Lango’s VTS06 and VTS07 provided some great revision for breakdowns, anticipation and eases. Seeing Lango’s blocking workflow, which we also looked at a bit last year, was also useful. Thinking this way might help us for blocking out a lip sync/acting scene if we get time to try it as part of our project. I think Lango will be going through this more in later videos.
VTS 06 (August 2005) Timing Part II
Breakdowns: making stuff move. It helps define the flow of imagery from one pose to another.
Illustration of poses: power, line of action, storytelling
The speed of the action determines how big the breakdown needs to be i.e. timing determines breakdown intensity. Fast moves usually require more intense breakdowns. In this way, we can see the breakdown intensity as being proportional to the energy required to move a weight – more energy is needed to quickly move a weight. However, greater distances across the screen also require more interesting breakdowns.
increasing breakdown intensity = increasing speed
increasing breakdown complexity = increasing distance across screen
Anticipations: a sub/minor pose, of varying degrees of intensity, that announces something is going to happen.
Anticipations, like breakdowns, are dependent on the timing and distance of the move. To make things move, you need energy. If a large move is going to happen within a small timing then a large anticipation will be needed to show the build-up of energy. Showing the build-up of energy creates the expectation/anticipation of movement.
VTS 07 (September 2005) Timing Part III
Eases “are your primary tool for spacing” (but not the only tool). Eases also create weight. You don’t need a slow in after a big anticipation. Be mindful of what you need to use. A large anticipation followed by a large release of energy might make an ease-out look strained. Try a ‘settle back’.
Think of where the energy is needed to build up and where it is lost after the move. Make your own fcurve rather than relying on an inorganic cg made curve.
Blocking – block out the main poses/drawings (plus lip sync of syllables). Space out the poses to where the lip syncs are. Before you think of timing, just focus on what the poses will look like on certain syllables of what is being said (plan ahead). Try and figure out as much as possible through these initial poses: weight, arcs, drags, squash and stretch etc. Try to capture what the character is feeling through each body part. Space out the poses to where the lip syncs are. This blocking-workflow allows you to fix poses independently without having to worry about timing yet and vice versa.
Fill in the eases to understand where the energy flows.