straight ahead action and pose-to-pose |
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| There are two approaches to conventional animation, straight ahead and pose-to-pose. In straight ahead animation, the animator draws frame-after-frame until the scene is complete. The animator literally works straight ahead from her first drawing in the scene. She knows where the scene fits in the story and the business it has to include. She does one drawing after another, getting new ideas as he goes along, until she reaches the end of the scene. This process usually produces drawings and action that have a fresh and slightly zany look. Straight ahead action is used for wild, scrambling actions where spontaneity is important. The animator has freedom in this type of animation to go anywhere, letting their drawing take them off in different directions. | |||
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In pose-to-pose animation the animator sets up certain key drawings which define the overall action of the scene. They then finish the animation by completing the in-betweens. Pose-to-pose is used for animation that requires good acting, where the poses and timing are all important. The pose-to-pose technique applies to keyframe computer animation with timing and pose control of extremes and inbetweens. The difficulty in controlling the inbetweens makes it incorrect to approach keyframe computer animation exactly as one would pose-to-pose hand drawn animation. In working with a complex model, creating a complete pose at a time would make the inbetweens too unpredictable. The path of action will in general be incorrect. The result is much time-consuming reworking of inbetweens. There is a much better approach in the context of a hierarchical modeling system, which works "layer by layer" down the hierarchy. Instead of animating one complete pose to another, one transformation is animated at a time, starting with the trunk of the hierarchical tree structure, working transformation by transformation down the branches to the end. Fewer extremes are used, not all translates, rotates and scales have extremes on the same frames; some have many extremes and others very few. With fewer extremes, the importance of the inbetweens increases. Tension and direction controls on the interpolating splines are helpful in controlling the spacing of the inbetween and to achieve slow in and out. (See Slow In and Out) This layer approach to animation shares many important elements with the pose-to-pose technique in hand drawn animation. Planning the animation out in advance, as in pose-to-pose, becomes even more important The action must be well thought out, the timing and poses planned so that even in the early layers, the poses and actions arc clear. |
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Change of expression and major dialogue sounds are a point of interest. Do them, if at all possible, within a pose. If the head moves too much you won't see the changes. From: Animation Notes by Disney animator, Ollie Johnston |
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