stop motion

Please Mr Olmedo don’t kill my grades I try really hard. -Brandon

HAIKU

The water will fall

Its snowing on Mount Fuji

Benson Wu is Clean

For this project we had to come up with a haiku poem along with an illustration for the said poem. A haiku is a poem of Japanese origin that contains three lines that alternate between 5, 7 and 5 syllables. The poem is also most commonly about something pertaining to nature.

For me personally I chose Mount Fuji for the nature aspect of my haiku. I also incorporated water falling because of the snow melting and cascading down the mountain. This honestly took so long to finish this illiustration and I’m proud of how it turned out

12 Principles of Animation

Squash and Stretch

Illustration of the “squash and stretch”-principle:
Example A shows a ball bouncing with a rigid, non-dynamic movement. In example B the ball is “squashed” at impact, and “stretched” during fall and rebound. The movement also accelerates during the fall, and slows down towards the apex.

Animated sequence of a race horse galloping. Photos taken by Eadweard Muybridge. The horse’s body demonstrates squash and stretch in natural musculature.

The most important principle is “squash and stretch”, the purpose of which is to give a sense of weight and flexibility to drawn objects. It can be applied to simple objects, like a bouncing ball, or more complex constructions, like the musculature of a human face. Taken to an extreme point, a figure stretched or squashed to an exaggerated degree can have a comical effect. In realistic animation, however, the most important aspect of this principle is the fact that an object’s volume does not change when squashed or stretched. If the length of a ball is stretched vertically, its width (in three dimensions, also its depth) needs to contract correspondingly horizontally.

Anticipation

Anticipation is used to prepare the audience for an action, and to make the action appear more realistic. A dancer jumping off the floor has to bend his knees first; a golfer making a swing has to swing the club back first. The technique can also be used for less physical actions, such as a character looking off-screen to anticipate someone’s arrival, or attention focusing on an object that a character is about to pick up.

Anticipation: A baseball player making a pitch prepares for the action by moving his arm back.

Staging

This principle is akin to staging in theater, as it is known in theatre and film. Its purpose is to direct the audience’s attention, and make it clear what is of greatest importance in a scene; Johnston and Thomas defined it as “the presentation of any idea so that it is completely and unmistakably clear”, whether that idea is an action, a personality, an expression, or a mood. This can be done by various means, such as the placement of a character in the frame, the use of light and shadow, or the angle and position of the camera. The essence of this principle is keeping focus on what is relevant, and avoiding unnecessary detail.

Straight Ahead Action and Pose to Pose

These are two different approaches to the actual drawing process. “Straight ahead action” means drawing out a scene frame by frame from beginning to end, while “pose to pose” involves starting with drawing a few key frames, and then filling in the intervals later. “Straight ahead action” creates a more fluid, dynamic illusion of movement, and is better for producing realistic action sequences. On the other hand, it is hard to maintain proportions, and to create exact, convincing poses along the way. “Pose to pose” works better for dramatic or emotional scenes, where composition and relation to the surroundings are of greater importance. A combination of the two techniques is often used.

Computer animation removes the problems of proportion related to “straight ahead action” drawing; however, “pose to pose” is still used for computer animation, because of the advantages it brings in composition. The use of computers facilitates this method, and can fill in the missing sequences in between poses automatically. It is, however, still important to oversee this process and apply the other principles discussed.

Follow Through and Overlapping Action

Follow through and overlapping action is a general heading for two closely related techniques which help to render movement more realistically, and help to give the impression that characters follow the laws of physics, including the principle of inertia. “Follow through” means that loosely tied parts of a body should continue moving after the character has stopped and the parts should keep moving beyond the point where the character stopped to be “pulled back” only subsequently towards the center of mass and/or exhibiting various degrees of oscillation damping. “Overlapping action” is the tendency for parts of the body to move at different rates (an arm will move on different timing of the head and so on). A third, related technique is “drag”, where a character starts to move and parts of him take a few frames to catch up. These parts can be inanimate objects like clothing or the antenna on a car, or parts of the body, such as arms or hair. On the human body, the torso is the core, with arms, legs, head and hair appendices that normally follow the torso’s movement. Body parts with much tissue, such as large stomachs and breasts, or the loose skin on a dog, are more prone to independent movement than bonier body parts. Again, exaggerated use of the technique can produce a comical effect, while more realistic animation must time the actions exactly, to produce a convincing result.

The “moving hold” animates between similar key frames, even characters sitting still can display some sort of movement, such as the torso moving in and out with breathing.

Slow In and Slow Out

The movement of the human body, and most other objects, needs time to accelerate and slow down. For this reason, animation looks more realistic if it has more drawings near the beginning and end of an action, emphasizing the extreme poses, and fewer in the middle. This principle goes for characters moving between two extreme poses, such as sitting down and standing up, but also for inanimate, moving objects, like the bouncing ball in the above illustration.

Arc

Most natural action tends to follow an arched trajectory, and animation should adhere to this principle by following implied “arcs” for greater realism. This technique can be applied to a moving limb by rotating a joint, or a thrown object moving along a parabolic trajectory. The exception is mechanical movement, which typically moves in straight lines.

As an object’s speed or momentum increases, arcs tend to flatten out in moving ahead and broaden in turns. In baseball, a fastball would tend to move in a straighter line than other pitches; while a figure skater moving at top speed would be unable to turn as sharply as a slower skater, and would need to cover more ground to complete the turn.

An object in motion that moves out of its natural arc for no apparent reason will appear erratic rather than fluid. For example, when animating a pointing finger, the animator should be certain that in all drawings in between the two extreme poses, the fingertip follows a logical arc from one extreme to the next. Traditional animators tend to draw the arc in lightly on the paper for reference, to be erased later.

Secondary Action

Secondary Action: as the horse runs, its mane and tail follow the movement of the body.

Adding secondary actions to the main action gives a scene more life, and can help to support the main action. A person walking can simultaneously swing his arms or keep them in his pockets, speak or whistle, or express emotions through facial expressions. The important thing about secondary actions is that they emphasize, rather than take attention away from the main action. If the latter is the case, those actions are better left out. For example, during a dramatic movement, facial expressions will often go unnoticed. In these cases it is better to include them at the beginning and the end of the movement, rather than during.

Timing

Timing refers to the number of drawings or frames for a given action, which translates to the speed of the action on film. On a purely physical level, correct timing makes objects appear to obey the laws of physics; for instance, an object’s weight determines how it reacts to an impetus, like a push. Timing is critical for establishing a character’s mood, emotion, and reaction. It can also be a device to communicate aspects of a character’s personality.

Exaggeration

Exaggeration is an effect especially useful for animation, as perfect imitation of reality can look static and dull in cartoons. The level of exaggeration depends on whether one seeks realism or a particular style, like a caricature or the style of a specific artist. The classical definition of exaggeration, employed by Disney, was to remain true to reality, just presenting it in a wilder, more extreme form. Other forms of exaggeration can involve the supernatural or surreal, alterations in the physical features of a character; or elements in the storyline itself. It is important to employ a certain level of restraint when using exaggeration. If a scene contains several elements, there should be a balance in how those elements are exaggerated in relation to each other, to avoid confusing or overawing the viewer.

Solid drawing

The principle of solid drawing means taking into account forms in three-dimensional space, or giving them volume and weight. The animator needs to be a skilled artist and has to understand the basics of three-dimensional shapes, anatomy, weight, balance, light and shadow, etc. For the classical animator, this involved taking art classes and doing sketches from life. One thing in particular that Johnston and Thomas warned against was creating “twins”: characters whose left and right sides mirrored each other, and looked lifeless. Modern-day computer animators draw less because of the facilities computers give them, yet their work benefits greatly from a basic understanding of animation principles, and their additions to basic computer animation.

Appeal

Appeal in a cartoon character corresponds to what would be called charisma in an actor. A character who is appealing is not necessarily sympathetic – villains or monsters can also be appealing – the important thing is that the viewer feels the character is real and interesting. There are several tricks for making a character connect better with the audience; for likable characters a symmetrical or particularly baby-like face tends to be effective. A complicated or hard to read face will lack appeal, it may more accurately be described as ‘captivation’ in the composition of the pose, or the character design.

Senior Financial Analyst, CTC Channel

Description: Collaborates with assigned CTC director(s) to plan, forecast, and control budgets. Provides action-oriented financial guidance and analysis on business plans and goals to support the CTC Team in effective decision-making and the achievement of targeted profitability and sales growth. Ensures financial and non-financial managers are provided top notch and highly accurate information and analysis throughout the go to market (GTM) process. Prepares weekly, monthly, quarterly, and ad hoc analysis utilizing data from multiple internal and external sources. Prepares weekly, monthly, quarterly, and ad hoc analysis utilizing data from multiple internal and external sources.

Requirements: A University degree in Finance, Accounting or Business. Three to five years experience in financial analysis or planning Industry (specific experience preferred). Solid accounting skills and experience are preferred. Familiarity with relevant adidas and industry data, data providers and data analysis.

Purpose: Support the financial performance and delivery of analytics for Concept-to-Consumer (CTC) organization. Acts as key business partner to the assigned Director(s) within CTC. Ensures integrity and transparency of performance measurements against plans to assure financial and non-financial targets are achieved. Provides financial decision support for strategic and tactical decisions.

1st Semester Highlights

This is a little mixtape I put together as a final for my Digital Animation. It contains some pretty dank memes as requested by my teacher as well as my falling leaf, Bouncing Ball, and a Pokemon drawing that we did before we even started animating. The song is Heads will Roll jvh-c Remix by the Yeah Yeah Yeahs.

The Bouncing Ball

So for this project I was absent for a good majority of the work days so the quality (if my work even has good quality to begin with) was noticeably lacking. I realized animation is a lot more difficult than it seems.You have to take so many different factors and perspectives into consideration.

I wanted to have something that wasn’t so generic but creative ideas were just beyond me. I did have something a little different happen but it wasn’t well executed at all and to me it seemed like it did more harm than help in this project. The stick figure obviously lacked any sophistication and hardly any variation in movement and design.

 

 

 

 

What’s M0st Important

The only thing I could pull from this video is to get out away from home. To travel to different places, observe different cultures and meet new people. traveling opens up so many more doors and opportunities for people to really develop their character. Things like these are unique to every individual person. Its one of the factors that separate someone from somebody else.

People in this world tend to value materialistic things more and more and I’m not going to lie I’ve been guilty of it multiple times and I’m also sure that anyone who reads this also have been guilty. These objects can only offer temporary happiness and satisfaction. They can be replaced once lost but these experiences will stick with somebody forever like their genetic code, nobody can take this from them, it cannot be lost or destroyed. The friendships made will last a lifetime believe me.

I get it, traveling can be very expensive especially around the globe. however, take advantage of traveling opportunities when the appear because they don’t come too often. even traveling to another city the experience you have is priceless. You will be glad you did trust me.

Favorite Disney Film

Treasure Planet

Come on. Almost everyone alive knows about Disney. Disney has been responsible for some of the most influential and the most well known animated films ever. They date back to about the late 1920’s.

One of my personal all time favorites happens to be Treasure Planet. It may not be as well known as, lets say, The Lion King, Frozen, Snow White, etc but I feel that its one of top disney movies. It brings a feeling of nostalgia every time I think about it.

The concept was something so interesting to me when I was a kid. I didn’t like pirates and pirate films but I did like Stars Wars (not owned by Disney at that time yet) so the idea of a movie taking place in a futuristic fantasy environment drew me in. I ended up really enjoying the movie as a whole from the character design, story development, and even by the setting. The animation itself was of course amazing and very fluid throughout the entire movie.

My Favorite animated film of all time

The Lion King

Lion King is hands down my favorite animated film of all time. It was released on DVD when I was about 4 and I remember watching it over and over again. There was just something about the colors and animation that just drew me in.

Around a time when I needed distractions from my life this movie came through and was there for me time after time. I watched the sequels as well but nothing can beat the original. Not only did I have the DVD I also had the VHS tapes and still do till this day.

The animation was very fluid and clean but I honestly didn’t pay too much attention to it at the time. I mostly focused on the story and the songs within the film because we all know every disney film has to have some sort of song in it whatever it may be. The circle of life song served as the opening to the film as well as the trailer. That sort of made it somemorable for me.

Falling Leaf

In this project we had to use different reference images to animate a falling leaf. Using a background and managing different frames create a fluid movie. Scene management and the use of many other programs came into play. For example, using garageband to make a soundtrack to play with the animation. All in all this was a pretty entertaining project.