12/28/2023 0 Comments Koala brothersThis means that if an animator is given a frail old woman to animate then the actions, movements and gestures should reasonably fit within the stereotype that we have for them. Visually you will be guided by the design of the character, and unless specifically directed otherwise your performance would be expected to conform to type. A slow, gruff and mumbled delivery may well suggest a sluggish and hunched person for example, whereas a bright, sharp and well paced delivery may suggest the opposite, someone who is young, keen and energetic. The vocal performance not only dictates the rhythm and pace of a characters movements as the intonation changes, but the timbre of the voice will help shape the way in which the character holds themselves. For you to get going with figuring out your character it helps if your main focus is upon the visual and aural elements, as these are the foremost clues to identity that you have to work with. I think that you can separate out a characters actions and reactions from the way that they think when as an animator you try to figure out just what your character is all about. Still from ‘Frankenweenie’ (Warner Brothers/Tim Burton Animation Co.) Understanding your character is critical when you get to animate someone like Victor as the performance has to be spot on – as good as any other actor in a Hollywood feature.Ī character can be deconstructed in four main ways – the way that they act/react (mannerisms, idiosyncrasies etc), the way that they speak (idioms, accents, volume etc), the way that they look (physical appearance, clothing etc) and the way that they think (beliefs, passions, opinions etc). Having interrogated your character I would then suggest that you try to deconstruct your characters, relating them to your own experiences and your empathetic understanding. In both instances it’s about figuring out the nature of characters, having empathy, being observant and imaginative. If you are working on your own though then it’s down to you to create this background, and to get to know the characters as well as you would a friend. If you are working with a director then they should be able to give you some of the characters background, but you should also study the script and the vocal performance. If you as an animator have a good grasp of different personalities then this will assist you in the process of the interrogation. It is vital that you know about the characters you’re working with, and an interrogation of them will enable you to develop a better understanding of what sort of reactions, feelings, and physical, emotional, and psychological responses to the other characters, and situations in the film they will have. For you to get the best possible performance then you need to be able to act with conviction and to do this it helps if you understand the process of character development. All of these will affect who they are, how they react and therefore, how they move. In both cases the process of evolution begins with character development, by interrogating them, not with bright lights and cattle prods, but by finding out a little more about their personality, temperament and hopes and fears. Or it might be one that you are coming up with from scratch in a storyline of your own. Now this character might be one that you are given to work with in a series or a film, in which case the director will have helped to develop them to a degree. When you are working with a new character they will always be a little one-dimensional until you get them fully developed. But what about the characters themselves? Who are they? What do they do? And, where do they come from? As a result you should now be avid people watchers as well as being more observant of your own movements, more comfortable with rehearsing these moves in front of a mirror and better prepared when it comes to timing (and recording) your movements. Last time we looked at observing, rehearsing and timing to help you to prepare your animation.
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