Wednesday, October 3, 2012

Joe Bowers

Joe Bowers What I had, took me so long to just get it blocked out, and Glen would come and say "that looks great, lets just push it" and he'd draw over the whole shot. Everything Glen puts in emphasizes how things should feel (maybe beyond anatomy in favor of the feel). Like the mouth I didn't even think to push the mouth that big, mine looked like 10% of where Glen was pushing it. You forget how far you could and should push it. If you can draw it you can try something fast and try pushing it and keep it rough, if you're posing the process is so much slower. Now I thumbnail more. If I shoot reference I'm really boring, I don't want to animate that. So I take "here's the idea of what I'm doing, here's the mechanics of it" so I take a few thumbs of key poses and push it from there. PUSH FOR FEEL don't let the rig inhibit you, you won't see the ridiculousness but you'll feel the extra emphasis.
When you learn to animate you learn all the parts of a walk. But it's okay to let some of that stuff go if you need to, like with all the natural torso twists that should happen, it would kill the mood.

weight in animation, think of it as a bowling ball with things attached to it. the lighter stuff is dragged behind.

ragdoll cat, into keeping the animal feeling like an animal, like when she's swinging around kept the iconc shape of the back and legs, didn't push it all the way that a noodle would do, to keep it feeling right

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