Today's discussion

[Don Bluth]

Any more questions?

[Alexandra Poston]

Yeah, inbetweens will be extremely time consuming, but I suppose that's not my main concern... I learned how to make a basic script and storyboard in my Drawing for Storyboarding class. A storyboard for animation is basically keyframes, right? Then you inbetween from there.

I've been processing your animation cells from Banjo at the library as a volunteer job, and have been learning a lot from the pencil tests. The process seemed a lot more indepth from seeing the pre production work for thumbelina, but maybe it just seems that way because I have no experience.

[Don Bluth]

Ok, next time you guys should have a list of questions and don't be shy about posting...

[zackw123]

Thank you!

[Don Bluth]

The term "keyframe" needs to be defined. Traditionally, a Story sketch is an indication of what you want to see on screen. But when you animate that sketch, it could have 10 keyframes for that one sketch. Those 10 are what we used to call "extremes."

[Don Bluth]

Student animation wisely avoids a situation that would call for extremes and inbetweens. That would be time consuming and expensive. Do we agree on what the word "Keyframe" means?

[Alexandra Poston]

My professor defined a difference in storyboarding for live action film and animation. In live action film you make a sketch per every visable shot, but with animation you make a sketch for every extreme. But what you're saying is that we should make a sketch in the storyboard to cover a number of keyframes (extremes). So the story sketch is different than the keyframes...?

[Alexandra Poston]

"Student animation wisely avoids a situation that would call for extremes and inbetweens."

What do you mean we can't use extremes and inbetweens? I thought that's what animation was.

[admin]

My professor defined a difference in storyboarding for live action film and animation. In live action film you make a sketch per every visable shot, but with animation you make a sketch for every extreme. But what you're saying is that we should make a sketch in the storyboard to cover a number of keyframes (extremes). So the story sketch is different than the keyframes...?
That's correct... This philosophy is the traditional system for classical animation. What I think has happened is with the coming of new electronic technology and CG, all of our "classical" terms have been renamed. For example, storysketch is now a keyframe; scene is now a shot; sequence is now a scene. To further confuse everyone, every studio seems to have its own terminology.

[admin]

"Student animation wisely avoids a situation that would call for extremes and inbetweens."

What do you mean we can't use extremes and inbetweens? I thought that's what animation was.

Of course you can use them. Extremes and inbetweens are the basics of 2D animation. I only meant that if you were on a limited budget and you need to finish your project by the end of summer, you will need to cut corners.

[Alexandra Poston]

Great, now I feel I understand the lingo correctly. So, lets stick with the classic terms for now, using the term 'extremes' for less confusion.

If I was planning to make a two minute short film, I would start with a script. From the script I would do some research, make some character sketches, and begin thumbnailing and storyboards. Once we I camera angles out of the way and have the storyboards looking like what I want the short to look like, that's when I begin the pencil tests... am I leaving something out? Any hints or direction?

( I feel like half of our conversation was deleted... where did it go?)

[zanekohler]

The term "keyframe" needs to be defined. Traditionally, a Story sketch is an indication of what you want to see on screen. But when you animate that sketch, it could have 10 keyframes for that one sketch. Those 10 are what we used to call "extremes."
So in a traditional sense those 10 key frames are like a hold with the exception of minor motion of overlap and follow through?

[lavallelee]

hey don i just joined the club, i was wondering if there is a way to watch past seminars?? i might be confuzed on how this all works, unless its a topic instead of a live video?? sorry

[Don Bluth]

Great, now I feel I understand the lingo correctly. So, lets stick with the classic terms for now, using the term 'extremes' for less confusion.

If I was planning to make a two minute short film, I would start with a script. From the script I would do some research, make some character sketches, and begin thumbnailing and storyboards. Once we I camera angles out of the way and have the storyboards looking like what I want the short to look like, that's when I begin the pencil tests... am I leaving something out? Any hints or direction?

( I feel like half of our conversation was deleted... where did it go?)

Alexandra, your plan sounds correct to me. There is one more element I think you should consider; that is, the sound. Dialog always comes first, as you know; that gives the actors input into the creative process. Actors always inspire the animators. I prefer to animate to a music track as they did in the early days of the Disney studio. That's why the Director's room was called "The Music Room." Music has rhythm and that rhythm will help you with your animation.
One more note: A two minute short has to say something. It's like a joke that needs a punchline. Be sure that at the end of your short, there is a punchline.

[Don Bluth]

So in a traditional sense those 10 key frames are like a hold with the exception of minor motion of overlap and follow through?

No, that isn't correct. Those ten "extremes" are the extreme moments of a characters action, for example, after a characters hand has moved as far right as the character wants it to, and it now begins moving in a new direction, that point of direction change is the extreme. The in-betweens will carry you smoothly from extreme to extreme.
Don't confuse the term "Hold" with the term "extreme."

[zanekohler]

Ok I am getting it..thanks!

I think where I am confused on is when you said

"For example, storysketch is now a keyframe"
and later
"it could have 10 keyframes for that one sketch"
"Those 10 are what we used to call "extremes."

I think I am not sure the difference(if there even is a difference) between the keyframe being an extreme or a storysketch in a traditional term?

I apologize that I am probably making this more confusing than it is.
Thanks again!

[GullyStomper]

It might be a little late for a response, but I'd like to clarify the difference between keyframes and extremes.

"Extremes" and "keyframes" are similar, but they are not the same thing. Extremes can be keyframes, but not every keyframe is an extreme. For example, if you want your character to throw an uppercut, the extremes might be the end of the wind up to the end of the follow through. You know the path you want your character's arm to travel and you can draw the inbetweens accordingly. When working in computer animation, the computer can't read your mind and if you gave the computer those same two extremes, the path the arm takes from point A to point B might not be the same one you intended. So, in order to get the uppercut the way you want it, you will probably have to guide the arm throughout the swing by placing keyframes along the motion path when necessary.

I hope that helps.

j.