Animation Tips and Tricks

8/19/2019 Animation Tips and Tricks

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Animation Tips & Tricks 1BY: Shawn Kelly PLANNINGBecause this is the frst article, I’d be remiss i I didn’t start with !r"bably the sin#le m"st im!"rtant ti! m"st!r"essi"nal animat"rs are li$ely t" #i%e a student: PLAN Y&'( )&(K* Plannin# is !r"bably the ste! m"st"ten missed by students, and at the same time, it is !r"bably the m"st essential t""l in y"ur entireanimati"n t""lb"+, es!ecially in the frst ew years " y"ur animati"n lie* Y"u sh"uld ne%er sit d"wn in r"nt " y"ur c"m!uter, animati"n disc "r !u!!et, until y"u $n"w e+actly what !"ses y"u are !lannin# t" use, wheny"u are !lannin# t" use them, and why*Be"re y"u be#in any sh"t, it’s s" im!"rtant t" study reerences, w"r$ "ut y"ur thumbnails, and ma$e y"ur

timin# and actin# decisi"ns "n !a!er* his may seem li$e an -e+tra. ste! t" s"me " y"u, but belie%e me, itwill sa%e y"u time in the l"n# run and y"ur w"r$ will l""$ s" much str"n#er than it w"uld ha%e "therwise*All " my best eature flm sh"ts are als" the "nes I s!ent the m"st time !lannin# "ut* he sh"ts where I #"tc"c$y and th"u#ht-Aw, I $n"w h"w t" animate that, I’ll /ust sit d"wn and d" it. are, alm"st with"ute+ce!ti"n, the sh"ts that ended u! bein# -"$ay,. but ne%er as #""d as they c"uld ha%e been* I’ll alwaysre#ret missin# the "!!"rtunity I had t" ma$e th"se sh"ts s!ecial, but at least they tau#ht me an in%aluableless"n: Plannin# 0"mes 1irst, AL)AYS2 une in ne+t time "r s"me !ractical ti!s "n h"w y"u can !lan y"ur sh"t2 &BS3(4AI&N&$ay, s" last m"nth I was #"in# "n and "n ab"ut h"w im!"rtant it is t" s!end time !lannin# y"ur scenebe"re y"u sit d"wn in r"nt " y"ur c"m!uter, y"ur animati"n disc, "r y"ur st"!5m"ti"n set* But 6&) d" y"ud" that7 )hat’s the best way t" !lan a scene7)ell, the frst thin# y"u abs"lutely ha%e t" d" is &BS3(43*S"unds sim!le, ri#ht7 )ell, it isn’t 8uite as sim!le as y"u mi#ht frst thin$, but it will bec"me sec"nd naturee%entually* he im!"rtant thin# t" reali9e is that "bser%ati"n is n"t !assi%e "r casual* &bser%ati"n is muchm"re than sim!ly -seein#. s"methin# interestin# 5 it’s A0I43LY studyin# the w"rld ar"und us* Sure, a certainam"unt " curi"sity is natural, but y"u ha%e t" ta$e y"ur natural curi"sity "r n"ticin# thin#s and trainy"ursel t" cran$ that curi"sity $n"b t" i y"u want t" bec"me an animat"r*Let’s say that y"u see a little #irl tryin# t" eed her l"lly!"! t" a m"n$ey at the 9"", and her m"ther #rabs t"st"! her, $n"c$in# the l"lly!"! int" the air where it stic$s in the m"ther’s hair* Seein# that ha!!en mi#htha%e been unny, "r maybe y"u elt bad "r the m"ther, "r embarrassed "r them 55 either way it was!r"bably !retty mem"rable* It’s s"methin# y"u mi#ht e%en tell y"ur riends ab"ut that ni#ht*6"we%er, sim!ly rememberin# and relatin# that "%erall st"ry is n"t "bser%ati"n* An animat"r w"uld n"tice S&;'06 ;&(3 in that m"ment than the mere act that the l"lly!"! #"t stuc$ in the w"man’s hair* An animat"rwill see the "%erla! "n the #irl’s hand as the m"ther smac$s the l"lly!"! int" the air* An animat"r will seethe ri#htened e+!ressi"n "n the #irl’s ace, "r the way the m"n$ey reacted t" the wh"le thin#, "r the r"9en

m"ment in time when the l"lly landed in ;"m’s hair and they b"th /ust ree9e "r an instant as they reali9etheir situati"n* he way ;"m’s sh"ulders mi#ht slum! with resi#nati"n, "r maybe h"w the little #irl tried n"tt" lau#h, "r maybe it’s e%en the way that their dresses s!un in the wind as ;"m !ic$ed u! her dau#hter andhustled "< t" cut her hair in the bathr""m* hat’s "bser%ati"n, and it’s the sin#le bi##est animati"n t""l y"u will e%er ha%e* Any time y"u see s"methin#interestin# 5 be it the b"unce " a s8uirrel, the =utter " a eather, "r the twitch " an ab"ut5t"5cry eyelid 5 fleth"se thin#s away in a little flin# cabinet in y"ur head* Y"u ne%er $n"w what y"u will fnd hel!ul d"wn ther"ad, and the bi##er library " "bser%ati"ns y"u can build in y"ur head, the better e8ui!!ed y"u will be t"deal with any scene a direct"r mi#ht thr"w at y"u* N"t "nly that, but y"u’ll be able t" c"me u! with scenesand acti"ns that are n"t clich> and that eel real and rin# true t" an audience 5 and the reas"n the audiencewill identiy with the acti"n "r em"ti"n y"u animate is because it’s s"methin# y"u’%e seen in y"ur !ast, "r ina flm, "r "n 4, "r e%en in a mirr"r*All str"n# animati"n starts with "bser%ati"n, s" train y"ursel t" d" m"re than !assi%ely n"tice the w"rldar"und y"u* S"a$ it u!, fle it away, and start usin# the ama9in# thin#s ar"und y"u in y"ur art2 Y"ur w"r$ will"nly bec"me str"n#er and less clich> the m"re y"u all"w y"ursel t" truly study the m"ti"ns, acti"ns,reacti"ns, and em"ti"ns " th"se ar"und y"u*Ne+t m"nth we’ll tac$le reerence2 In the meantime, i y"u want a un "bser%ati"nal e+ercise, hit a 9"" "r a!ar$ "r a sh"!!in# mall and /ust sit "n a bench and watch !e"!le* Y"u can e%en brin# al"n# a s$etchb""$ t"draw what y"u see and ta$e n"tes, but the im!"rtant thin# is t" watch the !e"!le ar"und y"u and truly studythem*&h, and d"n’t "r#et t" wear sun#lasses s" y"u d"n’t cree! them "ut2 (313(3N03 ;A3(IALS)e?%e been tal$in# s" ar ab"ut the im!"rtance " !lannin#* Last m"nth we c"%ered the im!"rtance ""bser%ati"n, but this wee$ we?re #"in# t" #et a little m"re !ractical and tac$le the c"nce!t " reerencematerials* here are many ty!es " reerence materials that will be in%aluable t" y"u as an animat"r* Ph"t"#ra!hy,

c"mic5b""$s, li%e5acti"n m"%ie reerence, animated reerence, and ""ta#e " y"ursel and y"ur riendsactin# "ut a scene will all be incredibly useul as y"u sit d"wn t" !lan y"ur sh"t* It mi#ht be the m"st!ractical and useul !lannin# " all, in act*&ne misc"nce!ti"n that I "ten hear r"m students is that @usin# reerence is cheatin#*@ )ell, i usin#reerence is cheatin#, then " the w"rld?s t"! animat"rs are cheaters2 N"thin# c"uld be urther r"m thetruth* 'sin# reerence is essential, es!ecially "r animati"n students, t" fndin# the m"st belie%able anduni8ue !er"rmance "r y"ur scene*


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1irst, let?s tal$ ab"ut s"me " my a%"rite reerence !h"t"#ra!hy "r a sec"nd* 3adweard ;uybrid#e?s b""$scan be a bi# hel!, es!ecially when learnin# ab"ut wal$ cycles and run cycles 5 b"th "r humans and animals*;y a%"rite, h"we%er, is the w"r$ " Cr* 6ar"ld 3d#ert"n* 6is b""$ @St"!!in# ime@ is incredible, and d"cuments his w"r$ as he !i"neers incrediblyast =ash !h"t"#ra!hy, which all"wed him t" ca!ture s"methin# at s!eeds u!wards " DD,DDDth " a sec"nd*At these s!eeds, y"u can really truly see h"w the !rinci!les " animati"n e+ist, e%en "n a %ery subtle le%el, inreal5w"rld situati"ns where y"u mi#ht ha%e ima#ined they w"uldn?t a!!ly* 0hec$ "ut the s8uash and stretch"n a #"l5ball, "r the way a baseball bat sli#htly bends as it whi!s ar"und 55 !retty incredible stu< t" e+amine*)e use b"th ;uybrid#e and 3d#ert"n?s w"r$ in "ur classes at Animati"n ;ent"r, and I?d rec"mmend theirb""$s t" any animat"r interested in del%in# dee!er int" learnin# why the !rinci!les " animati"n e+ist in thefrst !lace*

Ne+t u!, we ha%e "ne " the must underrated animati"n reerence res"urces " all: c"mic b""$s* I y"u?reinterested in learnin# ab"ut dynamic !"sin#, there is n" better !lace t" l""$ than y"ur l"cal c"mic b""$ sh"!*0hec$ "ut s"me " Eim Lee?s recent Batman w"r$, "r E Sc"tt 0am!bell?s @Can#er Girl*@ 0"mics are Fand alwaysha%e been underrated in the @art c"mmunity,@ but y"u w"uld d" y"ursel a disser%ice by i#n"rin# the w"r$ " s"me " the best c"mic b""$ artists "ut there* ;any " them c"me r"m an animati"n bac$#r"und, such as;i$e Kun$el, creat"r " 6er"bear Fawes"me2, and y"u can learn m"re ab"ut line5"5acti"n and dynamic!"sin# by s!endin# ten minutes in a #""d c"mic b""$ than y"u can by watchin# h"urs " m"%ie reerence*Li%e acti"n and animated reerence are ne+t "n my list, and these can be s"me " the m"st hel!ul* It?sim!"rtant, in my "!ini"n, t" $ee! a s"lid reerence library " flms i y"u?re #"in# t" attac$ this m"nster$n"wn as @animati"n*@ he !ile " C4Cs "n my shel at h"me c"me in handy "n e%ery sin#le sh"w I w"r$ "n*It?s incredibly useul, "r e+am!le, t" be able t" !ull u! s"me ""ta#e r"m the "lym!ics t" study h"ws"me"ne thr"ws a /a%elin i y"u?re #"in# t" be animatin# a #uy thr"win# a s!ear* I y"u?re #"in# t" beanimatin# =yin# birds, what c"uld !"ssibly be m"re useul than s!endin# s"me time studyin# thed"cumentary @)in#ed ;i#rati"n7@1inally the m"st im!"rtant reerence " all 5 %ide" reerence " y"ursel and y"ur riends* I y"u ha%e an acti"nsh"t t" w"r$ "n, set u! a camera and #et u! and actually C& the acti"n* &%er and "%er and "%er and "%er* C"it until it eels natural* 1ilm y"ur riends d"in# it* Get as much reerence as y"u can 5 at least until y"u $n"w"r a act that y"u?%e flmed at least "ne ta$e that y"u thin$ w"uld w"r$ well* hen it?s u! t" y"u t" study thatta$e and #lean what y"u can r"m it* I y"u?re w"r$in# "n a dial"#ue sh"t, that?s a wh"le "ther ball " wa+ and can easily in%"l%e much m"re !re5!lannin# as y"u attem!t t" truly #et int" the character?s head, #ettin# t" $n"w y"ur character?s m"ti%ati"ns,bac$5st"ry, em"ti"nal state, etc* hat?s a wh"le "ther ball " wa+ that we?ll tac$le s"meday d"wn the r"ad 5"r n"w, let?s stic$ with this reerence stud idea* he frst idea y"u thin$ " is !r"bably the frst and m"st "b%i"us idea that


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the audience will thin$ " t""2, and #et "n t" the ideas that c"unt* he later ideas will be the #""d "nes* hey’ll be the m"st in%enti%e ideas, and the m"st "ri#inal* But t" reach th"se ideas, y"u’ll frst ha%e t" w"r$thr"u#h the clich>d ideas, ri#ht7 humbnails are, with"ut a d"ubt, the astest way t" d" that* he 8uic$est r"ad t" a #reat idea, then, is thr"u#h thumbnails2

)hen y"u #et a new scene, sit d"wn and start d""dlin#* ;aybe it’s /ust !"ses* ;aybe it’s w"r$in# "ut ullacti"ns* 3ither way, y"u’re 8uic$ly disc"%erin# what will w"r$ and what w"n’t, and it’s all "n !a!er* uic$ anddirty 5 that’s the way t" d" it* 'se a stic$5 man, e%en* ;any " the best animat"rs d" their thumbnails withwhat is essentially a stic$5man* As l"n# as y"u can see where the character’s hi!s are, the an#le " the hi!s,the an#le " the sh"ulders, an#le " the head, and the !"siti"n " the limbs 5 that’s ALL y"u need t" $n"w atthis !"int, and y"u sh"uldn’t be w"rryin# ab"ut any "ther details yet, #enerally s!ea$in#*

S", the frst rule is t" stay r"u#h, and the frst HuseH " thumbnails is t" disc"%er the best ideas "r y"ur sh"t* he sec"nd use " thumbnails is t" #et ast eedbac$* Y"u can sa%e y"ursel days " w"r$ Fand a #reat deal " rustrati"n i y"u run y"ur thumbnails !ast y"ur lead"r y"ur direct"r be"re di%in# int" the actual scene* N"thin# is m"re rustratin# than s!endin# J daysbl"c$in# in s"methin# that y"u thin$ is #reat "nly t" fnd "ut, "nce the direct"r #ets a l""$ at it, that y"u’red"in# s"methin# he d"esn’t li$e at all* It’s always a #reat idea t" run y"ur thumbnails !ast them frst, s" y"ucan sa%e y"ursel the headache Fand heartache2 " hearin# the dreaded -start "%er. w"rds r"m y"urdirect"r* he third use " thumbnails is t" translate y"ur %ide" reerence*

1ilmin# %ide" reerence is #reat, but as we tal$ed ab"ut last time, y"u can’t /ust c"y it "r y"u’re #"in# t" endu! with a scene that isn’t as ali%e as it c"uld ha%e been* humbnails are a #reat way t" translate that %ide"reerence int" !"ses and timin# that are inused with y"ur $n"wled#e " the art " animati"n* Sure, y"u canfnd s"me #reat !"sin# and timin# ideas in y"ur %ide" reerence, but that’s "nly ste! "ne* )hi! "ut as$etchb""$ and start d"in# little stic$5f#ure drawin#s " what y"u are "bser%in# Fand S'CYING2 in thereerence y"u’re watchin#*

But as y"u draw th"se thumbnails, y"u can start t" in/ect the !rinci!les " animati"n int" them* 3+a##eratethe !"ses, !ush the lines " acti"n in the b"dy, and ma$e the !"ses m"re dynamic and "rceul* Y"u can als" /"t d"wn timin# n"tes, and maybe y"u can e%en start e+a##eratin# y"ur timin# at this sta#e* (i#ht there iny"ur thumbnails y"u can be ma$in# decisi"ns ab"ut timin# 5 #i%e this !art a little m"re ease5in, ma$e that!art a little sna!!ier, etc* he #"al, as ar as I’m c"ncerned, is that be"re y"u sit d"wn in r"nt " y"ur c"m!uter, y"u ha%e a !iece "!a!er "r an e+!"sure sheet that has dynamic and timed thumbnail !"ses, s" y"u $n"w e+actly what !"se willha!!en "n e+actly what rames* By the time y"u ha%e turned "n y"ur c"m!uter, e%ery ma/"r animati"ndecisi"n sh"uld ha%e already been made* )ith"ut e+ce!ti"n*I y"u w"r$ this way, I #uarantee y"u will end u! with str"n#er, m"re dynamic, m"re c"mmunicati%e, and

m"re mem"rable scenes than y"u w"uld i y"u /ust sat d"wn and started sa%in# $eys* 3%en better, I#uarantee this entire !lannin# !r"cess will sa%e y"u time in the l"n# run*I thin$, as a #eneral rule, I !r"bably s!end ab"ut D " my time !lannin#* I I ha%e a wee$ t" d" a sh"t, I’lls!end the frst day c"m!letely away r"m the c"m!uter* A tw"5wee$ sh"t mi#ht #et days " !lannin#* I I"nly had days t" d" a sh"t, then maybe I’d "nly s!end "r J h"urs !lannin#, but I w"uld ma$e the m"st" th"se c"u!le h"urs* I’d s!end it studyin# %ide" reerence, flmin# mysel and my riends, d"in# thumbnails,etc* I d" that because I $n"w with"ut a d"ubt that by s!endin# that frst day !lannin#, I /ust sa%ed mysel ac"u!le days F"r m"re w"rth " -n""dlin#. the sh"t, and tin$erin# with it, tryin# t" ma$e it w"r$*A#ain, the best scenes I’%e e%er d"ne, and the "nes I fnished the 8uic$est, are the sh"ts that I s!ent them"st time !lannin#* &%er and "ut*5 Shawn BLINKS 6A43 ;3ANING i! : Blin$s 6a%e ;eanin#2

I eel li$e writin# ab"ut blin$s t"day* )hy7 I /ust saw a c"mmercial "n 4 Fname " !r"duct withheld t" !r"tectthe inn"cent starrin# a character wh" had a se%ere blin$in# !r"blem*N"w, I d"n’t mean the character blin$ed t"" much* I d"n’t mean he blin$ed t"" ast* I d"n’t mean thecharacter’s blin$s were t"" ar "


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i y"u can /ust ta$e a little time t" "bser%e the blin$s " y"ur riends, y"ur amily, y"ur c"5w"r$ers, y"ura%"rite m"%ie star, and y"ursel be"re y"u start !l"win# ahead int" actin# scenes*Listen, I $n"w ab"ut the wh"le-I /ust disc"%ered animati"n a m"nth a#" and must d" an actin# sceneI;;3CIA3LY2. thin#* I $n"w y"u all want t" d" actin# scenes* I $n"w y"u thin$ they’re the m"st un* I $n"wy"u thin$ they’re y"ur tic$et int" Pi+ar* And I als" $n"w that "r s"me " y"u, all the-h"nestly, s!endin# m"nths !racticin# basic b"dy mechanics and "rce will #i%e y"u ar str"n#er actin# scenes than y"u’ll e%er beable t" d" with"ut that "undati"n. ad%ice in the w"rld isn’t #"in# t" $ee! y"u away r"m !layin# with s"meactin# sh"ts***S", i y"u abs"lutely must d" s"me actin# sh"ts F"r, better yet, are ad%anced en"u#h t" d" actin# sh"ts!r"!erly, then !lease, #i%e s"me attenti"n t" the eyes " y"ur character*)e’%e !r"bably all heard !e"!le say -D " actin# is in the eyes. "r s"methin# t" that e


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deli%ers a line with"ut e%er "!enin# his m"uth* And it eels s" real* " me, that’s a #reat scene, ands"methin# we sh"uld all as!ire t" in "ur w"r$*S" y"ur frst set " bi# blin$ 8uesti"ns is this: -what’s my character’s em"ti"nal state ri#ht n"w7 )hat arethey reactin# t"7 6"w is that ma$in# them eel7. And y"ur sec"nd set " 8uesti"ns, /ust as im!"rtant Fi n"tm"re s" is this: -well, h"w d" I blin$ when I eel that way7 6"w d" my riends blin$ when they’re in thatsituati"n7 6"w did my a%"rite act"r blin$ in that ama9in# scene I saw the "ther day7.

1i#ure "ut the em"ti"nal state " y"ur character, #" "bser%e that em"ti"nal state in as true a "rm as y"u!"ssible can, and then study the hec$ "ut " th"se eyelids* Better yet, act the scene "ut "%er and "%er and"%er until y"u aren’t thin$in# at all ab"ut what the actual dial"#ue lines are anym"re, and all y"u’re thin$in#ab"ut is the em"ti"n y"u are truly ma$in# y"ursel eel, and the c"nte+tsubte+t " the scene, and %ide"ta!e

it, and study it2 hat’s it* It’s !retty sim!le really* Eust li$e with e%ery sin#le c"ncei%able as!ect " y"ur animati"n, y"u d"n’td" ANY6ING with"ut a reas"n* Y"u d"n’t m"%e a sin#le fn#er with"ut $n"win# why y"ur character ism"%in# it, and the eyes Fand s"metimes e%en m"re im!"rtantly, the blin$s are n" e+ce!ti"ns* Ne%er m"%eANY6ING "n a character unless y"u $n"w e+actly why y"u’re m"%in# it* S" i any"ne e%er tells y"u t"animate s"methin# rand"mly, unless it’s the tiniest subtle -add a little Mdirt’ t" this m"%ement s" it eels alittle less sm""th. ty!e " thin#, then y"u sh"uld !r"bably say, -N" way2. 'nless he’s y"ur animati"ndirect"r* hen y"u !r"bably sh"uldn’t say, -N" way*. hat mi#ht be a really bad idea* Y"u sh"uld instead say-(i#ht away, n" !r"blem2. while y"u silently thin$ -man, I wish my animati"n direct"r w"uld ta$e s"meAnimati"n;ent"r classes***.)here was I7 &h yeah 5 n"thin# is rand"m* )ell, neither are blin$s*

he m"st im!"rtant use " a blin$ is t" sh"w th"u#ht !r"cess* )e d" blin$ s"metimes /ust t" wet "ur eyes,and we blin$ "n a ra!id head turn, we blin$ "n a ma/"r chan#e in eye directi"n, and all th"se "ther-blin$rules,. but in my "!ini"n the m"st im!"rtant time is when we ha%e a chan#e in "ur th"u#ht !r"cess* )henwe’re ha%in# an idea, "r when we’re switchin# r"m "ne em"ti"n t" an"ther, "r when we’re reali9in#s"methin#* h"se are the #"ld5mines in terms " blin$s 5 that’s when a !erectly !laced blin$ will ta$e a scener"m bein# merely -#""d. and ma$e it -#reat*. here’s a #reat b""$ called-In the Blin$ " An 3ye,.by )alter ;urch, wh" is an ama9in# flm edit"r* ;urch isan incredibly acc"m!lished flm and s"und edit"r, with a bunch " &scars "n his mantle, and #reat w"r$ insuch flms as A!"caly!se N"w, he G"dather Part II, he 3n#lish Patient, and he alented ;r* (i!ley* Part "that b""$ is ab"ut his the"ry that we blin$ t" edit the flm " "ur li%es* )e blin$ thr"u#h"ut the day t" cutr"m "ne scene t" the ne+t t" the ne+t t" the ne+t* And he uses that the"ry in his flm editin#* 6e l""$s "rwhen the main character blin$s, and "ten uses that as his cuttin# !"int, f#urin# that it’s !r"bably the m"stnatural5eelin# !lace t" cut "r the audience*

As animat"rs, we can hi/ac$ his the"ry and a!!ly it t" "ur "wn w"r$ and "ur actin#* )e can study the same

!hen"men"n that he n"ticed, and we will all fnd the same e+act result 5 !e"!le blin$ when their brain shitsr"m "ne thin# t" an"ther, whether it’s an em"ti"n "r a th"u#ht*

)e blin$ "r a bunch " reas"ns, but the m"st im!"rtant t" me are these:

* )e blin$ when we shit "ur th"u#ht !r"cess* )e blin$ t" sh"w "r hide em"ti"nJ* )e blin$ in the middle " a ast head turn

1"r me, th"se three thin#s dictate * " the blin$s I’%e e%er animated, and I’ll tell y"u what 5 n"t "ne" them has anythin# t" d" with any- Sec"nd. rule* &$, s" let’s start with number J, since that’s the m"st basic* his is "ne that m"st " y"u ha%e heard ab"ut,and use "ten* Pers"nally, I thin$ it’s a #reat rule, and seems t" w"r$ really well* I y"ur character’s head d"esa really ast head5turn, dr"! a blin$ in there near the middle "r near the end " the head turn, and it’ll #i%e ita nice natural eel* his is s"methin# I’%e defnitely "bser%ed in !e"!le, and it’s a #reat rule " thumb t"#enerally $ee! in mind*

I’m n"t sure why we blin$ mid5turn, but I thin$ it mi#ht ha%e s"methin# t" d" with ha%in# t"" much %isualin"rmati"n 9""min# !ast "ur eyes, and "ur brain says, -6"ly m"ly2 "" much in"rmati"n2 G"tta shut th"sethin#s "r a m"ment2. I ha%e n" idea i that’s true, but it s"unds li$e it mi#ht be ri#ht, and that’s #""den"u#h "r me***

Let’s /um! bac$ u! t" #""d "ld numer" un" 5 blin$in# t" sh"w a shit in "ur th"u#ht !r"cess*

his is an abs"lutely essential and endlessly useul t""l in animati"n 5 s"methin# y"u can truly use "%er and"%er a#ain, in sh"t ater sh"t* Li$e the idea " ad%anced-antici!ati"n,. this really can be "ne " th"seew-lielines. " c"mmunicati"n y"u can ha%e with y"ur audience* A way t" reach "ut t" them, and whis!er,

-6ey, chec$ it "ut2 6e’s thin$in# ri#ht n"w2 &""h2 And n"w he’s made u! his mind2.

Anyway 5 bac$ t" shitin# "ur th"u#h !r"cesses***

he eyes are the wind"ws t" the s"ul, ri#ht7 )e’%e tal$ed ab"ut that cliche, and h"w ri#ht it is, and h"wim!"rtant it is t" c"mmunicate with y"ur character’s eyes* FI thin$ we ha%e, anyway* 6a%en’t we7 his is


6/92

m"nth , s" it’s #ettin# a little u99y in my mem"ry2 I c"uld l""$ it u!, but we b"th $n"w I’m t"" la9y t" d"that***Pers"nally, I eel li$e OD5D " the em"ti"n " y"ur character is #"in# t" be s"ld in the ace, and D " 6A em"ti"n will be s"ld in the eyes* he timin# and directi"n " y"ur eye darts will c"mmunicate m"re thanalm"st any "ther thin# in y"ur scene*But a 6'G3 !art " that c"mmunicati"n is with eye blin$s* )e can tal$ m"re ab"ut eyes later, i y"u #uyswant, but as ar as blin$s #", all the #reat eye animati"n in the w"rld will n"t w"r$ with"ut careully !lannedblin$s* Y"ur character is in a basement* Scared* Bac$in# int" a dar$ c"rner, unsure " where the %illain is hidin#* 6iseyes are wide, dartin# all "%er the !lace, searchin# rantically* 1"r hel!* 1"r a way "ut* 1"r a wea!"n* 1"r ahidin# !lace*

S" ar, s" #""d* N" reas"n t" blin$, ri#ht7 6e’s scared "r his lie, searchin# C3SP3(A3LY "r hel!* 6is eyeswant t" suc$ in as much in"rmati"n as humanly !"ssible, because i they d"n’t f#ure s"methin# "ut 8uic$,his eyes mi#ht st"! seein# anythin# at all !retty s""n*

I y"u’re animatin# this scene, y"u’re #"in# t" be ta$in# the -n" blin$s at all. a!!r"ach s" ar in this scene,unless it’s #"ne "n "r a (3ALLY l"n# time* I the eyes are des!erate en"u#h, I thin$ y"u c"uld #et awaywith n"t blin$in# "r e%en D sec"nds "r m"re* here are c"untless scenes " s"me " "ur best act"rs sh"win#their intensity and em"ti"n by n"t blin$in# "r much l"n#er than D sec"nds, but at s"me !"int, a sustainedsh"t "-scared #uy. is #"in# t" #et stale and b"rin#, s" I’d say a sh"t li$e this will #et b"rin# l"n# be"rey"u’d 6A43 t" thr"w a blin$ in there***S", he’s scared and des!erate* N" blin$s yet* 6is bac$ bum!s a#ainst c"ncrete, and he reali9es he isc"rnered* 6is eyes are e%en wider* Searchin#* 6"!in#* Suddenly, they l"c$ "n2 6e s!ies a sh"%el2 A wea!"n26e’s "und h"!e2

Guess what he d"es76e #rabs the sh"%el, ri#ht7 )ell, yeah, he d"es, but what d"es he d" frst7 6e blin$s*)hy7 )ell, it’s s"rt " the )alter ;urch thin#* 6e’s -cuttin#. his flm* 6is -scared and h"!eless. scene hasended, and it’s time "r the -try t" be a her". scene, starrin# him and his sh"%el*

In "ther w"rds, his th"u#ht5!r"cess has shited* 6e’s #"ne r"m "ne idea t" an"ther idea, in his head* 6e wasscared "ut " his mind, and n"w his ri#ht has m"r!hed a little bit* It’s e%"l%ed* 6e’s !r"bably still scared, butI bet his eyes are a little narr"wer, n"w that he has his sh"%el in hand* 6is eyes are dartin# a l"t less* 6e’s still ri#htened, but n"w he’s a little h"!eul, andmaybe e%en a little mad* )h" is this lunatic huntin# him d"wn in his basement72 )h" d"es he thin$ he is276e’s #"in# t" #et a ace ull " sh"%el i he d"esn’t #et "ut ri#ht n"w2

(i#ht7

)hen y"u frst #et handed a scene li$e this, y"u’re #"in# t" study the am"unt " time y"u ha%e t" w"r$ with,y"u’re #"in# t" !lan "ut y"ur m"ti"ns and timin#, f#ure "ut y"ur dynamic !"ses, etc* Eust as with any "therbit " !lannin#, it’s essential t" search thr"u#h y"ur scene and try t" fnd a m"ment " chan#e Q when anem"ti"n chan#es, "r an idea shits* hese are AL)AYS the meatiest m"ments "r y"u as an act"r andanimat"r, and these are #enerally the m"ments when y"u will careully ch""se when t" blin$*A shit r"m scared t" h"!eul7 Blin$* 6a!!y t" ner%"us7 Blin$* 6"w ab"ut s"methin# really subtle, li$e sad t"sadder* Blin$2 h"se blin$s will S3LL the chan#es in th"u#ht !r"cess m"re than anythin# else "ther than !"ssibly "%erall!"sture chan#es* &$, and then lastly, we ha%e the idea " usin# blin$s t" sell em"ti"ns*)ell, let’s #" bac$ t" "ur !re%i"us e+am!le, with the scared basement #uy* 6"w d" we $n"w he’s scared7)ell, h"!eully y"u’re usin# as many small thin#s as !"ssible t" sh"w his ear* 6"!eully his m"%ements eelaraid, his head and eyes are dartin# ar"und, his "%erall acti"ns and br"ad m"%ements can e%en sh"w ear*

But ha%in# th"se wide, unblin$in# rea$ed "ut eyes 5 6&S3 are #"in# t" sell the ear as much as anythin#else* ;aybe e%en m"re than anythin# else, ri#ht7 S" ri#ht "< the bat, we ha%e an em"ti"n bein# s"ld thr"u#hblin$s, "r rather, thr"u#h the lac$ " blin$s* )hat w"uld it l""$ li$e i he was blin$in# a l"t in the basement76e’d l""$ =ustered, maybe he’d l""$ li$e he’s thin$in# ra!idly ab"ut a l"t " di


7/92

I y"u’%e been readin# this c"lumn since the be#innin#, y"u’%e read my ti!s ab"ut scene !lannin# and $n"wh"w essential it is t" !lan y"ur !er"rmances* Part " that !lannin# sh"uld "ten be %ide" reerence, " eithery"ursel "r riends "r act"rs* I y"u truly #et int" y"ur character’s head, and truly be#in t" eel the (3ALem"ti"ns " the scene when y"u are actin# "ut y"ur %ide" reerence, y"u )ILL see the !r"!erly !laced blin$s,sh"win# these shits in em"ti"n and th"u#ht !r"cess* I y"u aren’t sure where t" blin$, be sure t" #" thr"u#hthis !r"cess, it can be really hel!ul*An"ther #reat idea is t" /ust study the blin$s " y"ur a%"rite act"rs* hin$ " y"ur a%"rite flm, and ch""se ascene that st""d "ut t" y"u as bein# es!ecially belie%able actin#* Pull it u! "n C4C and study the act"r’sblin$s* 0hec$ "ut 1"rrest Gum! meetin# his s"n "r the frst time 5 it’s ama9in#* Als", ("bin )illiams’ blin$sand eye5darts in &ne 6"ur Ph"t" are #reat t" analy9e* Any " y"ur a%"rite act"rs will ha%e %aluable reerence"r y"u t" study* 0hec$ that stu< "ut2 6"w d"es the timin# and re8uency " the blin$s c"mmunicate the

em"ti"n at /ust the ri#ht !recise m"ment t" ma$e it eel true*** 6"w d"es it ma$e y"u eel7 )hy7

It’s a #reat idea t" sit d"wn and really study that stu


8/92

6"we%er, be careul n"t t" $ey all " y"ur ace sha!es "n the same $eys* Y"u?ll want t" $ee! trac$ " "%erla!*(emember the !rinci!le " lead and "ll"w, and a!!ly it t" the ace* )hat m"%es what7 )hat m"%es frst7 C"the eyes lead the acial !er"rmance7 C" the br"ws lead the eyes7 Study thin#s li$e this in y"ur reerence, s"the ace d"esn?t eel r"b"tic*

1"r e+am!le, the eyebr"ws alm"st always lead e+!ressi"ns* Is y"ur character #"in# r"m sad t" an#ry7 It?ll!r"bably read best i Fater already sellin# the th"u#ht !r"cess in the eyes y"u start the actual !hysicaltrans"rmati"n in the br"ws* 6a%e them !ush d"wn int" the eyes, which then w"uld either narr"w the eyesint" an#ry slits, "r #i%e the eyes the @=at5t"!@ wide5eyed l""$ " a #uy ab"ut t" ri! y"ur arms "


9/92

c"mmunicate what act"rs were tryin# t" c"n%ey with their deli%ery* )e ha%e t" be able t" listen t" theirdial"#ue, "ten m"nths ater it was rec"rded, and $n"w e+actly what they intended* his is n"t t" say that we sh"uld be l"c$ed int" animatin# e+actly what the act"r !er"rmed 5 n"t at all 5 butthe m"st cl"sely y"u can tie y"ur !er"rmance t" their deli%ery, the m"re belie%able, entertainin#, andem"ti"nal it will be* S" it?s essential that y"u ha%e the s$ill t" analy9e the deli%ery " a line, and !luc$ "utth"se "!erati%e w"rds, and n"t "nly $n"w which "nes are m"st im!"rtant, but )6Y*

&ne im!"rtant thin# t" menti"n at this !"int is that we must be e+tra careul n"t t" ch""se t"" many"!erati%e w"rds* Ideally y"u want "ne in e%ery scene, but s"metimes there are tw"* I it?s a HreallyH l"n#deli%ery, there mi#ht e%en be three, but n"rmally y"u want t" limit it as much as y"u can in "rder t" a%"id"%eractin#*

&%eractin#7 Yu! 5 the m"st c"mm"n s"urce " "%eractin#, in my "!ini"n, is animat"rs F"r act"rs2subc"nsci"usly ch""sin# t"" many "!erati%e w"rds* )hy7 Because "ther than $n"win# the subte+t " a line,the "ther m"st im!"rtant use " "!erati%e w"rds is that they uncti"n as a r"ad ma! "r "ur actin#!er"rmance* hey are the si#n!"sts that say @d" y"ur bi##est #esture here2@ "r @this is y"ur bi# actin#m"ment2@ "r @ha%e y"ur lar#est m"ment " c"ntrast ri#ht at this e+act m"ment2@ Y"u see, we build "ur !er"rmances ar"und these s!ecifc w"rds, because that?s what the deli%ery " the linecalls "r* hat?s what the deli%er C3;ANCS, actually* 0h""sin# the wr"n# "!erati%e w"rd is /ust as bad asch""sin# t"" many, and it will stand "ut as bad actin#, "r at the %ery least, @weird*@

Let?s #" bac$ t" "ur @HIH l"%e y"u@ e+am!le, and let?s say that the deli%ery we ha%e been #i%en is the frstdeli%ery Fwith the em!hasis "n @I@ 5 meanin# @6e d"esn?t l"%e y"u2@*S" y"u listen t" that line, where @I@ is clearly the "!erati%e w"rd*

6"we%er, let?s say y"u ma$e a mista$e and ch""se @y"u@ as y"ur "!erati%e w"rd* Y"ur actin# w"uld all n"wbe built ar"und the w"rd @y"u*@ Y"ur character?s main #esture will ha!!en "n that last w"rd instead " thefrst, where it naturally w"uld "ccur m"st " the time* Act it "ut y"ursel ri#ht n"w* 1eel h"w weird it eels t"say @HIH l"%e y"u@ but #esture F!"int at her, maybe "n @y"u7@ )e see this in student dem" reels c"nstantly,and it l""$s e%en weirder in animati"n than it eels t" y"u ri#ht n"w2 he "ther c"mm"n mista$e is ch""sin# t"" many "!erati%e w"rds* Let?s say y"u decide all three w"rds will be"!erati%e w"rds* N"w y"u?%e #"t the character !"intin# t" himsel "n @I@, clutchin# his heart "n @l"%e@ and!"intin# t" his #irl "n @y"u*@G" ahead and act that "ut* It?s c"m!letely ridicul"us* N" "ne w"uld really c"mmunicate li$e this in the realw"rld* he "nly way that actin# !er"rmance w"uld w"r$ is i the characters are dea and are usin# si#n5lan#ua#e* But "nce a#ain, y"u?d be ama9ed at h"w much " this we see "n dem" reels* S", t" ma$e a l"n# st"ry sh"rt 5 ch""se y"ur "!erati%e w"rds, try t" $ee! it d"wn t" "ne "r tw" main w"rds,

and then use th"se w"rds as the m"ments that y"u will d" y"ur bi##est actin#acti"ns "n* Y"ur bi##est#esture F"r "nly #esture sh"uld alm"st always ha!!en durin# the "!erati%e w"rd* Y"ur bi##est chan#e inb"dy !"sture sh"uld alm"st always ha!!en durin# the "!erati%e w"rd* he main ideas " the scene sh"uld bec"mmunicated usually durin# an "!erati%e w"rd* Y"ur bi##est chan#e in acial !"se7 Yu!, y"u #uessed it 5ma$e sure it?s durin# an "!erati%e w"rd*&h, and "ne "ther thin#* S"metimes, y"u?ll be handed a line " dial"#ue that?s either c"m!letely de%"id ""!erati%e w"rds Fit?s b"rin#, m"n"t"ne, etc "r "n the "ther hand, is /am5!ac$ed ull " them* In b"th cases,these !""r deli%eries will ma$e y"ur /"b m"re diXcult, but it will still be u! t" y"u t" frst decide what it isthat y"u truly want the character t" be c"mmunicatin#, and then ch""sin# the "!erati%e w"rd that will bestd" the /"b*I there are n" "!erati%e w"rds, y"u may ha%e t" /ust ma$e them u!*

Y"u?ll ha%e t" ch""se the subte+t "r y"ursel, ch""se an "!erati%e w"rd, and #" r"m there* Y"ur /"b as theanimat"r is t" ta$e whate%er dial"#ue deli%ery they #i%e y"u, and ;AK3 it w"r$* I it?s a terrible deli%ery, well,maybe it w"n?t be the best scene " all time, but h"!eully y"u can at least ele%ate it r"m terrible int"@!assable*@ hat?s a bi# !art " y"ur /"b* It can be challen#in#, but then a#ain, it?s als" really un t" see h"w muchem"ti"n and c"mmunicati"n y"u can try t" s8uee9e "ut " e%en the m"st b"rin# line deli%ery*

0"n%ersely, y"u ha%e the instance " ha%in# t"" many "!erati%e w"rds t" ch""se r"m* 'nless the #"al " thescene is that the character is manic and cra9y and s!ea$in# a mile a minute and y"u?re als" w"r$in# in a%ery wac$y style, y"u?re #"in# t" ha%e t" rein in y"ur animati"n ima#inati"n Fwhich will #" bananas at the!r"s!ect " crammin# a 9illi"n ideas int" the sh"t and ch""se /ust "ne "r tw" and i#n"re the rest* I y"ud"n?t, y"u run the ris$ " y"ur character eelin# "%eracted, and y"ur scene will be a /umbled mess "c"nused ideas that the audience w"n?t be able t" "ll"w*S"**** ch""se th"se "!erati%e w"rds careully2 And, as always, ha%e 1'N25shawn :

SP&LIG6 Y&'( 3P(3SSI&NS6ell" there2 )elc"me bac$ t" yet an"ther Animati"n i!* 6"!eully y"u aren?t b"red "ut " y"ur minds yet,but h"nestly7 3%en i y"u are, I?m still ha%in# un writin# these d"wn, s" t"u#h luc$ 5 y"u?ll ha%e t" /ust !ut u!with me "r n"w*


10/92

Last time, we tal$ed a l"t ab"ut aces and acial animati"n 5 m"stly "cusin# "n the idea that the ace is "nec"hesi%e unit that we use t" c"mmunicate* )e tal$ed ab"ut h"w im!"rtant it is that y"u d"n?t let y"uracial !er"rmance end u! l""$in# li$e it?s a mishmash " DD di


11/92

I the ace be#ins t" chan#e Hbe"reH turnin#, y"u can !lay it in y"ur actin# !er"rmance as a sense "h"!eulness* She?s still sad, but suddenly there is li#ht at the end " the tunnel* It will seem as th"u#h shehears the "ther character arri%in#, and the audience will read their "wn th"u#hts and eelin#s int" her acial!er"rmance, imbuin# it naturally with all $inds " #reat stu


12/92

S", i y"u?re an animati"n student, which I?d assume the %ast ma/"rity " y"u are, y"u?%e !r"bably tried y"urhand at animatin# at least a sin#le5character sh"t* I y"u?re readin# this newsletter, and y"u aren?t currentlyan animat"r "r an animati"n student, then y"u must be "ne " the "ll"win#:

* An animati"n student "n the inside, dyin# t" bust "ut " the shell and di%e int" this un andchallen#in# career head5frst &r* ;y ;"m

S", "ther than my ;"m, I thin$ it?s sae t" say that y"u?re !r"bably an animat"r "r student, and y"u?%e!r"bably tried animatin# at least a sin#le5character sh"t* ;any " y"u ha%e ta$en a crac$ at multi5character

sh"ts, t"", but I /ust had a c"u!le 8uic$ ti!s t" thr"w at y"u #uys re#ardin# sh"ts with multi!le characters*

S" here we #" 5 i! V: Kee! Sec"ndary 0haracters Sec"ndary

Particularly the frst ew years " y"ur animati"n lie, we are c"nstantly !la#ued by the na##in#,"%erwhelmin# need t" ha%e "ur characters d"in# S&;36ING at all times* )e?re animat"rs, ater all, and wewant t" animate2 A character can?t /ust stand there d"in# n"thin#2 6e?ll l""$ dead2 6e sh"uld always be d"in#s"methin#, ri#ht27

he dan#er in this, " c"urse, is tw""ld 5 m"%ement ceases t" be initiated "r a reas"n and /ust bec"mesm"%ement "r m"%ement?s sa$e, and c"nstantly acti%e characters ha%e n" c"ntrast in their !er"rmance* In a multi5character sh"t, this tendency t" #i%e e%ery character s"methin# t" d" can c"m!letely ruin the ="w" c"n%ersati"n, will l""$ ar t"" @busy@ %isually, and will destr"y any c"ntr"l y"u ha%e "%er the eye " theaudience*

he #"al with a multi5character sh"t, as always, will be t" clearly c"mmunicate y"ur ideas, ri#ht7 )ell, in"rder t" c"mmunicate th"se ideas, it will be y"ur /"b t" direct the eye " the audience, t" lead them thr"u#hthe c"n%ersati"n* Y"u want t" sta#e y"ur scene, and !lan y"ur timin# in a way that all"ws y"u t" h"ld theirhand, and wal$ them thr"u#h the animati"n* Y"u need t" whis!er in their ear @hey, listen t" what this #uy issayin#*** "$ay, n"w 5 8uic$2 L""$ "%er there2 See what that "ther #uy /ust did7 hat?s im!"rtant t" the st"ry*&$ay, n"w "r#et that #uy, instead, !ay attenti"n t" this "ther #uy "%er here***@

I y"u can?t d" that, y"ur scene will be a /umbled mess " c"nusi"n, and at best, will ne%er be as entertainin#as it c"uld ha%e been* St"ry !"ints will be l"st, /"$es will be missed, and em"ti"ns will be muddy*

he $ey t" ma$in# thin#s read, is t" "nly all"w sec"ndary characters t" d" sec"ndary acti"ns*

Sec"ndary acti"n is !r"bably an article all "n its "wn, but the 8uic$ie %ersi"n, i y"u d"n?t $n"w, is this:Sec"ndary acti"ns are acti"ns that add t" the character and au#ment the em"ti"ns )I6&' distractin#r"m the !rimary acti"ns in the scene* he term @sec"ndary acti"n@ is s"metimes c"nused with c"nce!tssuch as @"%erla!@ "r @"ll"w5thr"u#h,@ but it?s actually 8uite di


13/92

character5s!ecifc sec"ndary acti"ns "r Andy and Eay t" be d"in#* ;aybe the three " them ha%e /ust been /"##in# t"#ether, and n"w they?%e st"!!ed t" rest "n s"me benches in a !ar$* 0hris is settin# u! a /"$e,which means that at that !recise m"ment, he is the m"st im!"rtant character in the scene, ma$in# him the@Primary 0haracter*@ &nce y"u ha%e that bit " in"rmati"n, y"u $n"w e+actly h"w y"u need t" sta#e thin#s*0hris? acial e+!ressi"ns sh"uld be sta#ed clearly t" the audience while he?s tal$in# Fi !"ssible, and his#estures sh"uld, #enerally s!ea$in#, be ar bi##er and"r aster than anythin# Andy and Eay are d"in#* heysh"uld !r"bably be listenin# t" him at this !"int, while d"in# s"me $ind " sec"ndary acti"ns Fsince they arethe sec"ndary characters* ;aybe Andy is hea%in#, because he?s hea%ier than the "ther tw", and is reallyw"rn "ut r"m the run* S" maybe he?s /ust sittin# there breathin# hea%ily* hat c"uld be his sec"ndary acti"n*;aybe Eay, wh" is m"re athletic, is sittin# calmly and wi!es the sweat r"m his br"w while listenin# t" 0hris*

As l"n# as Eay d"esn?t start uri"usly scrubbin# at his "rehead, n" "ne?s attenti"n is #"in# t" lin#er "n Eaydurin# this m"ment* hey mi#ht #lance at him t" #au#e his reacti"n t" what 0hris is sayin#, "r t" n"tice that he?s sweaty, but they?llimmediately l""$ bac$ t" 0hris, since 0hris is !rimary and Eay and Andy aren?t d"in# anythin# interestin#en"u#h t" h"ld their attenti"n*

S" ri#ht there, y"u?%e c"ntr"lled the eye " the audience* Y"u?%e made a c"nsci"us decisi"n t" sta#e theactin# !er"rmances in a way that $ee!s !e"!le "cused "n 0hris*

N"w, let?s say that Eay re!lies t" what 0hris has /ust said* At this m"ment, y"ur /"b is m"st li$ely t" transiti"nthe audience?s attenti"n r"m 0hris "%er t" Eay*

Eay?s line " dial"#ue is en"u#h t" #et y"u started* As s""n as he starts tal$in#, 0hris and Eay trade !laces inthe hierarchy " the scene* Eay is n"w t"! d"#, and 0hris has bec"me a sec"ndary character* Because " this,the audience will li$ely at least #lance "%er t" Eay as he starts tal$in#, but this is "ne " many crucialm"ments in the scene* I 0hris c"ntinues t" be as animated as he was while he was tal$in#, and Eay c"ntinuest" /ust sit there wi!in# sweat r"m his br"w while deli%erin# his line, m"st !e"!le will l""$ bac$ at 0hris*

he s"luti"n, " c"urse, is t" immediately =i! 0hris t" d"in# s"methin# sec"ndary instead " c"ntinuin# his!rimary acti"n, and %ice %ersa "r Eay* At this !"int, Eay c"uld "r#et ab"ut the sweat "n his br"w, and be#esturin# with his dial"#ue, "r d"in# an e%en bi##er acti"n, li$e ta$in# "< his sh"es and thr"win# them "%erhis sh"ulder "r s"methin#* hat?s a bi#, !rimary, @hey e%ery"ne, l""$ at me2@ acti"n* Since he?s tal$in#, that?sa #reat !lace t" !ut an acti"n li$e that* )ith Eay tal$in#, and 0hris thr"win# sh"es ar"und, "nce a#ain, theaudience will be l""$in# at the wr"n# !ers"n*

S" 5 i y"ur character is sec"ndary, $ee! them with sec"ndary acti"ns "nly* )hen y"u want the audience t"

l""$ at a certain character, #i%e him s"methin# bi##er t" d"* &r c"n%ersely, s"metimes y"u ma$e him S'P3(still amidst a l"t " m"%ement 5 either ch"ice will draw the eye ri#ht t" the character y"u want !e"!le t" seeat that m"ment* he !"int is y"u ha%e t" ma$e the c"nsci"us decisi"n t" direct "ur eye, s" we $n"w what wesh"uld be l""$in# at*

he main !"int is that n"thin# sh"uld e%er distract the audience r"m whate%er it is y"u want them t" bel""$in# at* I "ne character is really acti%e, the "thers sh"uld li$ely be !retty calm unless the st"ry calls "r am"re cha"tic, rantic scene* 3%en in a scene in%"l%in# a heated debate, "r %ery 8uic$ dial"#ue where thecharacters are tal$in# "%er each "ther, y"u can use this tric$ " @wh" is sec"ndary and wh" isn?t@ t" lead theaudience thr"u#h the scene, ensurin# that they d"n?t miss a sin#le em"ti"n, #a#, "r st"ry !"int*

I y"u watch y"ur bl"c$in# and eel that the characters are c"m!etin# "r y"ur attenti"n, it?s a #""d si#n thats"methin# is wr"n#, and the s"luti"n is %ery li$ely #"in# t" be t"nin# d"wn s"me " the characters durin#an"ther?s @!rimary@ m"ment*

his is #ettin# $ind " l"n# Fs"rry2 I always d" this*** C?"h2, but I /ust want t" 8uic$ly t"uch "n s"me "therways y"u can direct the eye:

* 3ye directi"n* I f%e characters are all l""$in# at a si+th character, e%ery !ers"n in that audience is#"in# t" be l""$in# at the si+th character t""* I the characters suddenly l""$ screen let, we?re #"in# t" l""$screen let as well, e+!ectin# that whate%er "r wh"e%er they see will be re%ealed t" us* In these instances,y"u are usin# eye m"%ement t" direct the audience?s eye thr"u#h the rame*

* Antici!ati"n* hat "ne?s hu#e, and w"uld be a ull article all "n its "wn, but basically, y"u can use acharacter?s antici!ati"n t" direct the audience as well* &ne way it w"uld relate t" a multi5character scenew"uld be t" ha%e the character wh" is listenin# but ab"ut t" s!ea$ 5 that character c"uld antici!ate theirres!"nse* 1"r e+am!le, let?s say Andy is tal$in# ab"ut bein# s" tired r"m the run and h"w he wants t"

8uit, and Eay, wh" is m"re athletic, is disa#reein# with him* ;aybe J sec"nds be"re Andy is fnished tal$in#, Eay c"uld start sha$in# his head Findicatin# he disa#rees with him* his sha$in# " the head w"uld n"t "nlylead nicely int" Eay?s ne+t line, but it ser%es as a nice way t" transiti"n the attenti"n " the audience r"mAndy "%er t" Eay, and when Eay starts tal$in#, the audience is already "cused "n him*

J* 0"ntrast* his !lays al"n# with the @!rimarysec"ndary@ idea, but /ust t" clariy, I thin$ y"u can thin$" that wh"le c"nce!t as @c"ntrast*@ I y"u ha%e characters dancin# ar"und, and "ne is standin# still, we?re


14/92

#"in# t" l""$ at the still "ne, at least until he b"res us* I y"u ha%e characters standin# still and "nedancin# ar"und 5 well, it?s "b%i"us which we will "cus "n* he dancer2 he !"int is, ma$in# s"me"ne@!rimary@ d"esn?t always mean y"u are #i%in# them bi##er and br"ader acti"ns Fth"u#h it "ten d"es, itsim!ly means that they are d"in# s"methin# that c"ntrasts en"u#h with the characters and en%ir"nmentar"und them, that it draws "ur eye*

R* 0"m!"siti"n* Cefnitely an article all "n its "wn, but it?s certainly a act"r in directin# the eye " theaudience* )here y"u !lace characters within the sh"t n"t "nly can in"rm their status and em"ti"n, but cancertainly a


15/92

Animat"rs ha%e t" create a !er"rmance Fh"!eully e%ery bit as e%"cati%e as that act"r, ANC be a master "h"w the b"dy mechanics will w"r$ and e%erythin# else besides*It isn?t an easy /"b, but b"y is it a un !u99le t" tac$le, and s" satisyin# when y"u really nail it* 6ere?s thethin# 5 !e"!le d"n?t #i%e animat"rs en"u#h credit*(emember the frst time y"u saw that 5(e+ in Eurassic Par$ bustin# thr"u#h the trees, alm"st "n t"! " the /ee!7 he wh"le theater screamed2 Aterward, !e"!le were tal$in# ab"ut h"w scary that 5(e+ was*)hat7 )hat 5(e+7 It wasn?t real2 he 5(e+ didn?t scare any"ne2 he HANI;A&(H made them all scream2Sure, the music, and directin# add t" any scary m"ment, but the animat"r is the sin#le !ers"n wh" br"u#htthat din"saur t" lie t" such an e+tent that a theater ull " !e"!le screamed*

6"w c""l is H6AH27

&r what ab"ut Bu99 and )""dy r"m "y St"ry7 6"w many times ha%e y"u heard $ids tal$in# ab"ut h"wunny Bu99 and )""dy are7But Bu99 and )""dy ne%er made any"ne lau#h* hey ne%er made any"ne cry, "r scream, "r eel ins!ired*Bu99 and )""dy are "nly ideas* hey?re a bunch " math, and that?s it* hey?re a fle ull " bits and bytes and"nes and 9er"s2 he Pi+ar animat"rs breathed such lie int" Bu99 and )""dy, that children all "%er the w"rld belie%ed, trulybelie%ed 5 e%en i "nly "r th"se D minutes, that th"se characters were truly ali%e* hat Bu99 had realeelin#s* hat )""dy had real dreams* hat?s s"me !retty !"werul stu


16/92

S"unds !retty !ractical t" me, s" that?s what we?ll be tal$in# ab"ut t"day2 FSee h"w la9y I am7 G""d thin# hedidn?t as$ me ab"ut my a%"rite s"c$s, "r else y"u?d all be hearin# ab"ut the ma#ic " h"rl" s"c$s "r !a#es2

&$ay, s"***

I y"u?re an Animati"n ;ent"r student, y"u?%e seen the %ide" lecture ab"ut e+a##erati"n, and $n"w h"wim!"rtant it is* Y"u $n"w E"hn Lasseter describes e+a##erati"n as @accentuatin# the essence " an idea %iathe desi#n and the acti"n*@ Y"u $n"w the am"unt " e+a##erati"n is !r"bably the sin#le bi##est defnin#as!ect " the style " the animati"n* Y"u $n"w h"w t" use it t" sell the wei#ht " a character, "r t" s!"tli#ht a

st"ry !"int* Ab"%e all, y"u $n"w that e+a##erati"n is used "r clarity* 0larity " ideas, clarity " /"$es, clarity" !ers"nality, and clarity " !hysical traits*

But that "%erridin# 8uesti"n c"mes u! a#ain and a#ain, es!ecially in "ur frst ew years " animatin# 55 h"wmuch is t"" much7 S", here?s my tw" cents "n that: i! V: It?s "" ;uch 3+a##erati"n )hen the Audience is 0"nused Yeah, I $n"w that s"unds li$e a @duh@ statement, but I really thin$ that?s the answer* &nce a#ain, it b"ils d"wnt" the act that animati"n is b"th a c"llab"rati%e and a c"mmunicati%e medium* Y"u aren?t /ust animatin#s"methin# "r y"ursel and y"ur ;"m, y"u?re tryin# t" create a !iece " art that s!ea$s t" !e"!le* hat willma$e them lau#h, "r tell a st"ry, "r urther a !l"t !"int, "r sh"w "< a c""l character trait* he "nly way t" $n"w i y"ur animati"n is w"r$in#, "nce a#ain, is t" sh"w it t" s"me"ne* " ma$e thec"nsci"us e


17/92

in there and start e+!erimentin#* I y"u animate a b"uncin# ball, d" a ew di


18/92

hat?s it* It isn?t terribly c"m!licated, but man 5 it was really scary "r me at frst, but I ha%e t" say, I?%e "undit e+tremely hel!ul* Basically, the idea is this 55 i y"u nail the timin# and !"sin# " the b"dy Fhi!s, t"rs", etc,then the !"siti"n " the eet will already be dictated by the !"siti"ntimin# " the b"dy, s" i y"u /ust hide theeet and le#s t" be#in with, and bl"c$ in the b"dy, y"u #et the eetle#s "r @ree*@

;y frst reacti"n t" this was incredul"us* @6"w d" y"u $n"w where t" !ut the hi!s i y"u can?t see the eet27@ Ihad a really hard time ima#inin# w"r$in# this way* I?%e always been a !"se5t"5!"se #uy "r the m"st !art* hin$in# ab"ut my scenes as a series " Fh"!eully str"n# ull5b"dy !"ses* I c"uldn?t ima#ine i#n"rin# suchim!"rtant !arts " a !"se when bl"c$in# in my w"r$*

)hat I?%e "und, h"we%er, is that this meth"d can sa%e y"u s"me time, as l"n# as y"u still d" y"ur !lannin#,

and $n"w Fat least in y"ur mind what y"ur main !"ses need t" end u! l""$in# li$e* Y"u?ll li$ely ha%e t" #et inthere and ad/ust the hi!s and b"dy !"siti"n sli#htly t" acc"mm"date issues that mi#ht !"! u! when y"u startdr"!!in# in y"ur le# animati"n, but "r the m"st !art, i the b"dy truly l""$s ri#ht, the eet "u#ht t" w"r$* he bi# b"nus is that y"u d"n?t ha%e t" sl"w d"wn t" re!"siti"n y"ur eet c"nstantly i y"ur character isrunnin# ar"und, =i!!in#, s!innin#, /um!in#, etc* I was ama9ed t" disc"%er what an anch"r the le#s were "nmy @bl"c$in# time,@ and h"w much s!endin# time with them really sl"wed me d"wn*

I?%e used this meth"d "n "ur flms n"w, and I?m fndin# that in any acti"n5intensi%e scenes, I?m relyin# "nthis meth"d m"re and m"re t" bl"c$ my w"r$ in 8uic$ly*

As an e+am!le, there was a scene in Star )ars J: (e%en#e " the Sith where I had this idea " ha%in# Y"dach"! this #uy d"wn and then thr"w his li#htsaber at an"ther #uy, lea! u! "nt" his chest, !ull "ut theli#htsaber as the #uy alls, and then lea! "%er the dyin# #uy?s head t" attac$ the ne+t cl"ne tr""!er in line*

his was "ne " the frst times I really used Glen?s tric$ " hidin# the le#s, and it w"r$ed s" well "r me that Iused his meth"d thr"u#h"ut that entire se8uence*

1irst thin# I did was hid his le#s and eet, includin# the nurbs5cur%es " the ""t c"ntr"llers* S" n"w I?%e #"tle#less Y"da /ust standin# there* I let his arms sh"win#, let his head "n, and $e!t his butthi!s s" I c"uld atleast see the line " acti"n #"in# thr"u#h his b"dy Fwhich hel!ed me !lan where I?d want the eet t" !lantlater "n, in "rder t" ha%e the str"n#est !"ses and silh"uettes*I bl"c$ed in the wh"le sh"t this way* Le#less Y"da ="atin# ar"und, $illin# cl"nes, thr"win# his saber, /um!in#,landin# "n the #uy?s chest 5 all " it* &nce the timin# " the b"dy elt ri#ht t" me Fwhich, by the way, meantthat it didn?t eel ="aty at all, but elt li$e he was actually landin# "n eet, " c"urse, then I turned the le#sbac$ "n*

he le#s are IK, s" " c"urse he was basically /ust =yin# away r"m his eet, and he l""$ed li$e a ridicul"us#reen mid#et Su!erman at frst, but as I started t" bl"c$ in the eet, I was bl"wn away by h"w easy it was*

I !laced his eet "n the frst rame int" the !"se I had already been !lannin# t" aim "r, and then sim!lym"%ed rame5by5rame thr"u#h the sh"t Fanimatin# the eet in a c"ntinu"us @strai#ht5ahead@ style andl""$ed "r the rames where his le#s w"uld suddenly hy!er5e+tend and d" the w"nderul @IK5P&P@ we all $n"wand l"%e s" much* )hen I?d fnd that rame, I?d sim!ly bac$ u! "ne rame, sa%e a $ey "n that ""t, and thenstart t" raise it "n the ne+t rame* I?d #" "rward until his b"dy started t" @all@ "nt" the ""t Fthe d"wn !art " his run, bac$ u! a c"u!le rames, !lant that ""t that had /ust hy!er5e+tended a ew rames be"re, and%i"la2 6e was runnin# ar"und2

In "ther w"rds, his b"dy !"siti"n was dictatin# when I?d Hha%eH t" lit the ""t, "r else the le#s w"uld hy!er5e+tend and !"!*

S" ar, I?%e animated 5le##ed Y"da this way, J5le##ed wal$ers in )ar " he )"rlds, and the R5le##ed dra#"nin the u!c"min# 3ra#"n, as well as a c"u!le thin#s I?m n"t all"wed t" tal$ ab"ut yet Fs"rry2 C"n?t y"u hatethat72, and it?s been incredibly useul in e%ery case, re#ardless " the sha!e " the creature "r h"w manyle#s it ha!!ened t" ha%e***

Y"u mi#ht be thin$in# this s"unds insane, which is e+actly what I th"u#ht when Glen tried t" c"n%ince me,but it?s w"rth #i%in# it a try i y"u?%e ne%er e+!erimented w"r$in# this way* ;aybe, li$e me, y"u?ll fnd ithandy*

Yes, it?s a sli#htly @layered@ a!!r"ach t" y"ur animati"n, but I still thin$ " my w"r$ as DD !"se5t"5!"se* I?mmerely !uttin# "< addin# the eet t" the !"se that I already $n"w I?ll e%entually want*

he beneft " this is !rimarily a sa%in#s in time* Instead " muc$in# ar"und with the eet as y"ur m"%e

thr"u#h the sh"t, ine%itably creatin# a l"t " $eys that will !r"bably ha%e t" be ad/usted thr"u#h"ut thebl"c$in# !r"cess, y"u?re i#n"rin# them until y"u $n"w e+actly where they will need t" be !laced, and e+actlywhat they?re timin# will ha%e t" be in "rder t" acc"mm"date the c""l timin# " the b"dy that y"u?%e /ustnailed d"wn*

6"!e that hel!s s"me"ne2


19/92

S" there it is, "ur frst actual me#a5!ractical @tric$*@ I any"ne actually reads this c"lumn and has an "!ini"n"ne way "r the "ther ab"ut whether they?d li$e t" see m"re @ti!s@ "r m"re @tric$s@ in the uture, email me at:ti!sandtric$sTanimati"nment"r*c"m and let me $n"w2

Kee! animatin#, and as always 5 ha%e 1'N2

5 Shawn

(A0K Y&'( A(0S&$ay, be"re I #et started this m"nth, I /ust wanted t" ta$e a sec"nd t" than$ all the !e"!le wh" wr"te in with

c"mments, ideas, th"u#hts, /"$es, etc* It was a $ic$ t" hear r"m y"u, and h"nestly, $ind " weird Fbute+citin#2 t" fnd "ut that !e"!le "ther than my #irlriend and my ;"m actually read this article2

1r"m here "n "ut, eel ree t" c"ntinue t" hit me u! with any th"u#hts at:ti!sandtric$sTanimati"nment"r*c"m

A l"t " the eedbac$ I #"t was %ery !"siti%e in terms " last m"nth’s de%iati"n int" the w"rld "!ractical-tric$s,. which seems t" ha%e been a !articularly nice di%ersi"n ater s" many m"nths " s"metimesintan#ible animati"n the"ry*In li#ht " that, h"w ab"ut an"ther tric$7

I’m $ind " t"rn, here, between eelin# li$e a l"t " the tric$s that s!rin# t" mind are c"mm"nly $n"wn am"n#animat"rs, and thin$in# that there are als" a l"t " newer animat"rs "ut there readin# this article wh" mayn"t ha%e already been t" animati"n sch""l*

Last m"nth’s-hide the le#s. tric$ was !retty ad%anced Fa#ain, I w"uldn’t rec"mmend tryin# that meth"d untily"u’%e animated "r a c"u!le " years "r s" at least, s" this m"nth let’s #i%e y"u newer "l$s s"methin#easier Fbut n"t less hel!ul t" try2

(I0K V: rac$ Y"ur Arcs22

I’m sure many " y"u ha%e already disc"%ered the antastic c"mbinati"n " dry5erase mar$ers and y"urm"nit"r* Li$e !eanut butter U /elly, !r"sciutt" U mel"n, and ried chic$en U my taste buds, these are tw"thin#s that were destined t" ma$e a #reat team*

1"r the rest " y"u, the tric$ is this: use a dry5erase mar$er Fsuch as the ubi8uit"us-San"rd 3P&. "ran-A%ery ;ar$s5A5L"t. t" trac$ y"ur arcs, thr"u#h time and s!ace, by tracin# the m"%ement " y"ur

character acr"ss y"ur screen*

N"w, be"re we #" any urther, let me 8uic$ly t"uch "n a HHH43(Y I;P&(ANHHH di


20/92

Y"u’%e li$ely already heard the im!"rtance " buildin# nicely ="win# arcs and f#ure5 cur%es int" them"%ements " y"ur characters* FI y"u ha%en’t, sh""t me an email, and maybe I’ll ma$e that my ne+t t"!ic2 hat’s all well and #""d r"m a the"ry side " thin#s, but !ractically s!ea$in#, h"w d" y"u ma$e sure y"urarcs are nice7

)ell, there are a c"u!le " ways " d"in# this Fmany animati"n !r"#rams ha%e a #h"stin# uncti"n y"u canuse t" see the arcs, "r e+am!le, but I fnd this diXcult t" use in c"m!le+ m"ti"ns, but my a%"rite, and thea%"rite " m"st !r"essi"nals that I $n"w, is the sim!le act " !l"ttin# a d"tted line "n y"ur m"nit"r with y"urtrusty dry5erase mar$er*

Y"u sh"uld be thin$in# ab"ut y"ur arcs in the !lannin# sta#es " y"ur w"r$* 0ertainly, in the thumbnails y"u

sh"uld be c"nsiderin# whether "r n"t the head will m"%e in an "%er5arc "r an under5arc, "r h"w the tail mi#htswish bac$ and "rth with the ti! tracin# a f#ure5 !attern* Ne+t will be the bl"c$in# sta#e, and y"u sh"uldC31INI3LY ha%e y"ur arcs in mind when bl"c$in# in y"ur $eys and brea$d"wns* &ne " the !rimaryuncti"ns " the brea$d"wn, in act, sh"uld be t" defne the arcin# !ath " the hi!s and limbs, in my "!ini"n*

6"we%er, n" matter h"w well y"u !lan y"ur arcs, and h"w well y"u bl"c$ in y"ur scene, y"ur arcs are n"t#"in# t" be !erect m"st " the time* Y"u mi#ht !lay y"ur scene bac$ and thin$, -w"w, my arcs are #reat2.but i y"u really #et in there and trac$ them, and truly sm""th them "ut, y"u will see a subtle but !"werully=uid di


21/92

he ne+t ste!, is t" draw "nt" y"ur m"nit"r the !ath that y"u )AN t" ha%e* Y"u can d" this with a di


22/92

(A0K Y&'( A(0S Q PA( II)ell, #uess what time it is7

It?s time t" celebrate22 hat?s ri#ht, this is the "ne year anni%ersary " "ur am"usly ramblin# ti!s U tric$sarticle2A year a#" I th"u#ht this was #"in# t" be a three !art article ab"ut !lannin# y"ur scenes*** Kn"win# mytendency t" ramble, "ne " the ellas at w"r$ said he d"ubted that I c"uld $ee! my @!lannin# article@ t" amere three !arts* )ell, here I am a year later, still ramblin# "n and "n ab"ut all thin#s animati"n, s" I #uesshe was ri#ht2

Anyway, I?%e been ha%in# a l"t " un writin# it, and e%en m"re un hearin# bac$ r"m y"u #uys Fhit me at:ti!sandtric$sT animati"nment"r*c"m, s" it?s time t" sit bac$, re=ect "n a year " ti!s, and m"st " all 5 t"celebrate2 I warned y"u that I?d be m"win# d"wn "n ried chic$en and drin$in# a celebrat"ry Bacardi Ane/" yc"ca Fthat?s a#ed Bacardi, which tastes a!!r"+imately DDD times better than re#ular Bacardi, and 0"$e, s"that?s e+actly what I?m d"in#2

In li#ht " that, I sh"uld !r"bably try t" write ast, because i I start t" #et ti!sy, there?s n" tellin# h"w l"n#this article mi#ht #et, "r what bi9arre tan#ency we mi#ht fnd "ursel%es !ulled d"wn*** I can "nly #uaranteetrue animati"n tal$ "r drin$s, at m"st* I I hit drin$ VJ and we?re still all sittin# here, there?s a %ery realdan#er that we?ll start tal$in# ab"ut a l"t less ab"ut animati"n and a l"t m"re ab"ut ried chic$en, why I hatem"ths, and the dream I had last wee$ where underc"%er a#ents were attac$in# me with an#ry attac$chic$ens***Anyway, i y"u?re " drin$in# a#e and want t" /"in in with me "r my &ne Year Anni%ersary celebrati"n, y"u?llneed the "ll"win#: A #lass* !ieces " ice* can " Pe!si F"r 0"$e, i y"u thin$ 0"$e tastes better than Pe!si, but y"u?re wr"n# sh"ts " BacardiAne/" F"r a little m"re, i y"u?re eelin# es!ecially mach"

;i+ all " th"se thin#s t"#ether, and !re!are "r s"me tasty #""dness2

S"*** 1irst "


23/92

Anyway, that was a !retty awes"me drawin#, huh7 0hec$ "ut h"w when he stretches u! "nt" his t"es, he?sthe e+act same hei#ht as when he?s standin# there hunched "%er* al$ ab"ut %"lumes bein# all "ut "whac$*** Yi$es2 And th"se circles at the t"! " his arms are su!!"sed t" indicate sh"ulders, by the way***u#h*

)"w* L""$in# at it n"w, it?s really****embarrassin#* I?m s" tem!ted t" delete this, but I?m way t"" la9y t"redraw it !r"!erly*** 6an# "n a minute, time t" refll ;r* Bacardi Ane/" be"re I #et t"" de!ressed*

&$ay, I?m bac$ and eelin# much better2 ;r* Bacardi Ane/" was /ust tellin# me that it?s @"$ee d"$eeartich"$ee@ n"t t" redraw the ab"minati"n y"u see ab"%e, and is hel!in# me /ustiy my la9iness by claimin#that I?ll ha%e m"re time t" write i I d"n?t s!end time red"in# an "ld drawin#*** )"w, c""l2 han$s, ;r*

Bacardi Ane/"2 Y"u?re such a swell Ane/"2 Fe%en i y"u d" use w"rds li$e @artich"$ee***@

Fuh "h, drin$ V is sh"win#, huh7 I?m !retty sure that when y"u?re ha%in# a c"n%ersati"n with y"ur drin$ inr"nt " ar"und ,DDD !e"!le, y"u?re "Xcially ti!sy*

Anyway, what I had written last m"nth was the "ll"win#, and h"!eully it mi#ht ma$e m"re sense n"w,unless the drawin# is s" h"rrible that I?%e c"nused y"u e%en urther* FI s", then I a!"l"#i9e, but res!ectullyblame the c"mbined e


24/92

here is n"thin# that will add m"re lie t" y"ur scene than c"ntrast* 0"ntrast ma$es a scene un* It #i%es itinterest* It imbues it with a sense " immediacy and !"wer* 0"ntrast draws an audience int" y"ur scene andl"c$s their attenti"n* )ith"ut c"ntrast, the w"rld is =at* It?s b"rin#* ("b"tic* A scene with"ut c"ntrast is li$ebein# "rced t" listen t" a m"n"t"ne %"ice "%er and "%er, while a scene that has been careully c"nstructedt" ma$e use " c"ntrast "!!"rtunities will !"! r"m the screen*

Pe"!le en/"y chan#e* ;aybe n"t when it?s ha!!enin# t" themsel%es, necessarily, but we all en/"y )A06INGchan#e* (e#ardless " h"w it a


25/92

Y"u can e%en a!!ly this idea " c"ntrast "n a %ery subtle le%el t" animati"n cycles*

I sh"uld 8ualiy this by sayin# that i y"u ha%e t" d" a sh"rt cycle, a JD rames wal$ cycle "r e+am!le, theny"u sh"uld !r"bably steer clear " c"ntrast "r the m"st !art* I y"u?%e d"ne any cycle w"r$, y"u $n"wthat anythin# " interest that ha!!ens in a sh"rt wal$ cycle Fsay, a blin$, "r "ne hand ha%in# a di


26/92

Let?s say y"u ha%e a scene in which a b"+er needs t" ta$e tw" ste!s "rward and thr"w a !unch at s"me"ne*S", the basic brea$d"wn is tw" ste!s and a !unch, ri#ht7 Pretty sim!le* But y"u?ll fnd that c"ntrast can be!ut int" any se8uence " m"%ements "r em"ti"ns that are made u! " three "r m"re !arts* S" what /um!s"ut at me ri#ht away here is @"h, three thin#s are ha!!enin#* 0""l* 0"uld be a #""d chance "r s"mec"ntrast*@ And then I?ll !lay with th"se three thin#s in my mind, "r "n !a!er, "r in my %ide" reerence, ande+a##erate di


27/92

c"nsider the situati"n, we bec"me an#rier and an#rier, but th"se m"ments c"me in s!urts and rushes,se!arated by m"ments " th"u#ht*

S"methin# else t" c"nsider with c"ntrast, is that while y"ur scene is a s"n#, it is li$ely "nly "ne !art " amuch lar#er s"n#: the "%erall st"ry arc, "r at least the m"re immediate arc " the se8uence* Y"u need t"c"nsider the wh"le s"n# when c"m!"sin# y"ur small !art " it "therwise y"u cann"t $n"w h"w ar y"u "u#htt" !ush y"ur crescend"* 1"r e+am!le, let?s say I?m d"in# a scene in which Y"da hears s"me terrible news and#ets %ery an#ry* )ell, my inclinati"n as an animat"r is that I want t" e+a##erate th"se em"ti"ns as much as Ican* I want t" sh"w the w"rld that he?s 1'(I&'S2 I want the c""lest, an#riest, bad5ass Y"da I can create,ri#ht7

S" I ta$e his acial c"ntr"ls and scul!t his ace int" a mas$ " abs"lute ra#e* And then I sit bac$ and say,@0""l2 6e l""$s s" an#ry2 ;y su!er%is"r is #"in# t" l"%e this*@

)ell, maybe that?s true, but i I ha%en?t c"nsidered the needs " the wh"le se8uence, it mi#ht als" turn "utI?m bein# a c"c$y dimwit, and that D scenes later, Y"da fnds "ut s"methin# e%en w"rse, and needs t"bec"me 3N(AG3C2

)ell, i I already !ushed his ace as an#ry as it can #" in my scene, what is the animat"r su!!"sed t" d" Dscenes later7 ;y crescend" has inad%ertently "%ershad"wed his, and what will ha!!en7 )ell, what willha!!en is that I?ll be the "ne red"in# my scene and sl"win# d"wn !r"ducti"n, that?s what will ha!!en2 N"matter h"w well I did the animati"n, the needs " the st"ry will "utwei#h what I ha%e d"ne, and I?ll ha%e t"ad/ust my scene t" be less an#ry in "rder t" sa%e the an#er "r the m"ment the st"ry truly demands it*

As l"n# as y"u are $ee!in# the c"nte+t " y"ur scene in mind, h"we%er, c"ntrast is always s"methin# y"ush"uld acti%ely !ursue* he $ey is "ten fndin# &N3 ;&;3N t" build y"ur entire scene ar"und* his m"mentis y"ur crescend", and e%erythin# else ar"und it must be @smaller,@ "r @sl"wer,@ "r else at least hel!in# addt" the build5u! t" the crescend", "r c"ntributin# t" the release ater it* &nce y"u ch""se y"ur m"ment, be sure n"t t" "%ershad"w it elsewhere in y"ur scene with a bi##er"r aster m"%e* Let the crescend" be y"ur m"ment, and use the rest " y"ur scene t" c"ntribute t" its !"wer*

Be sure n"t t" ch""se multi!le crescend"s in y"ur scene, unless it?s a really l"n# scene, "r in the rare casethat the st"ry demands multi!le clima+es in y"ur scene* Y"u want t" "cus "n "ne idea at a time* Gi%e theaudience "ne thin# t" be l""$in# "r* C"n?t c"nuse us with mini5clima+es #"in# "n all "%er the !lace, "r y"urscene will eel scattered and s!astic* Y"ur ch"sen crescend" can be incredibly subtle, but whene%er !"ssible,try n"t t" ha%e m"re than "ne* his is es!ecially im!"rtant in 5character scenes, by the way, where y"umi#ht want s"me bac$5and5"rth ha!!enin# between the characters* hey mi#ht each ha%e their "wn

crescend", but the best scenes usually ha%e "ne character @winnin#@ the @crescend" battle,@ "therwise itde%"l%es int" a sh"utin# match* hey sh"uld interact in a belie%able, but rhythmic way

5 their beats w"r$in# t"#ether li$e instruments in y"ur s"n#*

he last thin# I thin$ I?ll say ab"ut this is "ne "ther ti! 55 s"metimes y"u need t" i#n"re s"me dial"#ue beatsin "rder t" !r"!erly create a c"ntrasted !er"rmance*

" me, a @beat@ at its m"st basic le%el is a chan#e r"m "ne em"ti"n t" an"ther "r a chan#e r"m "ne subte+tt" an"ther* he best lines " dial"#ue ha%e at least tw" beats, "r 5 in "ther w"rds, at least "ne shit inem"ti"n* he character m"%es r"m an#ry FBeat t" uri"us FBeat "r r"m scared t" heartbr"$en, "r r"m /"y t" disa!!"intment*

h"se are the meaty scenes y"u can truly sin$ y"ur animati"n teeth int"*

But s"metimes, es!ecially in a l"n#er m"n"l"#ue, y"u mi#ht eel y"u can hear many beats* And s"metimes,es!ecially with a less #ited act"r readin# the w"rds, it mi#ht s"und li$e a l"t " m"ments c"uld becrescend"s* &r w"rse, the "!erati%e w"rds Fthe m"st enunciated and e+a##erated w"rds in the m"n"l"#uemi#ht be %ery e%enly s!aced, as th"u#h he?s s!ea$in# t" a metr"n"me*)ell, it will be u! t" y"u, as the animat"r and true act"r " this scene, t" !ic$ and ch""se y"ur beats* In "therw"rds, y"u?re #"in# t" ma$e the c"nsci"us decisi"n in y"ur !lannin# t" i#n"re s"me " the reader?s beats,and t" i#n"re s"me " these "!erati%e w"rds* )hy7 )ell, i y"u d"n?t, y"u w"n?t ha%e any c"ntrast in y"urscene*

Y"u?ll ha%e multi!le crescend"s c"m!etin# "r d"minance, and e%enly s!aced #estures thr"u#h"ut the scene*Instead, y"u sh"uld ma$e smart decisi"ns ab"ut which crescend"s y"u can brin# d"wn sli#htly, i n"t i#n"rec"m!letely, and which "!erati%e w"rds y"u can #et away with s$i!!in#* 'nless the line readin# is

abs"lutely h"rrible, y"u?re !r"bably "nly #"in# t" be i#n"rin# "ne "r tw" "!erati%e w"rds at m"st, lettin#them #" by with merely a small head m"ti"n t" acc"m!any them, sa%in# the bi##er b"dy stu< and #estures"r the "!erati%es w"rdFs y"u?%e ch"sen t" build y"ur scene ar"und*

In "ther w"rds, i y"u ha%e t" dumb d"wn a c"u!le " m"ments that the dial"#ue s"unds bi#, in "rder t""cus "n what y"u eel is 63 ;&S I;P&(AN ;&;3N, and in "rder t" create s"me !auses and calm inthe scene t" c"ntrast with the bi##er m"ments, then #" "r it*


28/92

&r, t" !ut it e%en sim!ler: d"n?t let a bad line readin# "rce y"u int" e%en timin# and "%eractin#*

Are there times when y"u?d )AN t" ha%e a scene that is @all crescend"7@ Sure2 I the st"ry calls "r a rantic,s!astic scene, then that is e+actly what y"u sh"uld d"* Li$ewise, s"metimes y"u?ll want e%en timin# Fm"st"ten in relati"n t" a /"$e, such as in the )r"n# r"users Fthe end " cha!ter , when )allace?s t"ast5ma$in#machine #"es thr"u#h its m"ti"ns* All " the thin#s it d"es are d"ne "n an e%en timin# t" really dri%e the /"$eh"me when the t"aster !"!s "!en, n" t"ast !"!s "ut, and then y"u ha%e the beat /ust be"re he #ets a aceull " /am, where there S6&'LC be t"ast, but isn?t* his is an interestin# case, as it?s als" a w"nderul use "c"ntrast Fthat m"ment " !ause be"re the !unch line is !r"bably my a%"rite sec"nd in the wh"le flm,but it?s als" interestin# t" n"te h"w the e%en timin# hel!s sell the n"5t"ast /"$e*

&r c"nsider the way we all lau#hed at the m"n"t"ne teacher in 1erris Bueller?s Cay &< , int"nin# "%er and"%er, @Bueller7 Bueller7 Bueller7 Bueller7@ 6is m"n"t"ne %"ice was used "r c"medic e in the animati"nb""$ y"u need t" ma$e sure y"u understand the rules be"re y"u brea$ them*

)ell, that?s it "r c"ntrast, I thin$* Still awa$e7 6"!e s"2 1eel ree t" email any th"u#hts t":ti!sandtric$sTanimati"nment"r*c"m Kee! animatin#, and as always, ha%e 1'N2

shawn :

YOU ARE A TOOL6ell" #an#2

)elc"me bac$ "r an"ther r"und " i!s U ric$s2 As always, eel ree t" hit me bac$ with c"mments,8uesti"ns, criticisms, and ried chic$en reci!es at ti!sandtric$sTanimati"nment"r*c"m*

he last c"u!le " m"nths we?%e been tal$in# ab"ut c"ntrast, but I thin$ it?s time t" lea%e c"ntrast behind us*I thin$ we?%e said !retty much all I really want t" say ab"ut it, and in $ee!in# with the "ri#inal mandate "writin# ab"ut @whate%er I eel li$e writin# ab"ut "n any #i%en day,@ we?re #"in# t" tal$ ab"ut s"methin# elsethat?s been "n my mind a bit t"day* It?s a little less c"ncrete than c"ntrast, but n" less im!"rtant*

Be"re we di%e in, I want t" say "ne thin#* his article mi#ht s"und a little m"re ne#ati%e than n"rmal* It?sab"ut a sli#htly un!leasant sub/ect, but I eel li$e it?s s"methin# that isn?t tal$ed ab"ut en"u#h in sch""ls,and I eel it?s an im!"rtant t"!ic* It?s s"methin# I?%e stru##led with in the !ast mysel, and a t"!ic that y"uw"n?t ha%e t" w"rry ab"ut "n a re#ular basis, but "ne we?ll all ace at "ne time "r an"ther as !r"essi"nal

animat"rs*

I y"u?%e read any " my !re%i"us articles, y"u $n"w that I thin$ I ha%e been blessed with the sin#le m"st un /"b ima#inable, and I l"%e literally e%ery m"ment " it* hat d"esn?t mean that s"me " th"se m"mentsha%en?t been diXcult "r rustratin#, but I l"%e it all the same* I mi#ht n"t #et al"n# with my br"thers e%eryh"ur " e%ery sin#le day " my lie, but I d"n?t l"%e them any less, y"u $n"w7 Animati"n can be a cruelmistress s"metimes, but e%en "n the diXcult days, it sure beats a @real@ /"b2

S", ca%eats "ut " the way, let?s /um! in*

i! V: Y"u Are A ""l*

)h"a* Is that an awes"me title "r what72 I thin$ that?s !retty much the best ti! title I?%e c"me u! with* Let?s /ust let it sit there "r a sec"nd***

Y"u are a t""l*

S" "b%i"usly, I d"n?t mean @t""l@ in the ne#ati%ely m"dern sense " the w"rd, I mean it much m"re literally*As a !r"essi"nal animat"r, y"ur /"b is t" be s"me"ne else?s t""l, used by them as a means t" an end* Y"u?%ebeen hired by them t" create !retty much whate%er it is they want y"u t" create*

Seems !retty "b%i"us, ri#ht7 I mean, i y"u?re si#nin# u! "r this animati"n bi9, y"u !r"bably reali9e that y"uaren?t #"in# t" be directin# the frst !r"/ect y"u w"r$ "n, and s"me"ne else will be tellin# y"u what t" d"*It?s n"t that sim!le th"u#h, and it?s incredibly easy t" #et s" cau#ht u! in the @ri#hts@ and @wr"n#s@ " animati"n, that y"u "r#et what y"ur true /"b is****

Y"ur /"b is t" be the t""l " the direct"r* hat?s it* hat?s y"ur wh"le /"b*

Let?s say y"u?re a c"nstructi"n w"r$er, and the "reman needs s"me ri%ets !"unded int" s"methin# with ahammer* Y"ur t""l is the hammer, ri#ht7 )ell, the "reman?s t""l "r #ettin# th"se ri%ets !"unded is*** ***0any"u #uess7 It?s Y&'* Y"u?re his t""l* Get it7


29/92

N"w, let?s say y"u?re me* ;y @t""ls " the trade@ are !rimarily ;aya and the m"untain " !r"!rietary s"twarethat IL;?s c"din# nin/as re#ularly cran$ "ut "r us* S", "r the sa$e " discussi"n, let?s say ;aya is my t""l*)hen I l""$ at ;aya, I d"n?t thin$, @"$, d" whate%er y"u want, ;r* 1ancy 0"m!uter Pr"#ram*@ N", I say,@y"u?re my t""l, and y"u?re damn well #"in# t" d" what I tell y"u t" d"2@

)ith "ne ma/"r e+ce!ti"n, that?s !retty much the e+act relati"nshi! y"u will en/"y with y"ur frst ew direct"rs"n y"ur frst ew !r"/ects*

&uch, ri#ht7 Y"u?re li$e a s"ulless c"m!uter !r"#ram7 )hat72

&$ay, it isn?t as bad as it s"unds* he "ne ma/"r e+ce!ti"n I menti"ned is that the lead "n y"ur !r"/ect, "r

the direct"r " y"ur flm, is als" #"in# t" be relyin# "n y"ur artistic sensibilities as well as y"ur e+!ertise inm"%ement and !er"rmance* In the"ry, that?s the wh"le reas"n they?%e c"me t" y"u in the frst !lace, andusually that?s their mindset* S", that !ers"n will be relyin# "n y"u t" brin# s"methin# t" the table, muchm"re than I rely "n ;aya t" brin# anythin# rem"tely artistic t" the table* Fre!eat ater me: y"ur c"m!uter isthe w"rld?s w"rst inbetweener2 1&(03 it t" l""$ ri#ht2

Anyway, let me #et t" my !"int* (i#ht n"w I?m w"r$in# "n a bi# acti"n5!ac$ed m"%ie, which is bein# directedby "ne " the m"st successul direct"rs ar"und* 1"r this st"ry, let?s call him Bi#ime Cirect"r* ;y animati"nt""l is the c"m!uter, ri#ht7 S"**** what?s Bi#ime Cirect"r?s animati"n t""l7

;e*

)ell, me and "ther !e"!le, but y"u #et the idea* he entire animati"n team is his animati"n t""l* Andt"#ether we?ll d" "ur best t" !ut his %isi"n u! "n that screen*

As with any #""d direct"r, he has s!ecifc ideas " h"w he wants these creatures t" m"%e, and my s"le /"b atIL; is t" ma$e sure that they d" 3A0LY what he wants* It?s u! t" the animat"rs t" brin# that %isi"n t" lie asbest we can* Sure, we #et t" "


30/92

6ere?s why I brin# this u!*** his is a tra! I fnd diXcult in my "wn lie, and w"r$ed "n a !r"/ect in my n"t5t""5distant5!ast where we dealt with this issue c"nstantly* Bein# as$ed t" animate s"methin# in a way that =iesin the ace " e%erythin# y"u $n"w and belie%e ab"ut animati"n is incredibly diXcult, and can 8uic$lybec"me rustratin#* I had #""d days and bad days, and the ew ine%itable @I5d"n?t5care5anym"re@ days, butwe /ust had t" c"nstantly remind "ursel%es that it wasn?t &'( m"%ie* It wasn?t &'( creature*

It was the direct"r?s m"%ie, and I am the t""l " the direct"r, "r better "r "r w"rse*

And y"u /ust !"wer thr"u#h it, and y"u try t" $ee! y"ur enthusiasm as ali%e as y"u can, and d" the best /"by"u can t" ma$e sure y"u re!resent y"ur studi" well* " ma$e sure the direct"r lea%es with the m"%ie hewants t" lea%e with* hat?s !retty much all y"u can d" in th"se situati"ns*

N"w, it isn?t li$e this is s"methin# y"u?ll ace e%ery day as an animat"r* It?s !retty rare that s"me"ne is !ut inchar#e " an entire !r"/ect with"ut ha%in# s"me measure " talents$ill%isi"n t" bac$ that !"siti"n u! with*Generally s!ea$in#, y"ur !r"/ect leadershi! will usually be "!en t" ideas, and willin# t" !lace a l"t " aith iny"ur abilities and trust in y"ur e+!ertise*

But in the rare Fbut ine%itable cases they?re n"t, re!eat this mantra "%er and "%er in y"ur head: @I am theCirect"r?s t""l* It?s his !r"/ect, n"t mine*@

I $n"w this s"unds really miserable, and the h"nest truth is that it s"metimes 0AN be !retty miserable, but"nly i y"u let it* &nly i y"u let it #et t" y"u* I?m t"tally #uilty " lettin# it #et t" me s"metimes* It?ss"methin# I always eel li$e I can w"r$ "n m"re* I?m much better with this n"w than I was when I was ar""$ie* D years a#", chan#in# my w"r$ int" s"methin# @wr"n#@ "r @less c""l@ dr"%e me abs"lutely insane theew times it came u!*

hese days, I try really hard t" n"t all in l"%e with my sh"ts, and I thin$ that?s the bi##est !iece " ad%ice Ican !ass "n in re#ards t" this stu


31/92

6ell" e%ery"ne2 )elc"me bac$ t" my endlessly rambly i!s U ric$s article* As always, eel ree t" sendeedbac$, su##esti"ns, and c"m!laints t" ti!sandtric$sTanimati"nment"r*c"m* han$s t" e%ery"ne wh"?sbeen writin# in, it?s been un meetin# y"u, and I a!!reciate the su##esti"ns and eedbac$2 han$s es!eciallyt" th"se " y"u wh"?%e been sendin# me the ried chic$en reci!es222 I thin$ I ha%e !lenty n"w, s" i y"u reallyneed t" send me a reci!e "r s"methin#, hit me with y"ur a%"rite c"c$tail* F;y current a%e is %"d$a andOu!, but I als" l"%e a #""d Bacardi Ane/" y 0"ca2

Last m"nth y"u disc"%ered that y"u are a t""l* I was s"rry t" ha%e t" brea$ the news t" y"u, but h"!eully its"tens the bl"w t" $n"w that I am a t""l as well* his wee$, y"u?ll be ha!!y t" $n"w that I?m n"t #"in# t" becallin# y"u any names at all2 In act, I ha%e a b"nafde @tric$@ "r y"u, but frst, let?s #" t" Cisneyland***

&$ay, s" my fanc>e’s amily has !retty much the c""lest traditi"n e%er: 3ach year, they s!end the h"liday " han$s#i%in# in the ha!!iest !lace "n 3arth 5 Cisneyland2 his year we were there "r a ew days, and it wasan abs"lute blast* FBest rides: Indiana E"nes, Screamin?, and that Gri99ly ra!ids ride in 0ali"rnia Ad%enture2

Anyway, it was a t"n " un, but since this isn?t my diary "r a bl"#, that?s n"t why I brin# it u!* I br"u#ht it u!because in 0ali"rnia Ad%enture Fthe sister !ar$ t" Cisneyland, ri#ht ne+t d""r, they ha%e a buildin#dedicated t" the art " animati"n* Inside, y"u can wal$ thr"u#h a museum " "ri#inal animati"n art, y"u can!ut y"ur %"ice t" classic scenes r"m y"ur a%"rite Cisney m"%ies Fin "ur case, Belle and Beast ended u!ha%in# a hu#e ar#ument ab"ut =ushin# the t"ilet, y"u can create C animati"n and !ut it "n a 9"etr"!e, andy"u can interacti%ely han# "ut with 0rush r"m Nem", which is basically s"me"ne d"in# li%e and instant!er"rmance animati"n and is !retty darn im!ressi%e t" watch2

It?s all !retty c""l, and each " th"se e+hibits branch "< " a hu#e @l"bby@ area in the buildin#* Inside " thisl"bby are #i#antic screens sh"win# scenes, drawin#s, and c"nce!t artw"r$ r"m s"me " the best animatedflms " all time* Glen Keane?s r"u#hs r"m ar9an, desi#n w"r$ r"m he Incredibles, etc*

)e didn?t #et t" s!end a wh"le l"t " time in that r""m, but I ha%e t" say 5 I "und it incredibly ins!irin#, andwhen I thin$ bac$ "n "ur tri!, it really stic$s with me as a hi#hli#ht* he !ermanence " "ur art really hit mein a bi# way* )e create a scene, and "nce we?re d"ne, it e+ists "re%er* 1"r better "r w"rse, "ur #reat5#reat5#reat #rand$ids will li$ely be able t" watch it and Fh"!eully be entertained by it*

6"w c""l is that27 Isn?t it ama9in# t" thin$ that the team w"r$in# "n Eun#le B""$ RD years a#" was /ust li$e usF"nly m"re talented, t"ilin# away "n their scenes, h"!in# s"me"ne mi#ht li$e their !r"/ect7 6"!in# theymi#ht ma$e s"me"ne lau#h, "r #i%e a little $id that wide5eyed l""$ " w"nder at bein# !resented with anarmy " sin#in# m"n$eys7 And here we are, RD years later, still e%ery bit as entertained and ins!ired asaudiences were bac$ then2

hat?s RD years " ins!irati"n* RD years " lau#hs* RD years " J5year5"lds mimic$in# Kin# L"uie?s dance andma$in# their !arents lau#h*

***RD years***

;aybe it?s silly, but it really hit me in that r""m that n" matter h"w tri%ial s"me " "ur w"r$ is, "r h"w bads"me " "ur !r"/ects turn "ut t" be, we?re all w"r$in# t"wards nailin# that "ne sh"w "r #ame "r flm that willbe entertainin# !e"!le l"n# ater we?re #"ne* It?s li$e we ha%e a chance t" n"t "nly ins!ire !e"!le, but t"b"ttle that ins!irati"n int" a time5ca!sule, and launch it int" the uture t" ins!ire uture #enerati"ns*

1"r me, 6A is ins!irin#, and as w"rthy a #"al as any "ther* ***)ell, "$ay 55 "ther than curin# 0ancer, eedin#the hun#ry, shelterin# the h"meless, endin# !"%erty, etc* h"se are the @Bi# G"als@ with a ca!ital G* I?mtal$in# ab"ut wim!y artist #"als, and we m"stly use small #?s* ;a$in# !e"!le thin$ is ab"ut the best we canusually sh""t "r, but usin# media t" #et !e"!le t" thin$ can be a !"werul t""l, and we can be a !art " it2

&$ay, en"u#h " that* i! time2 Are y"u ready7

HIP V: 0"nstrain & Pr"!s, N"t " he 0haracter2H

S", i y"u?re animatin# characters, there?s a decent chance that at s"me !"int, s"me"ne is #"in# t" as$ y"urcharacter t" interact with s"methin#* 6e?ll need t" h"ld a br""m, "r she?ll need t" h"ld a sw"rd, "r whate%erit is*

he natural inclinati"n " the be#innin# animat"r is t" c"nstrain that !r"! t" y"ur character?s hand, and thenas y"u animate y"ur character?s hand, the !r"! will #" al"n# with it*

)ith s"me e+ce!ti"ns, this is #enerally a bi# mista$e, and i y"u care ab"ut arcs at all, will "ten lead t" s"me

bi# headaches*

N"w, I?m #"in# t" /ust assume that y"u?re usin# IK Fin%erse $inematics "n the arms rather than 1K F"rward$inematics, e%en th"u#h I $n"w that s"me " y"u !r"bably C& use 1K* Pers"nally, I hate usin# 1K "n thearms, as I eel li$e it creates a l"t " c"unter5animati"n w"r$ "r me* I $n"w s"me " y"u l"%e it, but we?ll /ustha%e t" a#ree t" disa#ree here*


32/92

I y"u really ha%e t" use 1K "n y"ur arms, then y"u?ll !r"bably ha%e t" c"nstrain the !r"! t" y"ur character?shand, and that?s that* I s", y"u mi#ht as well sa%e y"ursel s"me time and m"%e al"n#* 6"!eully theCisneyland st"ry was en"u#h t" eel li$e y"u didn?t #et ri!!ed "< this m"nth, and I?ll see ya ne+t time2

&$, y"u IKers still with me7 Let?s #et bac$ t" "ur re#ularly scheduled !r"#ram: S"**** why "n 3arth w"uld it bea bad idea t" c"nstrain a !r"! t" a hand7)ell, the bi##est !r"blems arise when y"u ha%e a lar#e "r l"n# !r"!* Let?s say it?s a sw"rd, "r e+am!le*I y"u c"nstrain a sw"rd t" y"ur character?s hand, y"u will ha%e a fne time bl"c$in# thin#s in, and e%erythin#will be fne* At frst* But i y"u are animatin# a sw"rd, y"u $n"w that y"u need t" ma$e sure that the ti! "that sw"rd is tra%elin# al"n# nice f#ure ?s and sm""th swirlin# arcs Fthe "nly e+ce!ti"n is when it ma$esc"ntact with s"methin#* N" matter what2, s" ater y"ur bl"c$in# is d"ne, y"u?ll e%entually need t" #" in

there and trac$ y"ur arcs "n the ti! " that sw"rd, ri#ht7

)ell, i the sw"rd m"%ement is based "n the r"tati"n " y"ur character?s wrist, y"u?%e /ust created a bi# !ile" unnecessary w"r$ "r y"ursel*

)hy7 )ell, because e%ery little r"tati"n " y"ur wrist will be ma#nifed e+!"nentially in the !"siti"n " the ti! "that sw"rd* It?s s" ar away r"m the wrist that a de#ree r"tati"n will suddenly ha%e the ti! " y"ur sw"rd a""t "r m"re "ut " !lace2 3ditin# this in a way that d"esn?t ma$e the hand l""$ sti< and"r /ittery is %erytime5c"nsumin#*

Additi"nally, i y"u?re usin# IK, the an#le " wrist is %ery li$ely bein# a


33/92

N"w, I?%ebeen#ettin#al"t"emailsu##esti"nsr"my"u#uysFwhichisterrifc2 Kee!themc"min#2ti!sandtric$sTanimati"nment"r* c"m, and m"re than a ew ha%e re8uested m"re in"rmati"n ab"ut theelusi%e sub/ect " @twinnin#*@

6ere?s a transcri!t " a c"n%ersati"n between mysel, and my !artners in crime, B"bby Bec$ and 0arl"sBaena, r"m s"metime in , bac$ when we were a bunch " $ids in art sch""l, tryin# t" f#ure "ut thisanimati"n stu< as much as we c"uld***

;e: 6ey, I met an animat"r r"m IL;, and he says we sh"uld a%"id twinnin#* B"bby: )e sh"uld7 &$*;e: Yeah, it?s bad* 6e said student w"r$ has @t"ns " it*@ B"bby: 'm*** what?s ?twinnin#?7

;e: I d"n?t ha%e the sli#htest idea*** I was h"!in# y"u w"uld $n"w2 B"bby: Ne%er heard " it* 0arl"s70arl"s: 'mmm**** Y"u #uys want t" #et s"me !i99a7;e: ;aybe it?s when y"u ha%e multi!le characters that l""$ t"" similar7 B"bby: ;aybe* &r maybe it?s whendi


34/92

1"r e+am!le, let?s say y"u wanted t" ha%e a character h"ldin# his arms "ut t" his side, !re!arin# t" #i%e thebi##est hu# " his lie*

)ell, m"st students w"uld F!"ssibly unc"nsci"usly create this !"se by s!readin# the eet a little bit, mayber"tatin# them "ut a little bit, and !ullin# the arms strai#ht "ut t" the sides*

Is this bad7

)ell**** I d"n?t $n"w i I?d #" s" ar as t" use the w"rd @bad,@ because they are #"in# t" c"mmunicate thec"rrect idea with this !"se* )hen y"u see this !"se, there is a chance that y"u?ll say, @"h, he?s ab"ut t" hu#s"me"ne*@ hen a#ain, y"u will m"re li$ely say, @"h, I #uess he?s a r"b"t 9"mbie wh"?s ab"ut t" hu#

s"me"ne,@ because this !"se c"uld clearly be much str"n#er, m"re "r#anic, and ar m"re interestin# t" l""$ at* )hat?s wr"n# with it7)ell, i the let hand has been !ulled "ut t" the side in e+actly the same way as the ri#ht hand, and the eetare b"th r"tated "ut by D de#rees, and !ulled a!art an e8ual distance, this character is #"in# t" l""$incredibly sti< and r"b"tic* Y"u?%e created the all5 t""5c"mm"n !r"blem " a symmetrical !"se, andsymmetry is Fusually2 the death5$nell " imbuin# y"ur character with lie*

6ere?s the thin# 5 n" matter h"w symmetrical y"u thin$ s"me"ne?s !"se is in real lie, "r h"w !erectly thearms seem t" be identical in y"ur %ide" reerence, recreatin# them that way will alm"st always result in a@dead@ !"se* A @twinned@ !"se* his is "ne " th"se times where it is abs"lutely essential t" a!!ly y"urmastery " the undamental !rinci!les " animati"n t" what y"u are seein# in y"ur %ide" reerence, "r in the!e"!le ar"und y"u*

his is "ne " th"se m"ments where y"u are #"in# t" say, @hmm,

that !"se is $ind " interestin#, but i I a!!ly what I $n"w ab"ut c"ntrast, this !"se is #"in# t" be s" muchbetter2@ N& a!!lyin# y"ur $n"wled#e " c"ntrast t" that !"se is what will create a @twinned@ eelin# in the!"se, and the result, at best, is a b"rin# !"se* At w"rst, it?ll eel li$e y"ur character isn?t truly ali%e* 3itherway, y"u?%e /ust twinned y"ursel int" a bi# !r"blem*

Luc$y "r y"u, twinned !"ses are s"me " the easiest thin#s t" f+ in animati"n2 his is a d"uble5ed#ed sw"rd,h"we%er, because i y"u "r#et t" f+ this, they will stand "ut e%en m"re "n a dem" reel, and scream @I?mine+!erienced2@ t" recruiters, s" be sure t" f+ y"ur twinned !"ses2

1i+in# them are the easiest thin# in the w"rld, and I?d rec"mmend f+in# them in the #ra!h edit"r usin# thecur%es* his way, y"u can f+ them in a n"n5destructi%e en%ir"nment and usually n"t ha%e t" red" any " the

animati"n* 'sin# the e+am!le r"m ab"%e, "r instance, I?d #" int" the cur%es "r my ri#ht arm, and raise it abit* hen I?d r"tate the ri#ht hand u! a bit, s" it isn?t at the same an#le as the let wrist*

Ne+t, I?d #" d"wn t" the eet* 'h "h, they?re still identical t" each "ther* B&(ING2 he frst thin# I?d d" at this!"int is r"tate the let ""t "ut a bit m"re than the ri#ht ""t*

Ater that, we c"me t" !r"bably the sin#le m"st im!"rtant chan#e " all* 6a%in# the eet s!ace e%enly a!artis b"rin#, that?s clear* And the way y"u f+ this !r"blem is e8ually clear, ri#ht7 Y"u ha%e t" !ull "ne le# urther"ut than the "ther* &$, s" I?ll ch""se the let ""t* I #rab the cur%es " the let ""t in the #ra!h edit"r, and!ull them u! a bit t" m"%e his let ""t urther "ut*

'h "h2 )hat ha!!ened7 )ell, what li$ely ha!!ened is that the le# hy!er5e+tended, because it !ulled t"" araway r"m the hi!s*

S" #uess what7 N"w the m"del is 1&(0ING me t" create a m"re interestin# and dynamic !"se2 I ha%e t" #rabmy character?s hi!s t"rs", and !ull his urther t" the let, and !r"bably d"wn a bit as well* In "rder "r this t"l""$ c"rrect, I?ll n"w ha%e t" r"tate his chest a bit in +, s" that his let sh"ulder is l"wer than his ri#htsh"ulder, and ha%e t" r"tate his hi!s the "!!"site way*

a5daa2 0"nsci"usly a%"idin# @twinnin#@ has n"w basically "rced y"u t" im!lement the ideas " c"ntrast,wei#ht, and dynamic !"sin#, n"t t" menti"n #i%in# y"u an aut"matically m"re !leasin# line " acti"n ="win#r"m his ri#ht t"e u! thr"u#h his s!ine2

he end result, " c"urse, is a ar str"n#er and c"mmunicati%e !"se that is ull " lie* As with any artFusually22, the m"re interestin# an#les and twists y"u can !ut in with"ut hurtin# the c"re idea, the better*F&b%i"usly y"u c"uld ta$e this idea t"" ar, and 8uic$ly end u! with a !"se that l""$s li$e m"re li$e he?s bein#electr"cuted than !re!arin# "r a hu#2


35/92

S", t" reca!: a twinned !"se is a mirr"red !"se* It?s b"rin#, and sh"ws e+treme ine+!erience 5 m"stlybecause y"u ha%e t" i#n"re s" many "ther animati"n c"nce!ts Fdynamic !"sin#, line " acti"n, arcs,c"ntrast, wei#ht, etc t" #et there*

Yi$es, this is #ettin# way t"" l"n#* ;an, am I terrible ab"ut that "r what72 &$, I?ll $ee! this ne+t secti"nsh"rter, since h"!eully y"u?re #ettin# the idea n"w***

he "ther ty!e " twinnin#, and by ar the m"re c"mm"n "ne, is twinned timin#*

N"w that y"u?re understandin# what twinned !"sin# is, I bet y"u?ll ha%e a much easier time f#urin# "uttwinned timin#2 Yu!, it?s when the s!acin# "n the $eyrames " y"ur character?s limbsb"dy are all e8ually

timed "ut* In "ther w"rds, it?s when the let ""t st"!s m"%in# "n the same rame as the ri#ht ""t, "r when acheerin# character?s arms b"th hit their e+tremes "n the same rame*

he m"st c"mm"n ty!e " twinnin# I see is when ine+!erienced animat"rs s$i! "%er all the tried5and5trueanimati"n assi#nments and decide they want t" /um! immediately int" actin# scenes and dial"#ue tests*'n"rtunately, this Funderstandable im!atience, leads t" n"thin# but a waste " time and e


36/92

"r tw" in y"ur animati"n, in "rder t" ha%e a nice "r#anic eelin# " lie, but I d" thin$ a talented animat"rc"uld !"tentially use this idea t" em!hasi9e the c"nnecti"n the characters share*

he music c"nduct"r is a m"st !erect e+am!le, and we?%e all seen h"w nicely it w"r$ed "ut "r ;ic$ey;"use in he S"rcerer?s A!!rentice* It was a bi# m"ment " reali9ati"n "r me, ater B"bby, 0arl"s, and I hadfnally f#ured "ut the e%ils " twinnin#, c"mmitted "ursel%es t" a twin5ree lie " animatin#, and thenreali9in# that "ur her"es twinned ;ic$ey ;"use li$e cra9y in 1antasia2 I thin$ it was the frst time I learned thein%aluable less"n that there is an e+ce!ti"n t" e%ery rule, and that the masters can brea$ th"se rules whenthey ha%e a reas"n t" d" s"*

1"r me, the best use " c"nsci"us twinnin# is t" create a c"ntrast between y"ur @c"ntrasted@ !"sin# and

timin# and a s!ecifc m"ment where y"u want t" really em!hasi9e an idea "r sell a /"$e* 1"r e+am!le, y"uc"uld ha%e s"me nicely "%erla!!in# animati"n, un dynamic F@c"ntrasted@ !"ses and timi

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