本文是講述動畫師的工作，一些與動畫相關的作業都有特定於動畫開始前應該解決的問題的問題。足跡是與2D動畫師相關的一個常見問題。他們必須繪製指南和圖表，以幫助他們的角色到達腳的位置，需要進行他們的姿態。如果有困難的動作，重複的時間問題或舞蹈，應該儘早解決這些問題。這樣做的目的是將動畫師從盡可能多的動畫過程的負擔中解放出來，使其關注的不是技術細節，而是性能。本篇論文代筆文章由美國論文通AssignmentPass輔導網整理，供大家參考閱讀。
Several assignments related to the animation have problems specific to the problems that should be solved before the beginning of the animation. The footprint is a common problem associated with the 2D animators. They must draw guides and schematics in helping the arrival of their characters at the feet placement required for carrying out their poses. If there is difficult movement, repetitive timing issue or dance, there should be solving of these problems early. The purpose of this is freeing the animator from as many animation process’ burden as possible making the focus not on technicalities, but rather on the performance.
The answers should be provided with respect to whether the scenes ask for pose to pose, animation straight ahead, or both.
There would be an exposure sheet with a helpful tool to the animators of 2D. The exposure sheet is nothing but the spreadsheet where the representative of the every row consists of a video or one frame of film. At the bottom of the 8th frame, one bold line can be found, and at the bottom of the 16th frame’s, a double bold line can be found. The sheet is broken down into units of visible timings by these bold lines.
It is one second for every 3 groups of the 8 frame blocks. There will be usage of action column in indicating and measuring with respect to certain events or column occurring on the exposure sheet. There will be use of action column by the animator in further breaking the action’s timing in greater details. As a matter of fact, drawing curves by the animator down the sheet has similarity with the 3D curves that would be a helping hand for the animator in finding the timing’s texture so that it is found that all are not same. There are elements of guidance in the timing notes. Although these guidance notes often change, an important step is provided by them to approach the animation.
Once the animation’s heart is approved and completed, the time is ripe for adding the cherries and frostings. In this stage, the secondary details are added. The examples of such additions are movements of the cloth, hair weaving, and the drags that are finished off, and secondary actions or follow through is done. The animator will ensure that the secondary weaknesses are punched up and curve movements are refined. The inbetweens are focused at this stage, which is this stage’s another point. Inbetweens are the areas of problem for the animators of 2D and 3D. The inbetweens in 2D is the charting and approximate estimation that should be given to the assistants who should know their activities. However, it is unfortunate that it does not always happen this way. There are a number of assistants who draw precise inbetweens without giving any thoughts to consider the arcs, to take the curves or to follow the charts. These people generally kill the beautiful animations. In combating these impediments, the animator should rough out every inbetweens to ensure that the execution is proper.
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