For People Crazy About 2D Animation!

Acme Punched! is for people crazy about 2D animation. It may be enjoyed by beginners and others, but it is aimed at animators who know already something about the process of animation and the basics of character animation. In large part, it will attempt to provide a deep look into the problem solving that goes on in my head as I work out a scene, often in step-by-step posts that I will sometimes enter in "real time", without knowing in advance what the outcome will be. Mistakes and false starts will not only be included but emphasized, so that the creative process of animation will be portrayed realistically. And, while my own bias is for 2D drawn animation, many of the effects and principles discussed here can apply to CGI 3D animation as well. I hope the blog will prove useful and instructive for all.

-Jim Bradrick

Sunday, December 16, 2018

No. 176, Staging with Perspective

Using Extreme Perspective in Staging, with Notes on Matching Consecutive Shots

Creating a layout with unusual perspective
Just now I am working on a scene that has to match the previous scene closely; the difference between the two is just a matter of "camera" angle on the two characters.

The first scene, 5-24, looked like this in storyboard:

(The female officer is about to draw her service pistol, but the male officer  quickly blocks her move with his hand. She then looks up at him to see his face.)

Then after animation, it looked like this:

The following scene, 5-25, was drawn this way in the storyboard...

(The male officer shakes his head, as if to say: You don't need that here.)

...but this drawing no longer matched the animated version of 5-24, so my problem was to make a layout of 5-25 that looked like a natural change of angle.

I had to imagine and draw a rotation of the crouching woman officer and a corresponding view of the man.  It took me a couple of tries before I got what I was looking for. Note that the perspective is quite close to the storyboard panel above.

The version on the right was what I felt I needed. Though the final layout was to be a closeup, this long shot showing the characters' full poses was important for understanding how the heads and shoulders should be positioned. Note the faint perspective lines behind the two figures.

From here it was a simple job to do the closeup layout. In the end what is important is the eye contact between the two characters, but getting the poses right helps to make a convincing and dramatic shot.

The final layout for scene 5-25.

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