anticipation |
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An action occurs in three parts:
Anticipation can be the anatomical preparation for the action, e.g., retracting a foot before kicking a ball. It can also be a device to attract the viewer's attention to the proper screen area and to prepare them for the action, e.g., raising the arms and staring at something before picking it up, or staring off-screen at something and then reacting to it before the action moves on-screen. A properly timed anticipation can enable the viewer to better understand a rapid action, e.g., preparing to run and then dashing off-screen. The amount of anticipation used considerably affects the speed of the action which follows it. If the audience expects something o happen, then it can be much faster without losing them. If they are not properly prepared for a very fast action, they may miss it completely; the anticipation must be made larger or the action slower. In a slow action the anticipation is often minimized and the meaning carried in the action proper. Anticipation can also create the perception of weight or mass, e.g. a heavy person might put their arms on a chair before they rise, whereas a smaller person might just stand up. |
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| Ask yourself: What is the character about to do? What is the character thinking?(mental vs. physical anticipation). Helps to clearly telegraph story ideas and actions even before they occur. Leads the viewer from one story point to another. Contrast in motion is KEY here. If the character is about to do something radical and quick, there should be a slow anticipatory hold on it before before the quick action in order to prepare the eye for what is going to happen next AND to show that the character is thinking about doing the action. Motion with out thought is pointless. | |||
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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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