![]() The animator will chart (Figure 5) where the inbetweens should go. ![]() If there are other artists working on a scene, the main (also called supervising, lead or key) animator may just draw the key poses showing the motion extremes. When just one animator is working on a scene, he will do all the drawings and possibly the clean-up himself. They also add in the subtle animation touches such as follow-through, hair movement, subtle emotions and more (Figure 4). However, you can only roll about five pages at a time (Figure 3).Īs the animators finish roughing in the main key poses, they start tying down the drawings, or making them look more like the approved character design. ![]() This is helpful for keeping a good feel of the motion while youre working. Animating with the bottom pegs allows you roll the drawings while you work. Many golden age (1940s-1960s when most animation shorts were produced for theatrical distribution) animators could flip the drawings at the exact projection speed of 24fps. It also allows you to flip as many sheets as your pegs will hold (Figure 2). Using the top peg allows you to draw without your hand hitting the pegs and tightening a screw on the bottom. While working, they place the background layouts under their animation to make sure the characters line up with the proper background elements.Īnimators use either the top or bottom pegs when they animate. Rough animations allow animators to quickly capture the characters motions without worrying about the details of the character. In key animation, the animators take the character sheets and start roughing in the actions of the characters (Figure 1). The only timing animators shouldnt change is the lip-synch. The better prepared each scene is, the easier any potential changes are. Animators will often adjust the original timings of scenes while they are animating to take advantage of the inspiration they get while drawing. The real fun begins when truly talented animators take a scene and make magic with it. This 432-page book contains more than 600 full-color images, interviews and a CD-ROM containing sample animation, animatics and sample software described in the text. Animation producer Mark Simon has detailed the process in an accessible how-to manner using his award-winning series, Timmys Lessons In Nature, as a guide. This book is a full-color, concept-to-pitch guide that teaches animators, students and small studios the art and business of producing short, cel animated films. This is the sixth in a series of 12 excerpts from Mark Simons book, Producing Independent 2D Character Animation: Making and Selling a Short Film.
0 Comments
Leave a Reply. |