Graphics Reference
In-Depth Information
of analysis will enable you to gain insight into the way the master animators
achieved those great performances. This idea is covered in more detail in the
chapter on methodologies for analysis.
I began my own studies in action analysis by looking at the Disney classics
Snow
White
,
Bambi
, and
Pinocchio
. I then moved on to studying the work of Tex Avery
and Chuck Jones to gain an understanding of their particular brand of
cartoon
animation. Studying animated movement in this way does not necessarily help
the student develop her directing skills or understanding of cinematography,
but it does help a young animator in dealing with movement and timing.
As I began to study other animators, it became clear that all the great ones
had their own distinctive approach to dynamics. Some concentrated on subtle
actions; others had a broad approach to cartoon timing; some specialized
in naturalistic animation. One only has to look at the differing approaches
of Disney's “nine old men” to appreciate these variations in approach. It is
important for the student of animation to remember that the benefits of
studying movement are
not
limited to the methods by which the animation has
been made. Studying classical 2D animation is just as useful to those making
computer graphics (CG) animation as it is for any other animator, as long as you
remember that you are studying
movement
, not
drawings
. The important thing
here is to choose only the very best examples of animation for your study.
Although it is interesting and rewarding to study the work of the great
animators to achieve a deep understanding of motion, one often needs to
go directly to the source: live action. Studying live-action footage of a range
of subjects will provide the student of animation with a wealth of material
to analyze. Studying the action of humans and animals first-hand is very
informative, but this is not always practical nor possible. Animals cannot
be expected to perform on cue, and there are some animals to which most
of us do not have easy access. It is arguable whether it is better to study
the action of humans and animals by direct observation or if video footage
provides a better opportunity for more systematic study. Both approaches
have their positive points. Rapid and complex movements are perhaps better
understood by repeated viewing than live action offers. You can also freeze-
frame video footage, but you can't freeze frame live actions. The performance
of live actors may also provide worthwhile reference, particularly if a
distinctive dynamic action is sought. We may be familiar with the distinctive
walks of both Charlie Chaplin and Groucho Marx and think that we have an
understanding of the nature of these movements, but to
accurately
replicate
such movements through animation, it would be as well to study the real
thing. A wealth of wildlife documentaries is available to provide the animator
with an excellent source for animal locomotion. There should be no need for
the budding animator to visit the Arctic or keep a polar bear of his own in
order to study them.
In the course of their work at some point or another, animators will probably
find themselves dealing with two very distinct types of motion:
naturalistic
