Sunday, June 17, 2012
Tuesday, June 12, 2012
據在洛杉磯擔任電影記者，並參加了該場試映的網友“愛魔法的懶貓”表示，“結尾處哭得稀裏嘩啦，全場觀眾大多數都在抹淚，母女之間的故事非常打動人心”。而北美的各大影評人也是好評如潮，《綜藝》的影評人彼得迪布吉(Peter Debruge)也將重點放在細膩描寫的母女關係上，他盛讚：“影片著重探討了梅莉達與皇後之間的關係，感人又真實，比肩《海底總動員》的溫馨父子情”，《好萊塢報道者》的影評人托德麥卡錫(Todd McCarthy) 則表揚了影片的技術與細節，他寫到：“全片幾乎都讓人欣喜，其中壯美的蘇格蘭自然景色、超凡傑出的配音、充滿活力及豐富細節的配樂皆令觀者印象深刻”，而《滾石》雜志的影評人彼得崔弗斯(Peter Travers)更是高分推薦，激動大呼“皮克斯再度超越了自己！”
Monday, June 11, 2012
Recently I watch Madagascar 3. It is very entertaining and funny. I like this character very much. Because i still remember her until now. She is the Captain Chantel DuBois!! A character with super well built in personality. SUPER AWESOME =) Look at her expression, her lips!
Sunday, June 3, 2012
By: Eric Scheur
Published March 26th, 2009Once in a while you come across a piece of animation advice that completely reconfigures the way you think about animation. For me, one of the most earth-shaking refrains that was ever told to me is this: Every frame is a drawing.
Every. Frame. Is. A. Drawing.
Okay, so that's all fine and dandy--but what does that mean? "Every frame is a drawing." Well, "every frame is a drawing" means that you should make conscious decisions about what your characters are doing on every frame in your scene. Every time you pose a character, that is a drawing that will end up on the screen, from the angle of the hips to the crook of the fingers, from the shape of the brows to the direction the toes point in. Whether it's a breakdown, a key pose, and inbetween, or a blur-drawing, it will be on screen for 1/24 of a second--and believe it or not, that's a significant amount of time. Everything you key on that frame is part of that drawing.
Think about it. If you work in 2D, you know this almost instinctively. You have to draw 24 pictures in order to complete a second of animation. You have to take time and care to make sure that the pose reads, that the attitude is there, that the lines are clean, the silhouette is clear, and the line of action is solid.
Stop-motion animators are as meticulous about their frames as well; the puppet won't give them anything for free, they need to pose it exactly as they want it to appear on screen 24 times per second.
CG is a little different, in that you don't actually have to key anything on a particular frame in order to see your character move. If you have a pose on frame 5 and a pose on frame 15 then the computer can figure out those frames in between without you ever having to touch them.
(you know what's coming next, don't you?)
But the computer is horrible at figuring out how a character should move from one frame to the next. (we ran across this concept in the last Helpful Hints: We We Block) All of the things we think about when we're animating, the computer throws that stuff right out the window. And if we're lazy (or if we're new), we let it. We'll just let that computer throw in any flabbity-flu it wants to, and we'll say "Awesome! Look at my character move!!" Something about CG fools our eyes into taking a lot longer to see that it's not good at all. It's bad. Bad bad bad.
The reason that there is so much successful 2d and stop-motion is that the [successful] animators actually pay attention to every frame, every pose, every silhouette, every bit of spacing. These are the things we often overlook in CG when we're thinking about technical things like rotations, spline tangents, constraints, and IK/FK switches.
And so I've come up with a little game you can play to help make sure you're watching every frame. I call this game...
Is it a Lithograph?
When you play Is it a Lithograph? you should look at every frame of your animation and ask yourself if a collector would hang it on their wall. I know this may sound intimidating, especially if you're just starting out. It may seem impossible to make every frame look like a work of art. But it can be done, I promise you. To prove this, I've looked through a bunch of animated clips (stop-motion, hand-drawn, and CG) from my hard-drive and randomly selected a frame from each of them. Some of these frames are key poses, but most of them are likely to be inbetweens. Whatever they are, I'd be thrilled to have each one as a framed cel hanging on my wall--they're that pretty. Check it out:
Again, all of these frames are chosen randomly. I didn't carefully come through a clip trying to find the prettiest frame, and I didn't exclude any because what I found was too unpleasant. All of these frames look pleasant to me--they all tell the story of the scene and you can see what's going on with the characters whether it's their emotion, their movement, their overlap, their anticipation, or all of the above.
If you were to choose a random frame from one of your own personal CG scenes, how confident would you be of its appeal? If you're like me, you're likely to have some ugggly ugggly frames in your animation and your brain has told you "Ah well, it's the rig" or "Ah well, that's how the computer wants it to be," or some other lame excuse like that. But it's nonsense! You have the control! You can set keys on every body part on every single frame if you want to!!
I want you to listen to me carefully here, and cover the kiddies' ears: Screw the computer! The computer doesn't know you, and the computer doesn't like you. It's not your friend. It is absolutely okay for you to go against the computers' will and move your character's limbs wherever you want to. You'll thank yourself for it later.
Good luck, and happy animating! :)
Share from: http://www.11secondclub.com/helpful_hints/every_frame_is_a_drawing
I would say, from a supervisor’s point of view, that a good animator is one who shows great attention to detail and won’t hand in work that is clearly mediocre or worse, accompanied by a myriad of excuses. They are aware of the thought processes of the characters they are animating, and are conscious of communicating that to the audience. A good animator creates interesting rhythm in their shot, and isn’t afraid of using moments of stillness to accent both the rhythm and the communication.
There are also some elements of detail that I find really separate good animation from bad. One element is shoulder movement. Bad animators will not use the shoulders very much in their animation, when in reality, shoulders have a huge amount of articulation and really connect the arm movement into the torso movement. I’ve seen lots of stiff or non-existent shoulder movement in bad animation.
Good hand poses are another element that take good animation to the next level. Hands are incredibly emotive and communicative, but it is also painstaking to animate all those digits. A good animator will put the work in, not only to make the movement work, but to make the poses interesting visually, appealing, and connect those poses to the character’s acting and emotion.
Other than those particular things, it’s just a mastery of the principals of animation--paying attention to all of the elements that make a great shot! Great posing, great timing, body mechanics, great character acting (and this is something that is very difficult-- mastering the body language and personality of a particular character versus just moving a character around generically).
Something I can’t emphasize enough is the importance of having strong body mechanics. Whether you’re going more realistic or more cartoony, if the body mechanics aren’t “buyable” the character will never really take on life. If they don’t have that illusion of life, that makes it very difficult for the audience to empathize with them, and it will be much, much harder to draw the audience into the story and maintain the suspension of disbelief.
Share from: http://www.animationtipsandtricks.com/2011/08/what-separates-good-animator-from-bad.html
I think it is important to show a bit of everything on your demo reel.
If I had to pick 3, I would go with: a body mechanics shot, a pantomime acting shot, and a dialog acting shot. Those scenes cover a pretty decent area of animation and will go a long way toward showing your chops. Including these scenes will also hold the attention of the viewer, whether that is a recruiter, a supervising animator, or your mother.
Share from: http://www.animationtipsandtricks.com/2011/09/what-are-top-3-types-of-scenes-to.html
Here’s a question that I get quite a bit in my classes: Why does my animation look bad when I take it out of stepped mode into splines for polishing?
The answer for me is relatively simple. Don’t let the computer do your animation. If you don’t like the inbetweens that your computer is giving you, don’t let it do the inbetweens! Control the arcs of your character, the way a head turns, the speed at which the arms move, how much space the body goes through.
I like to say that if your computer looks like computer animation it’s because it IS computer animation. You, the animator, haven’t put enough inbetweens or enough love in your splines (whichever method you like to animate).
Ask anyone in my personal life. I’m a control freak. I have to be in control. I’m learning, through tons of therapy, to get better but the fact still remains. This comes in handy when I’m animating. I will usually put a keyframe every 2 frames or so. Sometimes I’ll even drop one on EVERY FRAME. I trust my computer to crunch numbers extremely fast. It knows the difference between a one and a two. But, it doesn’t know anticipation. It doesn’t understand arcs. So I have to put that in there. I have to let it know that on frame 46, my head is going to do this and my left arm is going to do that.
I make sure that I put that keyframe on EVERYTHING. Not just the head or the hand, but EVERYTHING. Let me say that one more time with feeling. EVERYTHING. I do this because I do like to work in stepped mode to finesse my animation and see where the keys are. The last thing I want is to hit that magical spline button, and everything falls apart. Why is that not moving? Why IS that moving? Believe me, I’ve yelled that at the top of my lungs before. If I put a key on everything, it doesn’t do things I have no control over. It doesn’t do things I didn’t anticipate.
It does what I wanted it to do.
Silly computer. Animation’s for animators…
Share from: http://www.animationtipsandtricks.com/2011/12/taking-control-of-your-animation.html
Here are six key areas of personal development I’ve seen in those who succeed as animators:
- Be humble. Attitude plays a MAJOR role in your success. Who wants to work with a jerk? I don’t, and I’m sure you don’t. This does not mean that you need to let someone walk all over you, either. Build confidence in who you are, share your thoughts, and respect those of others. Remember, there’s more than your way to tackle a challenge.
- Be thirsty. I LOVE this one. It’s also been called “the beginner’s mind.” At Animation Mentor, we call this Continuous Improvement and it’s one of our core values. Never feel like you have “arrived.” There’s always more to learn. When you get stuck, look for ways to pivot your thinking and you will find renewed inspiration.
- Share everything you know. There’s a famous quote that states, “It is in giving that we receive.” I really love this and find it so applicable. Those who give comments and share their knowledge are those who seem to accelerate quicker. Those who hoard information only go so far. When you learn something that accelerates your skills — share that knowledge. You’ll be surprised at what comes of it.
- Never give up. Don’t lose focus, it’s just a matter of time. This may be easier said than done, yet remember that you cannot ever stop learning, practicing, and growing. Be sure to water your mind and feed it goodness whenever possible.
- Beware of the “gremlin voice.” Most likely, there will always be a "gremlin voice" in our heads that expresses our insecurities — and most likely, there’s no way to ever fully turn off that voice. So think about "turning the volume down." If it's blaring at 10 max, then what would it be like to turn it down to a 5? Or even a 7? Over time, learn to identify the voice and slowly begin to turn it down.
- Nurture balance. The
life of an animator should not be all about the latest animated movie.
Those who succeed have a passion for life just as much, or more, than they
do for animation. Be sure to cultivate YOU.
Article from animationtipsandtricks.com Bobby Beck
This is quite inspiring!