Tuesday, January 12, 2010

Have You Ever Tried the Layered Approach with Something Where the Foot Placement Is a Little Less Flexible?

Have you ever tried the layered approach with something where the foot placement is a little less flexible? Like walking down stairs. Maybe it doesn't make any difference?

Generally, the foot placement in any scene is pretty well thought-out and planned in advance, but you're right that some scenes are more specific and others can certainly be more flexible.

However, the "hide the legs" layered approach isn't about just animating the upper body and then letting the feet fall wherever they may. You should pretty much know exactly where those feet are going to end up and exactly what your poses are going to look like. Where the layered approach helps more is with the TIMING of the feet rather than the position or posing. If the upper body feels correct in its timing, then that can help you know when to lift and plant the feet, but the actual posing of the legs should be something you've already planned out ahead of time.

Going downstairs is particularly exact, I suppose, but I think the layered "hide the legs" approach is something I would still likely use in a scene like that. I recently did a scene of a character climbing up something somewhat steep, and the foot placement was relatively inflexible, but the process seemed to work fine. It did require a little bit more back and forth than normal, though.

For something like going down a series of stairs, I would probably still hide the legs, animate the upper body going down the stairs until the timing felt correct, and then show and animate the legs. Most likely, I would have to readjust the upper body slightly here and there to accommodate the legs, so there would definitely be some back and forth, but overall I think it could still be useful, and certainly simplifies the blocking process.

And again, the "hide the legs" approach is something I would only recommend to those of you who have been animating for at least a few years already. You need the experience to be able to visualize ahead of time how the legs are going to be working, where the footfalls will likely be, etc.

Hope that helps!


Shawn :)

15 comments:

Brendan said...

I have been using this tip. Since I first read ths tip way back in tips and tricks vol 1 and its brillent. Simple idea any very effective, and you've no limbs to distract you while you nail down the hips. So good to hear other peoples methods.

Reed Arneson said...

Cool, thanks for the follow-up!

Ian said...

Hey there Shawn and AM folk.
It’s taken me a while to get around to this (work work work), but I wanted to stop by and thank you for taking the time to reply to my question here (http://www.animationtipsandtricks.com/2009/12/why-dont-we-teach-more-styles-of.html), I know you must be super busy and when someone like me comes along with a proposition that is at the fringe of your core biz then you would be perfectly entitled to ignore them. That having been said I would like to throw another salvo your way, but as I feel I’ve already received a generous chunk of your time no offence will be taken if you’re too busy to reply :)

I guess you have answered the question of why you made the choice that AM would teach what it teaches and how it would teach it, it’s about getting jobs. I think it’s fair to say you are achieving this in spectacular fusion, now on a scale and scope never seen before in the history of animation. You strike me as a modest type, but I wonder if that is something you have considered very often, congratulations man YOU ROCK! :P
But also worth considering (to quote Spiderman) is that with great power comes great responsibility.

Looking at the AM web site it looks like you have almost 100 current mentors, WOW! I’m not sure how their time is divided between students, but that must make for quite a few graduates each year, and I know you have a fantastic pick up rate with industry. Whether you like it or not this makes you a major shareholder in the future shape of the animation biz. Your industry and my industry (heavy aint it).

I find myself thinking back to the glory days of Cal Arts (I bet it’s still a great place to study now of course), they must have had between 10 and 20 animation graduates a year and look at the impact they have had on the shape of animation today. And out of those amazing graduates which ones stick out the most I wonder? Are they the ones who spent their study time focused solely on giving the major studios what they wanted? Back when I worked at the Disney studio here in Australia I was very lucky to see a recorded lecture that Brad Bird gave to the Disney animators in LA after the release Little Mermaid, he is young, fresh faced and sporting a “mullet” haircut (not sure if they are called that in the US) that you give Billy Ray Cyrus a run for his money. It’s obvious he knows his stuff and has learned the basics of animation, but that comes hand in hand with a healthy disrespect for the status quo, something that rarely comes from the studio managers but usually from the artists.

One commenter to your answer said to remember that this is just the start of your student’s carrier, but you only get one start, life has its twist and turns, but you can’t ever go back and start with a clean slate again, I think setting off in the right frame of mind is very important. Another commenter said that you had hit the nail on the head, but I guess I’m asking you to look at that other nail slightly over to the left. :P

I left my teaching job with a government institution over a year ago now because it was so focused on providing a customer service at the expense of teaching the kids what I could see they needed to learn about. As with all educational institutions I’m sure you are rated based on how many young minds you can get into the studios, that’s what they love to quote in the newspapers. I’m not suggesting you ignore or sacrifice that priority, I guess I’m just wondering wondering if there is room for more?

Thanks for your time :)

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