chapter 3- acting -ll
TRANSCRIPT
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Nathanielle Concepcion
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First thing we have to realize: there are nopredetermined or default acting kits foryour characters.
If you dont place your all on the actingphase of your script, you may have anawesome animation, but at the end thething`s going to collapse.
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In this phase, what were trying to accomplishis to give our character realistic moods,temperaments and personality.
We have to make believable the message andemotion the character is treating to us.
The meanings of the words HAVE to goaccording to the emotion the character is
giving out to comprehend.
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At the end of all, it doesnt matter how goodthe animation is, if the script base is badenough, you fail, and if your characterization
is also bad, then congratulations, you justFAILED.
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There is one important aspect of a greatfilm:
The script
If one does not manage to built a goodenough idea for the script, even with a morethan great sequence of animation, it will notsucceed.
Table of contents:
Good idea+ Bad animation= Good film
Bad idea+ Good animation= Bad film
Good idea+ Good animation= SUCCESS! :D
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In order to get a great performance for agreat animation for GREAT film, you shouldalways 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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Great animation can not save a poor voiceperformance; however, there is nothing morecertain 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 alltogether and making the spectator believe
in it.Dialogue is necessary to create a believable
film of animation.
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Of course, there are some exceptions
For years these two have managed tocaptivate audience without saying a word
except for the Roadrunner`s beep-beep.
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In order to create believable animation anddeliver a convincing performance you mustconnect 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 andempathize with them.
We will always place a bit of us in ourcharacters, some times even the things wedislike the most, but thats what bringsaudience, the effort of giving your full.
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Much of the physical acting we see inanimation depends much less on the outwarddisplay 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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Psychological acting and the actions thatresult from it are expressive of thoughts andemotions, and often entail much less
dynamic movement. The incremental movement of the figure
within this type of action demands morerefined work, involving far less
differentiation between frames.
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The shifting emotional tensions within theanimation should be reflected in the dynamicof the sequence and the phrasing of theanimation.
The pace of the animation is establishedbefore the animation begins, and isdetermined by the storyboard and therecorded voice track.
A suspense or terror intended scene would beruined if the timing of the animation is toofast, as it could also ruin a comedy scene istiming is too slow.
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If the sequence moved at a continuousbreakneck speed or plodded alongrelentlessly at the same pace, then theaudience would lose interest.
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