This was the approach I used to make the Duel Sequence.
First I wrote the idea of the shot, started sketching and making a lot a storyboards and poses.
At the same time, to keep the motivation, I usually make a reference style of animation.
I use this technic in concept art so I found myself confortable doing the same thing in animation.
Then I shot references and this was my first,
I tried to shoot different ideas of what I did in my storyboard
What do I do with the references?
I extract the key poses and start polishing them.
I analyse frame by frame and draw over every joint of the body, every mass of the body frame by frame to try to understand what is happening, how this part of the body affects the other and so on.
When I'm done with my notes and keyposes I usually don't come to my reference again so that I don't fall in the temptation of copying. I just watch it again if, for example, I don't know how to move certain parts in which I'm having serious difficulties, so in that case I study the reference again and take notes or shoot the reference again.
What I have learned...
So these are my notes to create a good pose,
Things you should look for, (feel free to add more in the comments pls)
- Line of Action
-What the pose is telling
-Contraposture / Force and opposite force
-Directing the eye
- In and Out of a pose
-Squash and Stretch
-What part is leading and what part is following
- Movement flow (dynamic shapes)
-Look to the pose as a simple shape(like a square..)
- Laws of motion
Unfortunately I don't have the middle process to show..
I did a loop for the run in place and them I translated forward. What I have learnt with my mentor Thomas, was that the faster you run the less energy you waste so the less up and down your body will have while you run. So I used the loop for a fast approach translating him forward but then I refine the loop to address that note.
I added some rocks and polish the camera moves as well as the composition.
As you can see I was struggling with the end so I shot a lot of references and tried to feel the poses and the body
Here are some:
I actually took some photos to help me figure out the poses.
I feel like I failed with the acting because the guy should have continued chancing the other guy but I feel that I achieved a good piece of body mechanics and I have learned many things that I didn't know.
Arte Institute, with the sponsorship of Luso American Foundation for the Development (FLAD), is pleased to present a Children’s Space at the Kennedy Center in Washington.
Where does the Cork come from? Children’s Space
Arte Institute Kids brings to Wasgington D.C. a space all made in cork, where the little ones can know more about this Portuguese traditional material, showing the potentialities and new usages for this product.
Arte Institute also produced an educational video about the cork’s production process.
Camera / Editing: Rui Ventura Character Animation: Maria Inês Barroqueiro Visual Development / Backgrounds and Animation Compositing: Iuri Monteiro