Graphics Reference
In-Depth Information
drawings in the same way as normal but assigning the number of frames
to each of the key drawings based on the number of planned in-betweens.
These timings are likely to differ between keys, some demanding more
in-betweens than others. If followed closely, an accurate impression of the
animation timing can be assessed—that is, certain key positions will occur
at a very specific moment in the action, but the movement will remain
very simplistic and jerky. It is possible to gain an impression of the overall
movement and assess whether the number of required in-betweens is
accurate.
It is only when all the drawings are tested that a
full
analysis of the movement
can be made. To better analyze the dynamics of a movement in a line test,
you may find it necessary to shoot the work in such a way as to make the
action clear. At this stage it is important to remember that you are trying to
analyze the action, not shoot final finished footage. The way the animation
is shot at this stage should not necessarily conform to the way the shot will
appear in its final form in the context of a film sequence. Individual shots are
often cut on the action to enable a more fluid and dynamic sequence. This
often entails very rapid action from the very first frame until the last, with
movement throughout the shot. This is particularly common in high-action
sequences. If you choose to shoot a line test that conforms to the nature
of the final shot, it might not allow you to undertake a full and thorough
analysis of the action. The action will be so quick that you could miss some
detail that is important. It might be preferable to shoot the first image in
the sequence over a longer time than it will appear for in the finished shot.
Shooting it this way allows the brain enough time to register the image
before the action begins. I often get my students to shoot the first image
for 25 frames (1 second) before the movement proper begins. Obviously,
when this shot is placed in context, it is edited without these extra frames
in accordance with the animatic. Similarly, it might be beneficial to frame
a line test differently from the way it will appear in the final shot. Shooting
a closeup of the movement at this line-test stage might enable a more
thorough analysis of the action as it will appear larger on screen. It may also
be useful for animators to test the different aspects of action within a given
shot separately, particularly if there are multiple characters on screen at any
one time. This will make the individual animation elements easier to analyze
without any unnecessary distractions from other movement. Obviously this
cannot be done if any element of character interaction is evident in the shot.
Such choreographed movement involving multiple elements interacting is
always best viewed as multiple elements. Only then can a true assessment of
the interaction be made.
With experience an animator could feel that some of the action is so simplistic
that making a line test is unnecessary. This will obviously vary depending
on the animation's complexity and the animator's level of experience. With
practice it is possible to take a look at a number of animation drawings
and the timing breakdowns on the keys and gain a fairly good idea of the
