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  • This video is based on the 12 Principles of Animation, as described by Frank Thomas and Ollie Johnston

  • Alright, so the fourth animation principle is called Straight Ahead and Pose to Pose

  • This term describes two methods used to animate drawings.

  • The first method, straight ahead, is where you draw the first drawing,

  • and then you draw the second drawing, and then the third drawing, and so on.

  • It's basically animating as you go.

  • The second method, Pose to Pose, is where you draw the beginning and end of each main pose

  • and go back later to fill in the drawings in between.

  • So there are benefits to both methods.

  • Pose to Pose is generally better for most actions because it gives you the most control.

  • you have a good idea of what the action is gonna look like very early in the process

  • So instead of worrying if the character is going to end up in the right place,

  • you decide where they end up from the beginning and work backwards.

  • Also, using straight ahead animation can lead to the character changing size

  • or being on a different level from beginning to end.

  • Pose to Pose can save you a lot of work.

  • If you were to animate a whole sequence straight ahead

  • and then realize that one pose is off, you would have to change several drawings to fix that one pose.

  • But with pose to pose, you do the main poses to see if it feels right

  • and you can catch problems early on.

  • Straight Ahead animation, on the other hand, is good for animation that is unpredictable.

  • Some examples of this include fire,

  • water particles,

  • clouds of dust,

  • explosions.

  • The reason why Straight Ahead works well is because

  • there are laws of physics that work at a constant rate

  • and it's hard to predict how it will work pose to pose.

  • So when animating fire, for example, you just go with the flow based on what you know about fire

  • and let the fire kind of create itself.

  • If we were to look at the beginning and end,

  • we wouldn't even know how to in between it.

  • However, you can still use pose to pose to make the general shapes

  • and fill it in between to make it smoother.

  • Another example of unpredictable animation is overlapping action,

  • which will be covered in depth in the next video.

  • Let's say that a character has floppy ears

  • You could draw a figure with his ears for each pose and just draw the in betweens accordingly

  • But another method is to animate the figure using pose to pose without the ears

  • and then going through an adding in the years using straight ahead.

  • This is good because you can focus on the figures movements without the distraction of having to do his ears

  • And you can also focus on the physics of his ears without the distraction of his body's movement.

  • This also applies to hair, tails and other appendages.

  • When you work pose to pose there's some vocabulary that goes into it

  • There are main poses called Keys,

  • secondary poses called Extremes

  • and further broken down poses called Breakdowns.

  • Make the keys first, perfect them,

  • then decide the farthest to character will go in each direction using extremes

  • and then decide how you want the extremes to connect, using breakdown poses.

  • At this point you can start in-betweening.

  • Working with the sort of hierarchy will give the most control

  • as opposed to doing your pose to pose straight ahead, so to speak.

  • This is like pose to pose within pose to pose, because you're perfecting the poses at each level

  • before moving down to the next level.

  • So that's all I've got for Straight Ahead and Pose to Pose,

  • the next principle is called Follow Through and Overlapping Action.

  • Thanks for watching and I'll see you guys in the next video!

This video is based on the 12 Principles of Animation, as described by Frank Thomas and Ollie Johnston

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4.直來直去&擺來擺去--動畫的12個原則 (4. Straight Ahead & Pose to Pose - 12 Principles of Animation)

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    justln 發佈於 2021 年 01 月 14 日
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