|Animation Assignment #7|
This assignment will only require one character.
If you want, it can be one of the characters you've created for another assignment or you can make up a new one. If you want to be adventurous, you can use an established character, although this is quite a bit more difficult, and if you don't get the character "on model" it'll look weird in your portfolio. (Most studios don't want to see established characters anyway.)
The laugh can be any type of laugh you want; a giggle, snickering, a "ha-ha-ha" laugh, or any other kind of laugh you want to come up with. It would be best to record several different types of laughs and then pick the one you like the best out of them. Usually, the "character" or "emotional" laugh is the best. By this I mean, a type of laugh that is specific to a situation or in reaction to something that was just said or may have happened and thus causes the character to burst into laughter. Character laugh means that it is specific to that character type that you've designed. This doesn't mean that you can't have a big tough looking character with a high pitched giggle.
Your character is to laugh for about 5 seconds (sustained throughout, without a large pause, unless the laugh runs longer than 8 seconds or so.)
You can animate the character from the waist up or do a full body laugh.
The laughing action should involve the entire viewable area of the character. For the waist up view, this includes the upper torso, arms, shoulders and head. For the full body, well it involves the full body including the legs.
If you do the full body, you can have the character start standing up and then have them fall to the ground and roll around a bit with their legs kicking. Of course it all depends on the type of laugh you've chosen.
Obviously a sense of gravity will be involved as well as appropriate timing for the actions to read clearly.
Another thing we'll be introducing is the use of "staggers".
As per usual here are the other principles involved:
Analyse what happens step by step.
One character will always be the initiator of the action and the other character will have to react
I've kinda already gone through the thought process above in the explaination of what straight ahead animation is.
The other variation on this would be to do a combination of straight ahead and pose-to-pose
Another option is to just animate the main moving parts first. Start on drawing #1 by doing the entire characters body. Then on #2, just draw the parts that move, like say, the arm. If the legs don't move, don't draw them yet. You can come back and fill them in later. If they move starting on drawing # 15, then start drawing them then. 2 - 14 will be trace backs of #1.
You can also do this with secondary action and overlapping elements.
The problem here is that you can have the idea in your head of what you want to have happening at the moment you're doing the drawings of the other parts of the body, then when you come back to do the secondary action later, you may have forgotten exactly where and when you wanted it to happen - this is how it can get out of control on you very easily. And again, you won't know if you screwed it up until you finish all the drawings.
Be sure to do your timing at the thumbnail stage.
Hopefully, it just requires some inbetweens to slow some of the actions down a bit.
The animation must show appropriate squash and stretch, realistic timing, proper slo-in and slo-out, torque, tilt, and twist in the head and shoulders as per in-class lecture demonstration. Character must sync to the dialogue recorded.
I truly prefer the combination of pose-to-pose and straight ahead - it gives you far more control and less pain after the fact.
So, let's get started!
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