Graphics Reference
In-Depth Information
legs and the spine. In the process of this action the ears will demonstrate the
animation principles of drag and overlapping action but will add nothing to
the dog's running action.
Tertiary actions are also often associated with costumes and props. Take a
look at the way the various fabrics of clothing move with a figure. The nature
of the material itself will determine, in part, the manner of the movement. A
very light silk will move more freely and readily than a heavy cotton or woolen
garment. The movement of air across the clothing will perturb lighter fabrics
more than heavier ones. The style of clothing will also generate different
kinds of motion. Tight trousers may demonstrate very little tertiary action,
whereas very baggy trousers or ones with flared legs will demonstrate more
movement. Even very heavy objects may move quite freely, depending on
how they are attached to the figure. A heavy sword hanging from a belt
around the waist may swing and sway quite a lot, particularly if the figure
begins to move at speed.
For animators to create naturalistic animation, it is important that
they become aware of these different types of action and have a good
understanding of how they relate to and interact with each other. Such
understanding will then enable the animator to prioritize his or her efforts in
the creation of believable animation.
Animators may choose to undertake the primary animation of a figure
before attempting to deal with secondary or tertiary actions. This makes for
a systematic approach to creating animation, one that often leads to a more
effective and economical way of working. Clearly, however, this approach is
not always possible, depending on the nature of the subject being animated,
the techniques being used, and even the animation discipline, and it might
not always be desirable. Each animator will find his or her own particular
way of working; occasionally animators may find that they get better results
by working with the separate elements of the animated figure all at once.
Making straight-ahead animation often provides an additional vitality to the
animation, something that keyframe animation may occasionally lack or even
work against. Even when one has the option of keyframing it may not always
be the best option. If the action is fast and chaotic and contains figures that
have a lot of detail, with appendages and props and irregular movements that
vary in timing and that change direction on a regular basis, straight-ahead
animation may be the best way to deal with this action.
Of course, some animators need to consider primary, secondary, and tertiary
actions all together. Stopframe animators face these constraints each time
they animate, as straight-ahead animation is part and parcel of their craft skills.
Straight ahead animation demands that all aspects of the animation must be
completed at the same time, with each of these different types of action being
made on each progressive frame of film. This clearly illustrates just how important
it is for all animators but particularly those involved in stopframe animation to
have a good understanding of the nature of the various types of action.
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