Thoughts about animation
Jun. 26th, 2008 02:01 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
pasitheaNaturally, with all thise sewing and construction yet to do, all I can think about is animation, but that's okay. Planning is important.
My next set of animation projects are going to be practice. Work through a simple action a variety ways.
For instance: A character takes a book off a shelf.
There are a hundred ways you can approach this.
He could just reach up and take the book.
He might pause, consider, look back and forth.
He might have a false-start, reaching for one book, then selecting another.
He might pull various books halfway out, look at the cover, and put them back.
The book could be on a high shelf or a low one.
He could be right or left handed.
The book could be heavy or light.
He could be holding something in his off hand like a candle.
Moreover, staging tells us a LOT about this character and situation. If we see the full figure from behind, we get the feeling he's a stranger in our plot; secretive, excluding us. 3/4th rear from one side shows us the cover of the book as it's pulled out but not his face. The book is for us but his reaction is not. From the other side, we see his face but but less of the book. Change the shot to a close-up and this character is the main character, a close friend, or this moment is an important plot point.
You could draw the same simple action with the same character dozens of times without even having to work at coming up with new ways to do it. So... That's what I plan to do... As soon as I get a batch of these projects done.... Heh.
My next set of animation projects are going to be practice. Work through a simple action a variety ways.
For instance: A character takes a book off a shelf.
There are a hundred ways you can approach this.
He could just reach up and take the book.
He might pause, consider, look back and forth.
He might have a false-start, reaching for one book, then selecting another.
He might pull various books halfway out, look at the cover, and put them back.
The book could be on a high shelf or a low one.
He could be right or left handed.
The book could be heavy or light.
He could be holding something in his off hand like a candle.
Moreover, staging tells us a LOT about this character and situation. If we see the full figure from behind, we get the feeling he's a stranger in our plot; secretive, excluding us. 3/4th rear from one side shows us the cover of the book as it's pulled out but not his face. The book is for us but his reaction is not. From the other side, we see his face but but less of the book. Change the shot to a close-up and this character is the main character, a close friend, or this moment is an important plot point.
You could draw the same simple action with the same character dozens of times without even having to work at coming up with new ways to do it. So... That's what I plan to do... As soon as I get a batch of these projects done.... Heh.
