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There is a limited amount of time in a film, so each sequence, scene and frame of film must relate to the overall story. The effective use of long, medium, or close up shots, as well as camera angles also helps in telling the story. STAGING A pose or action should clearly communicate to the audience the attitude, mood, reaction or idea of the character as it relates to the story and continuity of the story line. Feature animation is often less broad than short animation unless a scene requires it to develop a characters personality. Almost all real action has major or minor anticipation such as a pitcher's wind-up or a golfers' backswing.
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A comic effect can be done by not using anticipation after a series of gags that used anticipation. A backwards motion occurs before the forward action is executed. A dancer does not just leap off the floor. This movement prepares the audience for a major action the character is about to perform, such as, starting to run, jump or change expression. Anticipation can also create the perception of weight or mass, e.g., a heavy person might put their arms on a chair before they rise, whereas a smaller person might just stand up. A properly timed anticipation can enable the viewer to better understand a rapid action, e.g., preparing to run and then dashing off-screen. This sets up the viewers to look at that part of the screen so they are prepared when Luxo, jr. the father is looking off-screen and then reacts to something. An example of this is the opening scene of Luxo, jr. It canĪlso be a device to attract the viewer’s attention to the proper screen area and to prepare them for the action, e.g., raising the arms and staring at something before picking up, or staring offscreen at something and then reacting to it before the action moves on-screen. The termination of the action Can be an automatic preparation for the action, e.g., retracting a foot before kicking a ball.
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The preparation for the action - this is anticipationĢ. ANTICIPATION An action occurs in three parts: 1. The most important principle is “squash and stretch”, the purpose of which is to give a sense of weight and flexibility to draw objectsĢ. This is the most important element you will be required to master and will be used often. It is used in all forms of character animation from a bouncing ball to the body weight of a person walking. Usually it's broader in a short style of picture and subtler in a feature. How extreme the use of squash and stretch is, depends on what is required in animating the scene. Also squash and stretch is useful in animating dialogue and doing facial expressions. SQUASH AND STRETCH This action gives the illusion of weight and volume to a character as it moves. Though originally intended to apply to traditional, hand-drawn animation, the principles still have great relevance for today’s more prevalent computer animation. In 1999 the book was voted number one of the “best animation books of all time” in an online poll.
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The book and its principles have become generally adopted, and have been referred to as the “bible of the industry. The main purpose of the principles was to produce an illusion of characters adhering to the basic laws of physics, but they also dealt with more abstract issues, such as emotional timing and character appeal. Johnston and Thomas in turn based their book on the work of the leading Disney animators from the 1930s onwards, and their effort to produce a more realistic animations. INFORMATION SHEET 2 Principle AND TECHNIQUES 2.1 12 Basic Principles of Animation The 12 basic principles of animation is a set of principles introduced by the Disney animators Ollie Johnston and Frank Thomas in their 1981 book.
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