Graphics Reference
In-Depth Information
dynamics, though this can only ever give an indication of the timing. As I say,
this skill comes with practice.
Similar tests can be made when you're working with other animation
techniques and processes. Making computer animation with complex
geometric models can be undertaken in a similar manner that provides
the same benefits of saving time and effort. Using simplistic versions of the
model to block out the animation before commencing the final animation
with all the necessary detail will provide the same level of information
about the phrasing of a sequence and even give an indication as to the
animation timing. Placing the models at a particular point within the
screen space and at a particular point on the timeline will provide you
with the keyframes that can then be further developed and worked on by
adding additional detail to the action. The position on the screen and along
the timeline will provide you with variable speeds of actions throughout
the shot.
The way digital animation is made offers the animator the opportunity to
make amendments to the work on the fly, incorporating changes as the work
is actually being made. Shifting the keyframes along the timeline, moving
the model either in its totality or in its separate elements, adding or removing
holds—all are easy to achieve and appear to give the animator an easier
time of things. However, these alterations are so quick and easy to make that
doing so could lead to a tendency to analyze each small section of the action
without seeing the entire shot in its full context. Try not to be tempted to
make too many final decisions regarding the success of your animation before
you have seen it as a whole. Working in this way may also make it that much
more difficult to put a little space between you and your animation before
arriving at a conclusion about the action.
You might find it helpful to consider making animation as similar to adding
different and additional levels of complexity, one on top of the other, until
you have your final results. Rather like building a house, you start with the
foundation, lay your first course of breeze blocks, then go on to add the bricks.
A rough render is added to the inside; later this is plastered over before the
whole thing is finally decorated. You build layer upon layer until finally you
have a very complex and highly finished result.
This layering of the animation can take the form of keyframes or block
animation followed by the in-betweens or tween frames. This can then be
added to with secondary actions and finally the tertiary movements. In this
way the animator can concentrate her efforts on individual elements and
aspects of a movement, at each stage adding more and more refinements
until the shot is completed in all its glory.
Unfortunately, people making animation with stopframe techniques using
models or puppets will find it a good deal more difficult to make animation
tests that can then form part of the finished work. This is due to the nature
