Graphics Reference
In-Depth Information
in an elaborate pattern to build a varied narrative and cinematic dynamic.
Building such a dynamic draws in the audience in order to build suspense,
create tensions and stresses within the framework of the film, and develop a
mood response in the audience. The result takes an audience on an emotional
journey, one that is varied, exciting, interesting, and engaging. This is possible
only if the pacing of the film changes over the timeframe.
Again, there are no hard and fast rules regarding structuring and pacing in
a film, but in general, fast-paced sequences are used to create high drama
and action, and slower sequences help develop gentle intimacy and the
opportunity to establish mood, location, or characterization. Pacing is
concerned with narrative and storytelling rather than the actual timing of
objects moving across the screen. That is covered by both phrasing and
timing.
Phrasing
Phrasing
aims to describe the variation in the speed and dynamics of a
series
of movements over a short time period, often in a short sequence
of shots and within a single scene. This classification of animation timing
does not refer to the overall narrative of a film but rather the relationship
between actions within a sequence. The key point to bear in mind here
is
the relationship between a series of actions
. It may be very useful to
consider phrasing as a form of animation choreography. This idea is not
limited to dance; it applies to all forms of animation, though it is perhaps
within figurative animation, particularly animation of multiple characters,
that it is most clearly evident. Rather like most dances, phrasing of action
consists of fast, medium, and slow actions that work together to create a
series of movements that demonstrate meaning and shifts of mood within
a sequence. The way these movements are made and the way they are
timed create the animated performance. The variation of timing between
the individual movements is essential. If every single action within
the shot moved at the same speed, there would be no sense of either
naturalist action or a performance. We would be left with just movement—
movement that would be pointless and would generate no meaning or
context for the performance.
Acting is a matter of thinking, and this thinking then leads to action. Thinking
brings about change within movement, a change that is brought about by
various motivating factors. The change in speed of the animation denotes
the thinking process within a character and subsequently a change in
behavior brought about by that thinking. Such phrasing is not limited to
animated characters that have personality; such changes will also take place
in animated creatures and animals that have no discernible personality but
are still driven by psychological factors. Phrasing, when applied well, can even
create personality in abstract animation. Chuck Jones's
The Dot and the Line
(1965) is an excellent illustration of this concept.
