TGJ2O

Basic Animation Theory

There are a number of sites that have fantastic content for animation theory. All tend to focus on the same basic 12 principles:

Here's a summary of some:

Attraction Tricks

These tricks aim to attract the viewer's attention so that he/she does not miss something. This involves giving the viewer a hint that something is about to happen and where so that the user is looking in the right direction when the action itself takes place. Examples include an object blinking, rocking back and forth, backing up a little, or hesitating a moment before the action takes place.

Timing Tricks

Sometimes it can be appropriate to use non-realistic timings in order to achieve the desired communicative effect. For example, you can slow the speed down or speed it up, zoom. In some cases it can also be appropriate to use a logarithmic scale rather than a linear one (e.g. if flying towards objects that are vastly different in size).

You can make your animations seem more alive by making several things occur simultaneously. For example, a humanoid that is standing still might be seen to be breathing, but also blink or look around occasionally rather than look like a statue.

Motion enhancement Tricks

Sometimes, it is necessary to make it more obvious that a motion is taking place. For example a rolling ball may need some markings on it so that the user can clearly see that it is rotating as it moves. The same is true of smooth spinning objects, where it can be appropriate to add some marks. Shading with highlights can give a good impression of motion without additional enhancement,

Other tricks

Other things that you should think about when designing an animation are conveying the weight and size of an object so that it's movements appear to be realistic. Also think about whether an object is soft or hard. A soft bouncy ball will distort as it bounces while a hard object that collides with something may simply vibrate or distort the object it hits.

If you are telling a story with animation (interactive or otherwise) then timing is very important. The viewer should anticipate actions, see them, and react to them, but this should not happen to quickly (or you'll lose the viewer) or too slowly (or the viewer will get bored).

Illusion of Motion

One of the keys to illusion of motion is that the object must appear to move smoothly between frames. Typically in TV, cartoons animation run at 12 frames per second (fps). Film runs at at 24 frames per second. So, the MOST any cartoon can be animated to is 24 fps (often referred to as 24p). The NTSC standard is 23.97 fps (Don't think it matters that video is 30 fps- they are still shot on film...) As a matter of course, though, what is typically done, at least by big budget films, is 12 cels per second, each cel being shot twice. However, lower budget cartoons can and usually do use the same cel three or more times... the more a cel is used, the "jerkier" the final cartoon will look.

Traditional Cel Drawn Animation vs. Stop Motion

In its basic form

Keeping with the "flat" 2D style animation that looks like illustration

A more advanced form. Likely using software that mixes in layers and a positional camera

In comparison, stop motion

Storyboards

When creating something more complicated than a single shot (and often even single shots) storyboards are used. They are graphical pathways that the story will follow. They include shot notes for everyone from cinematographers to editors to sound and visual effects directors.

The storyboard is

A “Visual Script” for your production, looking very much like a comic strip version of the story.
A production “Blueprint” for your crew to follow.
A detailed list of the assets you need to create: graphics, video, dialogue, sound effects, text etc.

The storyboard is intended for

The “studio” for approval before production is started
The production crew, to assemble the assets

Process

BRAINSTORM the original story idea or “Concept”
WRITE a script or outline for the story
STORYBOARD the script
REVISE

Purposes

To work out and discuss your ideas, and to fix bad stories before they get made
To visualize how your production will look, and get creative with shots and action
To describe how your production is sequenced, and act as a step by step guide to making and shooting your film
To plan where and what type of additional sound effects or dialogue will be included

Tips

Put your shots and scenes of your storyboard in an order that tells your story clearly.
Plan your story so that the visual images and the script can be clearly understood by reading your storyboard.
Plan your production in the most interesting and appealing way possible for the audience.
Plan not only what happens in each shot, but also how fast or how slow you want it to happen.
Eliminate unnecessary or repetitive shots and add missing shots. Cut long boring shots and break them down into shorter more interesting shots.
Ensure that there is a smooth, clear, logical flow from shot to shot and scene to scene.

Link to blank storyboards

here

4-minute film school's take on storyboarding

Google Sites

Report abuse