But how many animators have simply never been called upon to do a Stagger, or have never even had a scene where a Stagger was a possible solution? Well I am in that category, and so in my film The Crossing, when I devised a scene where a character must remove his hat dramatically, I was delighted to realize that a good Stagger was exactly the right solution to the problem.
You begin by animating one or sometimes two sets of drawings in a smooth moving hold, which is ordinarily a way of maintaining life by moving from an extreme pose to a similar but even more extreme pose. Then--and here is the gimmicky part-- you shoot the drawings out of order, but in a calculated way, to get the stagger effect.
Let's now look at my example.
|Drawing 409--first frame of the scene|
|Drawing 421--he gets set|
|Drawing 437--first drawing of the stagger.|
|Drawing 453--last drawing of the stagger.|
|Drawing 455--the next drawing.|
|Drawing 475--recovery and hold.|
|Drawing 503--last drawing of the scene.|
Next: For Comparison, Testing the Scene Without the Stagger Effect