This idea was inspired by a foreign advert on YouTube which our group- member Nicole Anderson found.
Here's a link to the video
http://www.youtube.com/watch?v=x-OqKWXirsU&feature=related
As a group we discussed various scenarios that could recreate this advert as our own animation. We examined all the things that children get excited over; toys, sweets, ice cream, etc. Looking at how they embarrass their parents. We decided the parent should be a father since they are more laid back and in our eyes the mother seems to be the figure that can take control.
Condoms
A father and son are in a quiet toy store. The son sees a toy and the shelf, he runs towards it with excitement, he picks a teddy from the shelf and smiles.
Cut to a birthday party it’s filled with lots of happy children. The father and son approach the birthday boy, the father hands over a wrapped present. The birthday boy, ecstatic, opens the gift to show the teddy that the son had picked out. The son is outraged and shocked; he runs to the birthday boy and tries to take the toy off him. The father pulls him back to stop him from making a scene; the son starts to scream “ITS MINE!” The son starts to throw other gifts about kicking and screaming, making a mess of the place. The father looks mortified. Background noise of son screaming is muffled as all parents looking towards the father shocked and expecting him to take control. It would cut to a close up of the father looking scared and unsure what to do. Text would appear at the bottom of the screen saying “Wrap it up.” Cut to a black screen with white font saying “Use a condom!” no background noise at this point for emphasis.
Target Audience
Young adults, specifically males. Help towards safe sex.
Production Time
We are estimating that this project should take no longer than 4 weeks to complete.
Equipment
We will be creating this animation in Toon Boom.
Group Members
Nicole Anderson, Emma Beesley, Clare Hernon, Lauren Kerr
Thursday, 25 March 2010
Wednesday, 10 March 2010
12 principles of Animations;
12 principles of Animations;
Squash and Stretch, Timing.
This technique is applied to make an animation more cartoon like or surreal. Squash and Stretch can make the animation flow better, as opposed to realistic juddering motion. It can keep the volume of the character constant and make the animation funnier. When Squash and stretch is applied it creates the illusion that a drawing has dimension and volume. We can also use squash and stretch to make an animation more realistic for example when we crouch down in anticipation for a leap we squash, and as we jump into the air me stretch.
Anticipation
Anticipation can be the anatomical preparation for the action, e.g., retracting a foot before kicking a ball. It can also be a device to attract the viewer's attention to the proper screen area and to prepare them for the action, e.g., raising the arms and staring at something before picking it up, or staring off-screen at something and then reacting to it before the action moves on-screen. A properly timed anticipation can enable the viewer to better understand a rapid action, e.g., preparing to run and then dashing off-screen. Anticipation can also create the perception of weight or mass, e.g., a heavy person might put their arms on a chair before they rise, whereas a smaller person might just stand up.
Staging
Staging is used to focus the viewer’s concentration on one particular thing or person. For example father looks at son, the attention is shift to son. It is a presentation of an idea to make the idea clear. An important objective of staging is to lead the viewers eye to where the action will occur so that they do not miss anything. This means that only one idea at a time occur, or else the viewers may be looking at the wrong thing.
Follow through & over lapping
Follow through is the end part of an animation. An example is in throwing a ball - the hand continues to move after the ball is released. In the movement of complex object different parts of the object move at different times and different rates. For example, in walking, the hip leads, followed by the leg and then the foot. As the lead part stops, the lagging parts continue in motion. Overlapping means to start a second action before the first action has completely finished. This keeps the interest of the viewer, since there is no dead time between actions.
Straight ahead
This is when an animator draws every frame in sequence until he reaches the end of the scene. It gives a spontaneous and unique animation, which is used for wild action.
Pose to pose
This is when an animator draws the key frames of the animation and hires someone else or uses the computer to fill in the blanks. This is when the animation needs careful planning or lots of detail. This allows the animator to map out the action in advance with ‘sign posts’ by charting up these key poses onto ‘exposure sheets’ or ‘dope sheets’, or indeed into the timeline of computer software. It is a particularly useful animation method when a character must perform certain tasks within a predetermined time or where a series of actions must synchronise accurately with a recorded sound track. The technique helps ensure that characters arrive at a particular place on screen at a precise point in time.
Slow in slow out.
This refers to the spacing of the in-between frames at maximum positions. It is the second and third order continuity of motion of the object. Rather than having a uniform velocity for an object, it is more appealing, and sometimes more realistic, to have the velocity vary at the extremes. For example, a bouncing ball moves faster as it approaches or leaves the ground and slower as it approaches its maximum position. The name comes from having the object or character "slow out" of one pose and "slow in" to the next pose.
Arcs
This used to show motion in a realistic movement for example, a bouncing ball moves in an arc across the ground making the animation look less stiff rather than straight up and down. In nature, arcs are the most economical routes by which a form can move from one position to another.
Exaggeration
Exaggeration does not mean just distorting the actions or objects randomly, but the animator must carefully choose which properties to exaggerate. If only one thing is exaggerated then it may stand out too much. If everything is exaggerated, then the entire scene may appear too unrealistic. Exaggeration should be an action that directly results from another action. It can be used to increase the complexity and interest in a scene.
Secondary Action
Secondary action should always be the follow-on to and not compete with the primary action in the scene. An example might be the facial expression on a character. The body would be expressing the primary action while the expression adds to it.
Appeal
Audiences like to see a quality of charm, pleasing design, simplicity, communication, or fascination. A weak drawing or design lacks appeal. A design that is complicated or hard to read lacks appeal. Clumsy shapes and awkward moves all have low appeal. An example of animation that would be appealing in a character is when various parts of the body are moved slightly, and also including the facial features.
Squash and Stretch, Timing.
This technique is applied to make an animation more cartoon like or surreal. Squash and Stretch can make the animation flow better, as opposed to realistic juddering motion. It can keep the volume of the character constant and make the animation funnier. When Squash and stretch is applied it creates the illusion that a drawing has dimension and volume. We can also use squash and stretch to make an animation more realistic for example when we crouch down in anticipation for a leap we squash, and as we jump into the air me stretch.
Anticipation
Anticipation can be the anatomical preparation for the action, e.g., retracting a foot before kicking a ball. It can also be a device to attract the viewer's attention to the proper screen area and to prepare them for the action, e.g., raising the arms and staring at something before picking it up, or staring off-screen at something and then reacting to it before the action moves on-screen. A properly timed anticipation can enable the viewer to better understand a rapid action, e.g., preparing to run and then dashing off-screen. Anticipation can also create the perception of weight or mass, e.g., a heavy person might put their arms on a chair before they rise, whereas a smaller person might just stand up.
Staging
Staging is used to focus the viewer’s concentration on one particular thing or person. For example father looks at son, the attention is shift to son. It is a presentation of an idea to make the idea clear. An important objective of staging is to lead the viewers eye to where the action will occur so that they do not miss anything. This means that only one idea at a time occur, or else the viewers may be looking at the wrong thing.
Follow through & over lapping
Follow through is the end part of an animation. An example is in throwing a ball - the hand continues to move after the ball is released. In the movement of complex object different parts of the object move at different times and different rates. For example, in walking, the hip leads, followed by the leg and then the foot. As the lead part stops, the lagging parts continue in motion. Overlapping means to start a second action before the first action has completely finished. This keeps the interest of the viewer, since there is no dead time between actions.
Straight ahead
This is when an animator draws every frame in sequence until he reaches the end of the scene. It gives a spontaneous and unique animation, which is used for wild action.
Pose to pose
This is when an animator draws the key frames of the animation and hires someone else or uses the computer to fill in the blanks. This is when the animation needs careful planning or lots of detail. This allows the animator to map out the action in advance with ‘sign posts’ by charting up these key poses onto ‘exposure sheets’ or ‘dope sheets’, or indeed into the timeline of computer software. It is a particularly useful animation method when a character must perform certain tasks within a predetermined time or where a series of actions must synchronise accurately with a recorded sound track. The technique helps ensure that characters arrive at a particular place on screen at a precise point in time.
Slow in slow out.
This refers to the spacing of the in-between frames at maximum positions. It is the second and third order continuity of motion of the object. Rather than having a uniform velocity for an object, it is more appealing, and sometimes more realistic, to have the velocity vary at the extremes. For example, a bouncing ball moves faster as it approaches or leaves the ground and slower as it approaches its maximum position. The name comes from having the object or character "slow out" of one pose and "slow in" to the next pose.
Arcs
This used to show motion in a realistic movement for example, a bouncing ball moves in an arc across the ground making the animation look less stiff rather than straight up and down. In nature, arcs are the most economical routes by which a form can move from one position to another.
Exaggeration
Exaggeration does not mean just distorting the actions or objects randomly, but the animator must carefully choose which properties to exaggerate. If only one thing is exaggerated then it may stand out too much. If everything is exaggerated, then the entire scene may appear too unrealistic. Exaggeration should be an action that directly results from another action. It can be used to increase the complexity and interest in a scene.
Secondary Action
Secondary action should always be the follow-on to and not compete with the primary action in the scene. An example might be the facial expression on a character. The body would be expressing the primary action while the expression adds to it.
Appeal
Audiences like to see a quality of charm, pleasing design, simplicity, communication, or fascination. A weak drawing or design lacks appeal. A design that is complicated or hard to read lacks appeal. Clumsy shapes and awkward moves all have low appeal. An example of animation that would be appealing in a character is when various parts of the body are moved slightly, and also including the facial features.
Sunday, 7 March 2010
Story concept
i have a rough idea for an animation :
All about DIY - typical Man trying to change a bathroom light, (could be good as an advert "dont do it urself leave it to professionals".)
Light blub blows in bathroom, and wife asks husband to change it while shes away out,
husband goes gets this ladders brings into bathroom, climbs up ladder as twisting light blub out, ladder slips, husband holds on to light pulling it out the ceiling damaging tiles, while falling catches curtain rail pulls it off, ladders falls into mirror smashing it, wife comes home finds she needs a new bathroom which could of been avoided doing it herselve or getting professional in.
base on a ture story.
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