Wednesday August 5th 2009

[Dave]

We'll be starting the seminar at 4:00 PM sharp Arizona time. Please be sure to keep your questions in reference to Animation Technique only.

Again, you may begin submitting your questions in the meantime and Mr. Bluth will answer them in the order they come into the forum.

This is also a good time to ask any questions pertaining to the Cyber Garage Project.

Don't forget to keep refreshing your Browser to see the current questions and answers.

Thanks

Dave

[lavallelee]

http://www.donbluthanimation.com/videos.php?showvideo=94

hey Don, here is my updated scene with your suggestions :)

[jeremyhopkins]

Here's the update to my scene as well. I'm still not sure if the last part of the shot is acceptable. What do you think?
http://donbluthanimation.com/videos.php?showvideo=95

[OwenWelsh]

What difficulties or things does an animator need to be mindful of when animating a scene that has a 3D camera move?

For example, in Titan A.E. you created a 3D set and then animated the camera in the computer. Then I assume you would print out frame by frame the scene with the camera move and the animator would use that as a reference. Is this how it works? Does the hand drawn animation have to be on 1s to account for strobing? What difficulties arise from this?

[OwenWelsh]

I have been looking at pencil tests lately and I notice that sometimes the artist doesn't draw all the features of the character (bodies or facial features might be missing). Is this to save time or because the scene will go to an assistant to fill in the in-betweens of what isn't drawn? Or is it because that portion of the drawing isn't moving that much (or is a moving hold) so the artist just skips the step of drawing it.

[Don Bluth]

http://www.donbluthanimation.com/videos.php?showvideo=94

hey Don, here is my updated scene with your suggestions :)

Wonderful scene... We'll cut it into the reel. If you want another scene, contact Dave and he'll set you up.

END

[OwenWelsh]

When an animator builds a scene, especially one with dialogue is it best to animate the gestures, actions and head movements first then on a second pass go in and add the characters mouth shapes and expression? I noticed that for a few frames in a few pencil tests I was watching that the character's head was drawn, but the face was missing.

[Gabriel-Carson]

hi mr.bluth,

i hope your having a great day!

i am interested in your PAM service. i see my animation skills are lacking, so i decided i am going to get back to basics. I am trying to make my self a criculum. i plan on starting with the character bouncing ball, then a walk, a jump. could you recomend a few exersizes for me for starters?

[OwenWelsh]

Animating to dialogue can be somewhat of a crutch because the timing is roughly laid out for you. For scene's that don't have dialogue it must make it so much more vital to have a beat of music to animate to or to plan out your beats / accents / poses to a metronome. Do you agree?

[Don Bluth]

Here's the update to my scene as well. I'm still not sure if the last part of the shot is acceptable. What do you think?
http://donbluthanimation.com/videos.php?showvideo=95

The last part of you scene, it would appear that Sasha walks sideways towards her mother. She should be backing away in perspective in the last part of your scene. Additionally, would you mind making your drawing numbers larger on-screen so I can refer to them when we communicate.
Apart from that, the scene looks good. You should finish drawing and in-betweening the scene.

END

[Don Bluth]

What difficulties or things does an animator need to be mindful of when animating a scene that has a 3D camera move?

For example, in Titan A.E. you created a 3D set and then animated the camera in the computer. Then I assume you would print out frame by frame the scene with the camera move and the animator would use that as a reference. Is this how it works? Does the hand drawn animation have to be on 1s to account for strobing? What difficulties arise from this?

When there is a 3D camera move and a 2D character is going to be installed in the scene, particularly, if the character is standing on the set, the frames will have to be printed out on ones (as registered prints) and the 2D character will have to be animated on 1's to the registered prints.
Sometimes, 3D will provide a wireframe of the character in the registered prints to help the animator with perspective.

END

[OwenWelsh]

Don,

Thank so so much for the PAM critique you gave me. I feel it has helped me so much already. I am going to proceed to redraw all of the drawings for scene 8 with this new knowledge.

Owen

[lavallelee]

Wonderful scene... We'll cut it into the reel. If you want another scene, contact Dave and he'll set you up.

END

*faints*

here is an updated intro with Levi, and a few others added. The CGP List Topic hasn't been updated in a bit.

http://www.donbluthanimation.com/videos.php?showvideo=96

it is 23mb

[Don Bluth]

I have been looking at pencil tests lately and I notice that sometimes the artist doesn't draw all the features of the character (bodies or facial features might be missing). Is this to save time or because the scene will go to an assistant to fill in the in-betweens of what isn't drawn? Or is it because that portion of the drawing isn't moving that much (or is a moving hold) so the artist just skips the step of drawing it.

Partial drawings are sometimes used until the animator gets the Directors blessing on his/her animation. Once the director likes the scene, some animators will go back and draw it thoroughly while other animators will turn it over to a skillful assistant to finish it off.
With that in mind, some animators are just lazy!

END

[Don Bluth]

When an animator builds a scene, especially one with dialogue is it best to animate the gestures, actions and head movements first then on a second pass go in and add the characters mouth shapes and expression? I noticed that for a few frames in a few pencil tests I was watching that the character's head was drawn, but the face was missing.

You're correct in the analyization. The body language speaks more eloquently than mere mouth movements. I follow this same procedure myself. Talk with the body first then with the mouth.

END

[Rodney]

Am I attending a live session? Woo hoo!

Many thanks to you Don for your forum and instruction. :)

[Don Bluth]

hi mr.bluth,

i hope your having a great day!

i am interested in your PAM service. i see my animation skills are lacking, so i decided i am going to get back to basics. I am trying to make my self a criculum. i plan on starting with the character bouncing ball, then a walk, a jump. could you recomend a few exersizes for me for starters?

If you avail yourself of our tutorial, The Bouncing Ball (http://donbluthanimation.com/Animation/_Bouncing_Ball.html), it will illustrate how the bouncing principal dovetails into animation of character scenes. In every character scene, the principal of the bouncing ball is present; squash and stretch is present too.

END

[OwenWelsh]

Don,

For my PAM I am currently working on adding more appeal to my drawings. I know that my biggest hurdle is figuring out when to add a straight line as apposed to having everything being wormy and curvy. Are there a few rules or areas on a character that, generally speaking could benefit from having straights drawn in rather than curves? Or, is it always a case by case basis and something that must be learned over time and through careful study to make the drawings more attractive?

[Don Bluth]

Animating to dialogue can be somewhat of a crutch because the timing is roughly laid out for you. For scene's that don't have dialogue it must make it so much more vital to have a beat of music to animate to or to plan out your beats / accents / poses to a metronome. Do you agree?

I absolutely agree. Animation is visual music and the more you understand about musical rhythm, the greater your understanding will be about animation. If there was such thing as a great school that taught animation, I believe music would be in the curriculum.

END

[Don Bluth]

Don,

Thank so so much for the PAM critique you gave me. I feel it has helped me so much already. I am going to proceed to redraw all of the drawings for scene 8 with this new knowledge.

Owen

I know the Personal Animation Mentoring (PAM) service will help you learn faster. Over the shoulder tutoring is how I learned.

END

[Don Bluth]

*faints*

here is an updated intro with Levi, and a few others added. The CGP List Topic hasn't been updated in a bit.

http://www.donbluthanimation.com/videos.php?showvideo=96

it is 23mb

That looks great. We'll also add that to the reel.

END

[Don Bluth]

Am I attending a live session? Woo hoo!

Many thanks to you Don for your forum and instruction. :)

Ah, Rodney... You eventually made it to a live seminar. Good for you.

END

[arif]

Hello sir,
I have corrected my walk again(bobble problem)?..would you please see that??

http://www.donbluthanimation.com/videos.php?showvideo=93

Regards,
Arif

[Don Bluth]

Don,

For my PAM I am currently working on adding more appeal to my drawings. I know that my biggest hurdle is figuring out when to add a straight line as apposed to having everything being wormy and curvy. Are there a few rules or areas on a character that, generally speaking could benefit from having straights drawn in rather than curves? Or, is it always a case by case basis and something that must be learned over time and through careful study to make the drawings more attractive?

It is a thing that you will learn over a period of time. Your eye will become accoustomed to the designs that please you and your sensibilities. This is not a "one size fits all" kind of thing. For me, I want the lines and curves to help me focus the viewers eye on a specific part of the character. Straight lines feel strong and full of energy while curved lines feel submissive and more relaxed. You will have to decide these things for yourself.

END

[OwenWelsh]

Don,

One of my favorite animated characters is Medusa in The Rescuers. There is such power and vitality to all of her scenes. Was any live action reference used in this animation or was Milt just an amazing actor / draftsman? The clarity of the expressions, poses and timing is astonishing.

On the subject of Milt, were you ever inspired by any of his character designs?

[arif]

Trying to learn from GETTING THE FEELING..in fact, i never drew mouse before..it seemed difficult for me..here is some attempt..

http://www.donbluthanimation.com/forum/picture.php?albumid=75&pictureid=365
http://www.donbluthanimation.com/forum/picture.php?albumid=75&pictureid=373
http://www.donbluthanimation.com/forum/picture.php?albumid=75&pictureid=380

Visualize on your head before you pick the pencil(Don`s advice)

http://www.donbluthanimation.com/forum/picture.php?albumid=75&pictureid=381

[Don Bluth]

Hello sir,
I have corrected my walk again(bobble problem)?..would you please see that??

http://www.donbluthanimation.com/videos.php?showvideo=93

Regards,
Arif

This looks good. Now, using the same walk, can you turn it into a character and not just a stick figure? Try using this walk to animat the fox from the Cyber Garage Project. I think you may be pleased with the result.

END

[arif]

Last seminar, you gave a beautiful advice to Jeremy...i am quoting below...

~A good process in your work would be to write the script or comic line on the paper where you're doing your sketch. Make sure you focus on what your character is feeling/thinking. This will help bump your drawings out of the "nice" sketches category into something more entertaining. ~


i have learnt from this advice....and trying to draw based on that....



i drew these yesterday.....

got my feelings..now, i am dancing

http://www.donbluthanimation.com/forum/picture.php?albumid=79&pictureid=389
look at me...
http://www.donbluthanimation.com/forum/picture.php?albumid=79&pictureid=388

oh,,,no!!!
http://www.donbluthanimation.com/forum/picture.php?albumid=79&pictureid=387

yes, i got my idea what am i going to draw..
http://www.donbluthanimation.com/forum/picture.php?albumid=79&pictureid=386

[Don Bluth]

Don,

One of my favorite animated characters is Medusa in The Rescuers. There is such power and vitality to all of her scenes. Was any live action reference used in this animation or was Milt just an amazing actor / draftsman? The clarity of the expressions, poses and timing is astonishing.

On the subject of Milt, were you ever inspired by any of his character designs?

No one seems to know how Milt accomplished his brilliant animation. Some people say he used photo stats then destroyed the evidence while others insist he viewed the scene being acted on the movieola (film) and simply drew from memory. On occasion, I have stood behind him and watched him draw. He drew silhouette first then filled in the inside details. He was the master animator of the human figure.

END

[arif]

This looks good. Now, using the same walk, can you turn it into a character and not just a stick figure? Try using this walk to animat the fox from the Cyber Garage Project. I think you may be pleased with the result.

END

wow..thanks sir..at last, i have finished it.......ok.. i will do that.....

Regards,

Arif

[OwenWelsh]

Don,

Tools for animation. Sometimes when sketching I will use a 20% gray prismacolor marker to sketch out the silhouette first. This way I have a very light gray color as a general outline of a character. Its amazing how the color suddenly adds mass and solidarity to the pencil lines you throw down over the marker's silhouette. Have you ever employed techniques like this in animation or used other interesting tools to help aid your drawings or animation? Or is the pencil simply the best way?

[Don Bluth]

Trying to learn from GETTING THE FEELING..in fact, i never drew mouse before..it seemed difficult for me..here is some attempt..

http://www.donbluthanimation.com/forum/picture.php?albumid=75&pictureid=365
http://www.donbluthanimation.com/forum/picture.php?albumid=75&pictureid=373
http://www.donbluthanimation.com/forum/picture.php?albumid=75&pictureid=380

Visualize on your head before you pick the pencil(Don`s advice)

http://www.donbluthanimation.com/forum/picture.php?albumid=75&pictureid=381
I am surprised at how good your mouse drawings look. When you draw facial expressions, look into a mirror and pull the faces that represent the feeling you want to put on your characters face. Study your facial expressions then puth them on your mouse character.

END

[arif]

before, i drew my mice...i studied its face first...




http://www.donbluthanimation.com/forum/picture.php?albumid=73&pictureid=357

i really enjoying draw my mouse..it gives me lots of pleasure...

http://www.donbluthanimation.com/forum/picture.php?albumid=75&pictureid=384

[Don Bluth]

Last seminar, you gave a beautiful advice to Jeremy...i am quoting below...

~A good process in your work would be to write the script or comic line on the paper where you're doing your sketch. Make sure you focus on what your character is feeling/thinking. This will help bump your drawings out of the "nice" sketches category into something more entertaining. ~


i have learnt from this advice....and trying to draw based on that....



i drew these yesterday.....

got my feelings..now, i am dancing

http://www.donbluthanimation.com/forum/picture.php?albumid=79&pictureid=389
look at me...
http://www.donbluthanimation.com/forum/picture.php?albumid=79&pictureid=388

oh,,,no!!!
http://www.donbluthanimation.com/forum/picture.php?albumid=79&pictureid=387

yes, i got my idea what am i going to draw..
http://www.donbluthanimation.com/forum/picture.php?albumid=79&pictureid=386

Try to avoid drawing static drawings. Themotion picture camera captures all the positions of an action. Select one of the positions that reveals the character is in mid action and not at rest. A character at rest is a static drawing.

END

[Rodney]

Ah, Rodney... You eventually made it to a live seminar. Good for you.

It may take me a few weeks to overcome the shock but eventually I'll have a question or two.

I am still learning what I don't know.

[Don Bluth]

Don,

Tools for animation. Sometimes when sketching I will use a 20% gray prismacolor marker to sketch out the silhouette first. This way I have a very light gray color as a general outline of a character. Its amazing how the color suddenly adds mass and solidarity to the pencil lines you throw down over the marker's silhouette. Have you ever employed techniques like this in animation or used other interesting tools to help aid your drawings or animation? Or is the pencil simply the best way?

For me, the process of visualization in my head and translating that image with pencil onto paper has always been sufficient for my needs. What you suggest, however, sounds interesting. I'll give it a try.

END

[Don Bluth]

It may take me a few weeks to overcome the shock but eventually I'll have a question or two.

I am still learning what I don't know.

Well, there's no such thing as a dumb question. The water is fine... Come on in!

END

[OwenWelsh]

Don,

Recently I was watching Pete's Dragon. Because it was live action, was all the animation needed to be put on 1s? Or was it just for panning or moving camera shots that needed 1s? I would think you might be able to get away with 2s on shots where the camera is still and there is no interaction with the actor. Would that be correct?

[arif]

Try to avoid drawing static drawings. Themotion picture camera captures all the positions of an action. Select one of the positions that reveals the character is in mid action and not at rest. A character at rest is a static drawing.

END

wow..this is new for me...i never thought that before...Thanks you sir....i will keep in my mind always...

Regards,

Arif

[OwenWelsh]

Don,

The process we have in America for animation is to record the dialogue first, and then animate. But in Japan it is the opposite because they don't rely on mouth shapes. DO you think the audience really notices that the mouth shapes don't line up on the japanese animated films (Miyazaki's for example). Perhaps the gestures and intensity of the vocals are enough to sell the scene?

[Rodney]

Well, there's no such thing as a dumb question.

I sure hope I never prove you wrong there! :laughing:

One of the benefits of being a club member is seeing my questions answered before I even ask them. Having other members press into the art and getting your feedback has been an education in itself.

How do you feel Don's Club is going thus far?
I've seen great progress in everyone's work.

[Don Bluth]

Don,

Recently I was watching Pete's Dragon. Because it was live action, was all the animation needed to be put on 1s? Or was it just for panning or moving camera shots that needed 1s? I would think you might be able to get away with 2s on shots where the camera is still and there is no interaction with the actor. Would that be correct?

Yes, you are correct. When there is a live action background that does not have a camera move, it is called a plate. In such a place, the character animation can be on 2's, however, whenever the camera moves or there are live action characters involved, the animation must be on 1's. In this case, registered prints must be made for every single frame of film in that scene.

END

[Don Bluth]

Don,

The process we have in America for animation is to record the dialogue first, and then animate. But in Japan it is the opposite because they don't rely on mouth shapes. DO you think the audience really notices that the mouth shapes don't line up on the japanese animated films (Miyazaki's for example). Perhaps the gestures and intensity of the vocals are enough to sell the scene?

I believe the actors are more knowledgeable about the art of acting than we are; I mean the animators. I prefer to let them (the actors) have the lead in showing the feelings of the characters during the process of storytelling. Actors will dramatize better than the artists can. To ask an actor to fit his/her talent to an undramatic presentation of animation would be very frustrating for the actors and the picture itself would suffer.

END

[arif]

is it the the right process to capture the feeling from the motion picture study?....i didnot do it before..just, wanted to know..

Regards,

Arif

[Don Bluth]

I sure hope I never prove you wrong there! :laughing:

One of the benefits of being a club member is seeing my questions answered before I even ask them. Having other members press into the art and getting your feedback has been an education in itself.

How do you feel Don's Club is going thus far?
I've seen great progress in everyone's work.

I'm very gratified by the members club. I'm particulurly impressed by the artists desire to learn and their loyalty to the 2D (traditional) medium.

END

[Don Bluth]

Thank you for another wonderful hour. Stay well and we'll see you next Wednesday.

END

[lavallelee]

thank you don for the awesome seminar :) see you next week

[OwenWelsh]

Thank you Don. Thank you everyone for posting your videos and artwork. See you around.

[Rodney]

Thanks Don!

[westmunz]

Thanks Don!

[arif]

Thank you Don ...see you in the next week....

Regards,

Arif

[Don Bluth]

is it the the right process to capture the feeling from the motion picture study?....i didnot do it before..just, wanted to know..

Regards,

Arif

Hi Arif,
I'm not sure I understand your question. What do you mean by "the motion picture process"?

[arif]

Hi Arif,
I'm not sure I understand your question. What do you mean by "the motion picture process"?

Hello Sir,
i am sorry if i cud not explain it clearly....i have heard that lots of animators watching film and capture the emotion what they want from film.....another process is from the real life.....i never tried to getting the feelings from the film....so, my question was it is right or wrong to study from the film also..

Regards,
Arif