୨୧ This is Mikey's blog for animation 2018! Quite literally, I am eternally screaming into the void.
Sunday, January 13, 2019
— ARTICLE RESPONSE: MARY POPPINS
— Animated Characters Abound in Mary Poppins by Scott Lehane
intro
i'm gonna try to write this, i promise. it's very hard, i can't really find any interest
in these articles to be honest. if i can only shoot out my opinion, i greatly apologize,
and any opportunity to take up a different research paper instead of this, i would be
grateful for that chance.
body one
brain focus
body two
try
I'll be quite honest, this is the hardest blog I've ever written or attempted to
write. The article layout is a bit messy first and foremost, and I had a hard time
trying to grasp any interest in the topics presented. I'm not the biggest fan of Marvel,
or Mary Poppins to be honest. I admire the effort that had went into the fantastic
special effects, and the mixture of live-action. The color palette choice was
especially wonderful, reminding me of a dreamy, creamy nature filled dreamland
in the midst of a 1930 depression-era London. The contrast between the light, fun
and joyful animation to the darker, blue toned scenes really make the emotions of
light happiness pop out from the sad reality of the play. The reference of the 1800's
silhouette and art style brings nostalgia to older audience as well, especially those
who had loved this play and remember early showings of it. I can most definitely
say I appreciate those aspects, even though I have very little interest in the style and
all around jumpiness of this article.
conclusion
brain juice stopped licata dont impale me i beg
——————— WEEKLY RESPONSE 1/13/19
————————— WEEKLY COMMENTS —————————
♕ — LEARNED : It was a work-week today, however I learned a lot more about
rigging! It was pretty easy to adjust to creating the joints, and IK
handles aren't that hard to figure out. I mostly enjoy animating
the rigs, however I've come to learn timing and weight is a very
important factor to this!
♕ — WANT TO LEARN: Oh man I can't wait for the class competition. I guess
that counts as learning experience, as I'll be on my own
and will learn to step outside my comfort zone and
left to experiment more. I'm pretty stoked, honestly!
♕ — FRUSTRATED: College honestly has me in a whirl, so I'll complain about
that for now. I want to go to NYFA or SVA, but I fear
the cost will be way too much for me. I don't want to settle
for a lesser school, I really want to produce and become
somebody bigger and better. It also worries me that SVA
is where my ex-boyfriend goes to, and if I decide to go there
and become and R.A., I can only imagine the breakdowns I'll
have. I won't let that make my experience worse, however.
♕ — HAPPY: Hm, I'm happy with how my lamp ring turned out! The movement
felt so smooth and beautiful to me, I was impressed by my first try
turning out pretty well! I could've made it jump more, but I'd rather
have more time with the rabbit model than waste a ton of effort on a
a simple lamp. I still liked how it turned out! Happy moment. Also,
please take this picture of a ferret. It's very special. He's handsome.


♕ — INTERESTING LINK: Going to drop a beloved webcomic of mine that I read
almost daily! It's called Colorless, but believe me, the
title surely lies! The beautiful and addicting color
palettes and amazing character design don't fail to
drag me in, and the plot line only grows more intense.
It involves Fish, Aliens, Card, and loads of confusion
for the main character, Joki. I hope you give it a quick
glance!
Sunday, January 6, 2019
— ARTICLE RESPONSE: TIMING
— TIMING by Dave Burgess
Probably again, one of the most crucial portions of animating happens to be
the dreading timing. Making sure each action runs smoothly, and in sync with every
other motion and audio. It can get overwhelming, but with helpful tips from former
Disney and Dreamworks veteran, Dave Burgess, explains the method to his madness
when it comes to mastering the art of proper timing. What is Timing exactly? Timing
is one of the twelve principles of animation, where the trick of optical illusions are
involved. By using less drawings in one stream of motion, the animation appears to
go faster, by using more drawings in one stream of motion, the animation appears to
go slower. It's quite simple, but can be a hard thing to manage when there is so much
motion and framing going on.
Burgess goes onto talk about how often in his line of work, a common question
from aspiring artists and animators were how to properly time animations, Equipped
with experience, knowledge, and lots of time, the author of this article continues to
give us his sage advice. He begins by telling us the process of how a shot is decided,
with usually his director or adviser telling him the exact scene and shot. From then,
it is up to the artist to approach and bring that idea to life. Burgess uses real life
references, searches up YouTube videos of the action, or enlists his friends or his
own body to act out the motions. This can be proven to be useful, as the most natural
movements are your own! After all the motions are blocked out, it's time to move on
to a dreaded math-heavy section-- Timing.
This portion of animating seems quite confusing, and requires knowledge
about FPS conversion, division, and proper counters. Burgess uses what he calls
"Golden Keys", which mainly translate to important motion and blocking frames.
These "Golden Keys" are spaced out depending on how fast a character moves, for
example, a heavy, slow character is animated in more frames, with poses being held
for longer. The opposite would be faster characters, who are animated in much less
frames in order to show the speed. "Golden Keys" are mostly held for six to twelve
seconds, in order to let the viewers get a clear view of their movements, attitude, and
pose. The in-betweens are held in a 1/4 or 1/2 timing, which means that they move
much quicker in comparison to the "Golden Keys." After playing and looping the
animation, Burgess adjusts where he deems necessary, removing and adding one or
two frames to extend or shorten a movement to get a clear, smooth line of motion.
To give examples of his methods in the film industry, Burgess provides examples of
his posing work in "Madagascar," and his motion work in "Over the Hedge" of the
crazy squirrel, Hammy. These examples and clips give lots of credit to his methods,
and help provide a visual idea and breakdown of how it all is made.
My personal opinions on this article is as always, wonderful and descriptive.
I'll be dead honest, I never paid too much attention to having a solid way to time,
nor did I see the huge importance of using FPS conversion math in my animations.
This animation did open my eyes to the issues my art had however, and helped
provide a concise explanation to different methods and ways to improve timing.
I was especially impressed by his examples, and how much work he has done on
classic movie's I had enjoyed since a child. It's quite amazing how it all comes
together, the process of creating and animation. Burgess is a man of creditably,
experience, and talent when it comes to animating, and explaining how he has
mastered the art of timing.
There are many important parts to creating a solid, smooth, enjoyable piece of
animation, yet one of the most important parts is Timing. Timing provides a smooth
movement, and keeps every single piece of music, audio, and story in sync. Disney
and Dreamworks veteran worker and astounding animator, Dave Burgess, created
an article to help explain his method of animating timing to aspiring animators and
students. Starting with a brief overview of his process, of posing out and using
real life references of actions and movements, and ending with the dreaded math
heavy timing portion. However, it's quite simple when laid out in front of a reader
in words. He uses his own work examples, from classic movies such as Madagascar
and Over the Hedge to further visualize his process. This all wraps up and concludes
the amazing progress of Timing in Animation.
——————— WEEKLY RESPONSE 1/6/19
————————— WEEKLY COMMENTS —————————
♕ — LEARNED : We didn't really learn much, but I sure did do a lot of self
teaching! It wasn't that hard, I mostly watched YouTube
tutorials in order to comprehend and visually understand
how to properly make different objects. I made a mushroom
patch, child's bed, and a lilypad and flower! Frog bedroom,
here I come!
♕ — WANT TO LEARN: I'm super stoked for rigging, as I've said probably 100
times. Technical movements and joints make me very
happy, and reminiscent of my childhood where I spent
hours on MMD and KISEKAE (3D Modelling sites)
♕ — FRUSTRATED: I think I had a good week honestly, I was only frustrated
with personally things outside of animation classes. I've
rekindled an old friendship with this one girl I knew, but. .
she acts different to me now. Kind of flirty if I can explain?
It makes me nervous, because I don't share feelings to her and
I'm frustrated that I can't voice properly that I don't feel the
same, or know what she really wants. I suppose connections
are my downfall, but it isn't that big of a deal.
♕ — HAPPY: I .. alright can I just say this was an okay week? I wasn't exactly
on top of cloud nine, nor did I go anywhere special besides my old
friend's house, so . . It was just alright! I suppose a happy is right
now, I got brand new blueberry herbal tea and it's super tasty. Kind
of bitter, but really strongly blueberry flavored. And I'm using my
favorite rainbow cat spoon. Don't judge, it's super cute.
♕ — INTERESTING LINK: Here's my new interesting link! This is the channel
I've been using and watching to slowly understand
Maya better. If you slow it down all the way, (albeit,
you'll have to rewind a lot) on the speedpaint videos,
you can get a general idea of how this person creates
various items and shows different texturing ideas!
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