Character design

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The idea for my character was sort of medievil/gladiator style, this is the basis sketch of the character, next i will scan it into photoshop and build it up more.

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12 Principles – 02 Anticipation

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Anticipation is used to prepare the audience for an action, and to make the action appear more realistic.  It is used to give the character almost an intelligence, as if they have thought about what they are about to do.  It is used to give the audience the sense that the characters have emotions, thought processes and personalities.

Most obvious examples would be things like a pitcher about to throw a baseball. The technique can also be used for less physical actions, such as a character looking off-screen to anticipate someone’s arrival, or attention focusing on an object that a character is about to pick up.

The Animators Survival Kit, Richard William’s quotes (or paraphrases) a couple of  “performance” greats on the subject of Anticipation.

“There are only three things in animation, 1 – Anticipation, 2 – Action, 3 – Reaction.”

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Charlie Chaplin also made a quote that describes the principle perfectly

1 – Tell ‘em what you’re going to do, 2 – do it, 3 – Tell ‘em what you’ve done.”

Here is an example of the different stages of a character punching.

Anticipation

Below is an animated example of a baseball pitcher.

 

Below is a example that I have created show the anticipation as we wait for the actual jump:

http://www.youtube.com/watch?v=aH5QVlhFnGk

12 Principles – 01 Bounce, Squash and Stretch

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Regarded by many as the most important principle “Bounce, Squash and Stretch”,  the purpose of which is to give a sense of weight and flexibility to drawn objects.  This can be applied to simply objects like the bouncing of a ball, also more complex constructions like the muscles on a face when someone is talking.  This can also be taken to the extreme point to create a comical effect.

In realistic animation the most important aspect of this principle is that the volume of the object does not change when squashed or stretched.  If the length of a ball is stretched vertically, its width (in three dimensions, also its depth) needs to contract correspondingly horizontally.

Below is a image showing the different stages of the principle.

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Below is a example that I have created

Below is a animation of a horse running so that you can see how the muscles are moving and how the principles apply to this to

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12 Principle of Animation

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The Twelve Basic Principles of Animation is a set of principles of animation introduced by theDisney animators Ollie Johnston and Frank Thomas in their 1981 book The Illusion of Life: Disney AnimationThe main purpose of the principles was to produce the illusion that the characters where adhering to the basic laws of physics, making them appear more lifelike and realistic.

The principles as also deal with more abstract issues such as making the character appear to have emotions and giving characters appeal.

The 12 principles are listed below and throughout the course i will post a blog on each one, with examples from other people as well as myself

CATS – Limitless – exploring camera angles

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Our assignment this week was to choose a film and look at how the use of camera angles and techniques added meaning or lended emphasis to meanings in the film. I chose to look a the 2011 film “limitless” as i have seen it several times before and it has a distinct style and several motifs throughout the film.

For anyone that hasn’t seen the film,  Limitless is an adaptation of the novel “The Dark Fields” by Irish author Alan Glyn. The film explores the notion that on a daily basis human beings only utilize a small portion of their brain capacity. If people were given the opportunity to use all of their mental functions (memory, logic, intelligence) to their full capacity the possibilities would be limitless.

Camera angles and other visual techniques are used to a large extent throughout the film to show the feeling of the character experiencing this mind altering drug.

FRACTUAL ZOOMS

This is a motif that appears throughout the film, this infinite zooms are used when the character is on the drug, often the character experiences loss of time and space and these infinite zooms in POV give this illusion.

OUT OF BODY SHOTS

Another motif that appears throughout the film are out-of-body shots included scenes of characters turning to see themselves repeating their own actions, like walking up stairs. There are scenes where you can see several versions of the character, this emphasis’s a fast forward in time and also the amount of things the character is able to do whilst on the drug.

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FISHEYE VISION

Another motif that appears throughout the film and is when the character is “coming down” from the drug.

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JUMP CUTTING SHOTS

Another type of effect involved slightly jump-cutting or altering shots, there are numerous scenes where the character has been filmed simultaneously from several different camera angles, these are then played together through transitions and morphed together, these isolates the character from the background, gives a sense of isolation and how the character feels internalised.

POV SHOTS

The opening scene of the film is actually a flash forward to the end of the film, the main character is perched on the edge of a sky scraper, the character announces what seems to be his imminent death, then there is a POV shot travelling all the way down the side of the building and to the street floor, as if the character has jumped.

The overall visual aesthetic on the film is that when Eddie is on the drug, things come into clearer focus and have more vibrant colours and have a more pristine feel to them.