Wednesday, March 18, 2009

Disney Principles 8 -Straight Ahead VS Pose to Pose - Disney Principles

Check the end of this clip were Elmer scratches himself to see really exaggerated pose to pose animation.


Because I mostly do TV and limited animation, my work is by its nature pose to pose.

Now and then I will animate something straight ahead, like the Bjork scene at the top of the page.

Some of the other clips on the post are a combination of the 2.


FerGil said...

Gotta say that I prefer pose to pose, as I value control and planning over improvisation (perhaps because I'm not yet as good as to make a good improvisation)

Cartoon Crank said...

Why are you only using scans from the Illusion of Life and not your own words??

patrick said...

Great post!

I love how Jimmy's eyes pop out of their sockets, I never noticed that before.

Isaac said...

To Cartoon Crank:

References are there to be, uh, referenced. There's no need to reinvent the wheel. Or did you mean that in a pedagogic way? "Don't just copy, use your own words. Otherwise I can't be sure you've studied the material." That'd be like asking a professor why he's quoting a coursebook.

Kali Fontecchio said...

The whole Björk video is a masterpiece- I used to freeze frame all of it.

tim doeschot said...
This comment has been removed by the author.
Niki said...

I know I would probably do better pose to pose, but I would benefit more from improvising. So I figured the Mickey would be pretty easy but Elmer would've been hellish had I done it.

nktoons said...

You were on fire with the last posts John, I'm liking how your blog has evolved. Seeing your animation like that really drove home your point. Great work in SHOWING your thoughts.

Rick Roberts said...

John I really prefer this era of your style as opposed today, it's still fun but I like the fleshy and rubbery stuff you did back then.

JohnK said...

I promise to do more fleshy and rubbery stuff for you rick, but that all has to do with budget.

When you're stuck with low budgets and flash, you can't do all the drawings, so all you get is the keys morphing into each other.

I'd like nothing more than to do full animation all the time.

You also need a full time crew to work with and not freelancers who don't have time to get used to your style.

Rick Roberts said...

Yesterday I was watching the internet critic Nostalgia Critic reviewing a god awful Don Bluth film. You know, that one that was really bad. I was thinking if only some ACTUAL cartoonist had a budget like that. Someone like you John, or Bob Camp, Jim Smith, Vincent Waller, or any of the old Spumco Alummni. You guys have talent within every fiber of your beings and all of you deserve a shot in features, hell, I'd settle for just a short.

drawingtherightway said...

"When you're stuck with low budgets and flash, you can't do all the drawings, so all you get is the keys morphing into each other."

About how long would it take to do all the inbetweens by hand? I understand that the people financing this want to save as much money as they can, but if doing it by hand doesn't take a whole lot longer then doing it with flash( I really have no clue how long it takes!) I say spend a little more cash for a better end product!

Perica and Toshke said...

Try with a little acting
and then decide what to use.Pose to pose or straight ahead.

That mickey mouse would be made with straight ahead but
but he had to stop several times.Decision was: Pose to pose.

Diego said...

When doing pose to pose, how much freedom does the inbetweener have? Can they make up their own actions (i.e., antics) in between?

kurtwil said...

Very interesting comparison and explaination...thanks, JK!

FYI in CGI both techniques are used, but executed differently than pencil sketches.
For Straight Ahead, the animator will start at the beginning of the scene timeline, and pose the character in a series of positions, basing next one from the last, spacing them varying time periods apart until the desired action over that scene's time interval is achieved. The software itself sets the "keys" as the animation progresses forward in time.

For Pose - Pose, the animator will first set up poses with the greatest strength or complexity,
and specifically define keys in time rather than allowing the computer to do it. They then work back and forth in time to fill in other positions.

Both methods have the same advantages and drawbacks JK describes for traditional animation.
The one advantage (or drawback - depends on viewpoint) is CGI inherently tries to 'tween between the keys and create "ones" animation. The results, depending on how the path arcs and math calculations are executed, can range from fluid to horrendous.