eliminated, and staging "cheated", if it simplifies the
composition of the sceneand does not disturb the audience.
29. Spend most of your time planning your scene before you draw.
30. Steps for animating a 4 legged character:
Work out the acting first. Pose your main attitudes. Then animate the
legs. Finally adjust the up and down motion of the body in accordance
to the phase of the stride.
more on www.anim-gyan.blogspot.com
-----------------------------------
-----------------------------------------
1. Don’t illustrate words or mechanical movements. Illustrate ideas or thoughts, with the
attitudes and actions.
2. Squash and stretch entire body for attitudes.
3. If possible, make definite changes from one attitude to another in timing and
expression.
4. What is the character thinking?
5. It is the thought and circumstances behind the action that will make the action
interesting.
e.g.: A man walks up to a mailbox, drops in his letter, and walks away.
or
A man desperately in love with a girl far away carefully mails a letter, in which
he has poured out his heart.
6. When drawing dialog, go for phrasing ( simplify the dialog into pictures of the
dominating vowel and consonant sounds, especially in fast dialog.)
7. Hit your pose 4 frames before articulating dialog, but use identical timing of the
mouth as on the X-sheet. (Some suggest articulating dialog 2 frames before its
placement on the sheet.)
8. Changes of expression, and major dialog sounds are points of interest. If possible
hold the character still for time. If the head moves to much you won’t see more subtle
action.
9. Don’t move anything without a purpose.
10. Concentrate on drawing Clearly, not Cleanly.
11. Don’t be careless.
12. Everything has a function. Don’t draw it before knowing why.
13 The facial expression should not be contradicted by the body. The entire pose should
express the thought.
14. Use thumbnails, explore all avenues to get the clearest picture in your drawing.
15. Analyze a character in a specific pose for the best areas to show squash and stretch.
Keep those areas simple.
16. Picture in your head what it is you’re drawing.
17. Think in terms of drawing the whole character, not just the head or eyes, etc.
Keep a balanced relationship between all parts of the drawing.
18 Strive for the most effective drawing.
19. Draw a profile of the drawing you’re working on, every once in a while.
Check the proportions against each other. The profile will usually clarify any
perspective problem.
20. The break in the eyebrow usually relates to the high point of the eye. Keep
this relationship consistent.
21. The eye is pulled by the eyebrow muscles.
22. Keep skull size consistent, but get a plastic quality in the face; cheeks, mouth
and eyes.
23. Keep drawings loose. Strive for a rhythmic quality.
24. Animate simple shapes.
25. The audience will lose the first 6-8 frames of your scene.
26. Does the secondary action contribute to the main idea, or confuse it?
27. Think of your scene in continuity, visually and emotionally. Don’t animate for
the sake of animation.
28. Actions can be eliminated, and staging "cheated", if it simplifies the
composition of the sceneand does not disturb the audience.
29. Spend most of your time planning your scene before you draw.
30. Steps for animating a 4 legged character:
Work out the acting first. Pose your main attitudes. Then animate the
legs. Finally adjust the up and down motion of the body in accordance
to the phase of the stride.
more on www.anim-gyan.blogspot.com
-----------------------------------
Monday, September 7, 2009
Saturday, September 5, 2009
Happy Teachers Day
We have always cherished your Guidance, Support, Friendship, and Love..
May not say it always but we do mean it.. For all the things you have done for us..
Thank You Sir
~HAPPY TEACHERS DAYS ~
Thursday, September 3, 2009
Tuesday, September 1, 2009
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