Nathanielle Concepcion 11-5

First

thing we have to realize: there are no predetermined or default acting kits for your characters. If you dont place your all on the acting phase of your script, you may have an awesome animation, but at the end the thing`s going to collapse.

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this phase, what were trying to accomplish is to give our character realistic moods, temperaments and personality. We have to make believable the message and emotion the character is treating to us. The meanings of the words HAVE to go according to the emotion the character is giving out to comprehend.

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the end of all, it doesnt matter how good the animation is, if the script base is bad enough, you fail, and if your characterization is also bad, then congratulations, you just FAILED.

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film: The script If one does not manage to built a good enough idea for the script, even with a more than great sequence of animation, it will not succeed. Table of contents: Good idea+ Bad animation= Good film Bad idea+ Good animation= Bad film Good idea+ Good animation= SUCCESS! :D

is one important aspect of a great

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order to get a great performance for a great animation for GREAT film, you should always have in mind this when getting out the most of your character: Know your character Empathize with your character BECOME the character

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animation can not save a poor voice performance; however, there is nothing more certain to kill a first-rate voice performance stone dead than poor animation. It not just about mixing sound into a sequence, its to make it come to life all together and making the spectator believe in it. Dialogue is necessary to create a believable film of animation.

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course, there are some exceptions For years these two have managed to captivate audience without saying a word except for the Roadrunner`s beep-beep.

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order to create believable animation and deliver a convincing performance you must connect with your audience, and the only way to do that is through your characters. Before your audience can empathize with the characters, you must understand them and empathize with them. We will always place a bit of us in our characters, some times even the things we dislike the most, but thats what brings audience, the effort of giving your full.

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of the physical acting we see in animation depends much less on the outward display of subtle actions driven by complex thoughts and emotion. The physicality of animation acting is most evident in cartoon animation. It depends on your technique, kind of script, and dialogue.

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acting and the actions that result from it are expressive of thoughts and emotions, and often entail much less dynamic movement. The incremental movement of the figure within this type of action demands more refined work, involving far less differentiation between frames.

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shifting emotional tensions within the animation should be reflected in the dynamic of the sequence and the phrasing of the animation. The pace of the animation is established before the animation begins, and is determined by the storyboard and the recorded voice track. A suspense or terror intended scene would be ruined if the timing of the animation is too fast, as it could also ruin a comedy scene is timing is too slow.

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the sequence moved at a continuous breakneck speed or plodded along relentlessly at the same pace, then the audience would lose interest.