Graphics Reference
In-Depth Information
5. Start the analysis by viewing the work all the way through a number
of times in real time to gain a general impression of the timing and the
phrasing. This will allow you to gain an overview of the work.
6. Once this is done, begin to note specifics about the animation, such as
character interaction, weight and balance, follow-through, squash and
stretch, and so on. Begin by identifying the primary animation, moving
onto secondary then tertiary dynamics.
7. To analyze the separate elements fully, you will probably benefit from
viewing the work a number of times by scrolling through the sequence
frame by frame and, if necessary, scrolling backward and forward over
just a few frames.
8. Through this more detailed analysis you should simply identify the good
points in the work and list them. Go on to identify the problems sepa-
rately, making a list of them also. Make a note of time codes, frame num-
bers, or drawing numbers. This will help you identify exactly where the
problems are. It helps if you are making rough line tests that the drawing
numbers are clearly visible on the pencil tests.
9. You should remember to view the work in the context in which the audi-
ence will experience it. Looking at lip sync without sound is completely
useless. Likewise, viewing a shot in isolation may well provide you with
detailed information about that shot, but it will do little to identify any
problems with continuity in a longer sequence. Wherever possible, take a
look at the shot you are working on alongside the shots that precede and
follow that one. You are then able to ensure that there are no continuity
problems and that the animation is in keeping with the rest of the work.
By cutting the animation into the appropriate point in the animatic, you
will be able to check for errors or problems as the production progresses
and make any ongoing alterations before the final edit. It is essential to
check the quality of the animation as it is being made, particularly if more
than one animator is creating it. The end result should look like the entire
animation was created by a single hand.
10. Give yourself space between making the work and assessing the work.
First impressions are important, but they can also be deceptive. Good
points can be easily overlooked in the heat of a moment. Only after a
reflective period should you establish what changes are required.
Making a systematic analysis of your work in this manner will yield results
quite quickly. I think you will be surprised at the progress you make through
such analysis. At first you might find it difficult to identify problems with your
work. Remember you are learning to see, not simply to look.
Of course, it is possible to test animation at various stages as it is being made
and before the animation is complete. Those of you familiar with traditional
drawn techniques using paper on a lightbox will no doubt be familiar with
flipping and rolling techniques, which enable the animator to check a number
of drawings against one another.
