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An assistant can be better used with this method so that the animator doesn't have to draw every drawing in a scene. The lead animator will turn charting and keys over to his assistant. Size, volumes, and proportions are controlled better this way, as is the action. Pose to Pose is more planned out and charted with key drawings done at intervals throughout the scene. Fast, wild action scenes are done this way.
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You can lose size, volume, and proportions with this method, but it does have spontaneity and freshness. Straight ahead animation starts at the first drawing and works drawing to drawing to the end of a scene. STRAIGHT AHEAD AND POSE TO POSE ANIMATION Background and animation should work together as a pictorial unit in a scene.Ĥ. Care must be taken in background design so it isn't obscuring the animation or competing with it due to excess detail behind the animation. Staging directs the audience's attention to the story or idea being told. Use one action clearly stated to get the idea across, unless you are animating a scene that is to depict clutter and confusion. Do not confuse the audience with too many actions at once. 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. Feature animation is often less broad than short animation unless a scene requires it to develop a characters personality.Ī 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. Almost all real action has major or minor anticipation such as a pitcher's wind-up or a golfers' back swing.
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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. 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.
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This action gives the illusion of weight and volume to a character as it moves.