No. 10, Problem 2: A Staggering Solution (Part 3)

Now let's take a look at the scene with the Stagger in place:

You can see how shooting those drawings out of order, in this very controlled way, produces the trembling effect that I wanted here.

Here is exactly how the drawings were staggered.  There were 9 drawings to the stagger, 437 thru 453 (using odd numbers only.)  For clarity, let's give them the letters A thru I instead.  For the smooth version, shown in Part 2, they were of course shot straight through: A-B-C-D-E-F-G-H-I, and exposed on 2's. 

But staggered as you see here, and exposed on 1's, it goes like this: A-B-A-C-B-D-C-E-D-F-E-G-F-H-G-I-H.  That's 17 frames as compared to 18 frames in the smooth progression, so the screen time is almost the same.  The basic idea to this stagger is: advance two letters, then go back one; advance two letters, then go back one.  Thus you progress steadily on to the end.

In my opinion the stagger adds an extra element of effort to the action, and was well worth doing.

No. 9, Problem 2: A Staggering Solution (Part 2)

I am now going to be doing my pencil tests in color and with as high a resolution as I can get.  I think once they are compressed for the web they will look much more clear than they have until now.

As promised, here is the test without the drawings staggered but just used in sequential order:

As you can see, the animation actually works quite well without even resorting to the stagger effect.  The strain of effort and the sudden release are all there already.  Note that for this version,  all the drawings that will be staggered I exposed on 2's, whereas when I show you the staggered version in the next post, they will be on 1's.  The screen time is almost exactly the same in each case.

Next: The Staggering Conclusion to Problem 2

No. 8, Problem 2: A Staggering Solution (Part 1)

The Stagger effect is one of those gimmicks developed in Hollywood and used at Disney, Warners, MGM, and probably other places as well. It's first real use is probably not known.   It is a way of getting a shuddering or vibrating sense  of extreme tension into an animation, or it is used to illustrate fright or some other emotion where a progressive vibration is called for.  The technique is definitely a gimmick and dependent on the use of a formula, though as in the cartoon Take, which involves an anticipation and then some extreme distortion to express surprise or fright, the possible variations are endless.

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

The setup is that the man has concealed something under his hat which he wants to present as a surprise to his wife (a live fox).  He has already tried twice to get his hat off with a little tugging, without success.  Above, he takes hold of the hat brim for a final effort.

Drawing 421--he gets set

In 421, the anticipation, he sets himself with grim determination.

Drawing 437--first drawing of the stagger.

Drawing 437 shows him at the point where he has already expended considerable effort, but whereas in his previous attempts he stopped to regroup, now he means to continue to the end.  The Stagger begins with this drawing.  Note that although the drawing numbers 437 to 453 on the spacing chart indicate exposure on 2's (exposing 2 frames per drawing), the Stagger will actually be exposed on 1's; when I did the drawings I was experimenting to see if I could bring it off on 2's, but it wasn't effective.

Drawing 453--last drawing of the stagger.

By 453 he has stretched everything to the breaking point; something's got to give!  The hat brim will tear or his fingernails will be pulled out or he will collapse with apoplexy--I plan to add a gradual red flush to his face color as this goes on.  Note that if this were not to be exposed as a Stagger, then drawings 437 to 453 would simply be considered a moving hold.

Drawing 455--the next drawing.

Yes, drawing 455 is the very next drawing after the one above; sometimes, an extreme change like this can work very well, as Eric Goldberg demonstrates so well in his book ("Character Animation Crash Course").  As the man had hoped, it was the hat that came off.  Suddenly unrestrained, his arms shoot up, his head jerks down into his chest, his knees (unseen) bend and bring his hips down, leaving his belly to hang for an instant where it was, a follow-through item.

Drawing 475--recovery and hold.

By drawing 475, the man has recovered from the violent movement, and he holds here for 18 frames as he assesses the situation.  I will be adding a blink when I get to my digital processing in Animate Pro.

Drawing 503--last drawing of the scene.

And finally, here is the last drawing of the scene, where we cut in mid motion to a wider shot of both the man and his wife and he continues sweeping off his hat for her, revealing the tightly furled fox upon his head.


Next: For Comparison, Testing the Scene Without the Stagger Effect