rough key(Determine the approximate action with mouth)
After determining the thumbnail, I import the thumbnail into tvp and adjusted the timing to determine the approximate movement.In this step, I add the general movement of the mouth according to the timing.
key and breakdown(without mouth)
The next step is further work on keyframe.I find it difficult here, because I choose animal to do the lipsync exercise,and I don't know what to do when I start to progressing the keyframes.
After asking Christina for advice, I roughly understand the steps of painting, first draw the movement of the animal's head, and use the nose as a reference point to ensure that there is no excessive deformation. Then add the movement of the mouth.
About the movement of animal mouths, I have watched a lot of video materials including real images and animations.
First is to understand the structure of the canine mouth.
Second is to observe the opening and closing movement of the mouth.
Through the information I collected, I learned that the hunting method determines that it takes a long time for the dog's nose to bite the prey continuously, and the bite force is related to the size of the skull and the degree of opening and closing of the mouth, so the dog's nose is very prominent, but the size of the occlusal angle is not as large as that of cats.
Although I did not draw the structure of the teeth and mouth in detail and accurately in the animation, I have a rough idea of where they are and how they are laid out.
reference: dog’s skull structure, different perspectives of real Dobermans, animation (101 dalmatians, Beastars, lady and tramp)
improve with the mouth shape
I further added the movement of the mouth and uploaded it on padlet for feedback from Christina. The advice Christina gave me was the mouth shape feels off is at the end of the first word "hi", I need held for a while the "e" mouth shape needs inbetweens.
I added two inbetweens to make the "e" mouth longer.
This book is from Thomas Lamarre. I first knew about this book was when I read a blog about animation, and out of curiosity, I downloaded the digital version of the book and started reading and taking some reading notes.
In the prepage Thomas said This book presents a theory of animation that is unabashedly centered on Japanese animation, which are commonly particularized and grouped under the loose heading “anime” or even“Japanimation.”At the same time, this book is about “how to read anime.” In fact, it was the difficulties that he confronted trying to read anime that led him in the direction of animation theory.
conclusion of my understanding
"The Animation Machine" provides theoretical support for us to observe the diversity of animation from the moving images. It suggests that we can start from the way of image compositing to reinterpret the reason why animations have the same origin and different streams, and to observe whether the guidance of animation works on the potential of moving images is more like animation or like film.
In that exercise I tried to pay more attention to the structure of the muscles, strengthening the structure with cross lines and paying attention to the overall dynamics.
I read this book for the first time in 2019, I think it is a very good material for film production and analysis, I will update this post in my free time to record some of my feelings and make some notes.
from shot by shot
Size of shot
1.The common units of the shot configuration are the long shot, medium shot, and cross-up, and the shots overlap in space.
2.Only when they have meaning in the relationship of each other, the continuity system will establish.
3.The ratio is determined according to the subject, and a balanced relationship is established.
4.Variations in the size of the shots vary but are determined by the extent to which they are equal.
close-up example from my previous work
Shot Type
Close-up:
1. Expression of intimacy shared by emotional unity, privacy based on
distance allowed between people in various situations, physical contact, etc.
2.Close-ups are also referred to as single shots in other terms if the camera is
holding someone's close-up.
3.: Expression of intimacy shared by emotional unity, privacy based on
distance allowed between people in various situations, physical contact, etc.
