Graphics Reference
In-Depth Information
In addition to such processes or for animators who don't have colleagues
or friends to assist with the action, they can go through the required action
themselves. There are many additional benefits to this type of personal study
of movement. Animators who undertake a particular action will be much
better placed to analyze that action; they will gain a deeper appreciation
of the dynamics than they can achieve by simply recording an action. By
undertaking the action him- or herself, the animator will be able to feel
the stresses and tensions in the body and the manner in which these shift
as the movement develops and changes. The animator will be able to feel
where the figure's weight and balance are throughout the motion. This is
something that can only be felt, not seen. Learning how to see through
to the underpinning aspects of a subject, rather than just looking at the
subject in a superficial way, is not as simple as it sounds and will come only
with practice.
If an animator is able to “act out” a particular sequence in the manner of the
subject she is animating—that is, not just going through the motions but
moving as the subject would move—she is likely to gain an even deeper
insight into the performance, not just the movement. There is a big difference
between the two; performance may be beyond some animators' abilities, but
movement might not be.
It is perfectly possible for animators to become the subject of their own
research. They can use and study their own bodies, the kinds of actions
they are capable of and the manner in which they move, as a way of
understanding movement. Many animators begin a study of a particular
movement they are trying to capture by making similar movements of their
own to gain an idea of the performance they are searching for. This exercise
enables them to see the action, but what's far more useful is that it enables
them to
feel
the action at the same time, giving them even more information
about movement. Going through an action, you will be able to feel where
the weight is, where the tensions are, and how the weight and balance shift
as a movement progresses. Mirrors can be very useful tools for animators,
allowing them to both see and feel a movement at the same time. A full-
length mirror can provide a new perspective on the figure in its entirety.
Though using a full-length mirror may be impractical in some situations,
even a smaller mirror could help with details such as movement of the head
and facial expressions. A smaller mirror positioned on the animator's desk
will be of great value to the study of mouth movements during lip sync. One
of the biggest problems for inexperienced animators is overanimating the
lip sync. We discussed this in some detail in the previous chapter, but it is
well worth repeating.
Such a study of movement that involves the animator's own body does
not need to be limited to animation of figures that reflect the animator's
own physiognomy, age, gender, or even species. I have seen animators use
the technique of studying their own actions for a wide range of subjects,
including dragging themselves along with the aid of crutches to gain a better
