One of the things I’m struggling with these days, it seems, it maintaining appealing poses throughout my animation process. There’s a lot to keep in mind while animating, and I think what I have a tendancy to do is try to tackle them one at a time, for organization and sanity’s sake. So pose is something I think about early on, during blocking. And once I have the poses I like, I move along through the rest of the process and proceed to destroy them without a backwards glance.
For example, something like this has happened on a couple shots:
After blocking is approved, I animate some head gesture, and I get a note that the gesture looks good, but the eyeline isn’t right. Bring his eyeline up and more screen left, or something. Fair enough, that’s a quick fix, just dragging some keys around in the graph editor, no big deal, and then I’m on to bigger and better things.
And of course, here’s the note from the next day: The eyeline is correct, but now it looks like his neck is broken.
It’s pretty obvious once it’s pointed out, I didn’t rethink my pose to accomodate a more extreme head angle. I had that part of my brain turned off. Didn’t I figure out poses a week ago? Wasn’t it all hunky-dory? I gotta remember to keep that in mind.
On a side note, I got an interesting critique from a great animator at work today. (He’s really good. There may be a couple shots in the movie where you think you might be looking at a real talking rat. Those are his shots.) Anyway, he said it would look good if it could be a little more poppy and jittery. Mind you, this is after a day’s worth of smoothing out arcs and making sure everything looked nice and clean.
I’ve got a lot to learn.