基于动画12原则的动画24条准则.doc

The 12 (er.24) fundamental principles of animation基于动画12原则的动画24条准则Jeremy Cantor Animation Supervisor Sony Pictures Imageworks - May 4th, 2002/text/twelve_principles_plus.htm1. Squash & Stretch: Organic objects tend to have some degree of malleability. When forces act upon them they will deform appropriately depending on the nature, direction & degree of the forces. When applying squash & stretch in your animations, it is important to remember that, if volume is not maintained, your object will appear to be expanding or contracting. If you squash a tennis ball vertically, it should simultaneously widen horizontally. Squash & Stretch can also be applied to rigid, articulated structures. When the structure compresses, certain joints will rotate off to the side. When you drop from a standing position into a squat, your hips move down while your knees move sideways. Your legs can be said to be squashing and stretching, even though the individual joints are not compressing or expanding.1.挤压与拉伸：任何有机物体都是有可塑性的。当力作用于物体时，他们将依据力的性质，方向和力度产生一定的变形。当在动画中使用挤压和拉伸时，重要的是要记住，如果你不保持物体的体积不变，你将看到膨胀或者收缩的物体。所以如果你的网球变长了，相应他会变细一些。挤压和拉伸同样也适用于有一定结构的硬性物体。当物体关节受到挤压时，某些关节将侧到旁边。当你从站立姿势下蹲时，你的臀部向下移动，而你的膝盖向一侧运动。你的腿可以说是挤压和拉伸了，但是你的关节并没有压缩或扩大。2. Anticipation: The setup before the main action. It lets the audience know that something is about to happen. For instance: reaching behind you with your fist before delivering a punch. A boxer tries to avoid anticipation when throwing a jab. 2.预备动作：主要动作的预备姿势。它让观众知道什么即将发生。例如：挥拳之前你会先把拳头放到肩后。而一个拳击手则会试图避免预备动作以防对手看出破绽。3. Staging & Composition: The clear presentation of an idea. What is the story being told? What is the best way to tell this story? What are the appropriate camera angles & screen direction? Is the flow of the scene guiding the viewers eyes as intended? Are your poses strong? If you arbitrarily “freeze-frame”, will the resulting still-image be a well-composed work of art? Do the elements of your scene work together visually? Are your objects trajectories too linear? Or perhaps too complex? Are important elements of your scene hidden behind less important elements?3.分镜与构图：用来清晰地展现故事。故事要告诉我们什么？怎么样最好的讲述这个故事？ 怎样使用适当的镜头角度及屏幕的方向？镜头是否引导观众的注意力了？你的pose强而有力吗？如果你随意停在某一帧上，此时的静止图像是否是一个很好的艺术品？你的场景是否构成了视觉美？你的布局太直线化了还是太乱了？场景中的重要物品是否被此次要物品挡住了？4. Straight Ahead Action vs Pose to Pose: Two methods of animating. Straight ahead involves stepping through the individual frames of your scene & manipulating them sequentially. Pose to pose involves defining the extremes and then filling in the spaces inbetween. Stop motion can only be done via Straight Ahead. Cel animation can be done either way. Straight ahead usually requires more pre-planning. 4.两种动画制作方式：一气合成法和姿势对应法。一气合成法是指你自己计算场景动画的时间，逐帧的绘制出动画来。姿势对应法是指先做出关键帧然后逐渐细化的方式。逐帧动画只能用一气呵成的方法。而计算机动画可以两者结合使用。一气呵成的方法可能要求要有好的规划。5. Follow Through & Overlapping Action: Follow through is the extension of a main action. For instance, the continuation of a tennis-stroke after the ball contact. Follow-through is also evident when a secondary appendage (tail, antenna) is indirectly driven by the primary motion of the body. Follow-through will occur later than the main action because the force dictating the main action takes longer to reach the appendages. When an object in motion changes direction, stops accelerating or stops completely, secondary parts of that object will continue in the original direction after the change in the main force. A womans dress fluffs forward after she stops walking. A ponytail bounces in an S motion when someone jumps up and down. Follow-through is often reduced if an appendage has (and uses) its own muscles. When a cat runs, the muscles of its tail often tighten to reduce follow-through & maintain balance. Overlap is the concept that not all moving parts of your body will start and end at exactly the same time. If you turn your head and point, your arm movement might begin before your head finishes turning. Overlap is nonexistent if the head and arm start & stop on the same frame or if the arm waits to move until the head has completed its motion. Such non-overlapped motions tend to look robotic. 5.随动与重叠动作： 随动是主要动作的延续。举例来说，网球触网后继续进行触网运动。随动也能证明，附属物（尾巴，天线等）可以影响主要动作，使角色有向相反方向运动的趋向。随动将迟于主要动作，因为随动力要比主要动作晚些时候才能到达附属物。当一个物体在运动方向上发生变化，加速或完全停止运动，该对象的次要部分将继续沿原来的方向运动。比如裙子会在人物停止运动的时候往前飘。当一个扎着马尾辫的人跳起来时马尾会产生“S”形运动。如果次要结构有自己的肌肉系统，那么次要动作则会减少。当猫运动时，其尾部的肌肉会减少随动幅度并保持身体平衡。 重叠动作是指身体的关节并不是同时开始、同时结束运动。如果你转头并用手指着某物，你的手臂运动可能会早于头的转向。如果头和手臂在同一帧开始与结束运动或者手臂等到头部运动完再运动就不会出现重叠动作了。没有随动的运动物体会看起来很机械。6. Slow In/Slow Out: Organic motion tends to accelerate and decelerate into and out of action. (Except when met with a force that causes an abrupt stop or direction change.) This type of motion often does not apply to mechanical objects. 6.慢入与慢出：生物运动趋向于在动作的开始和结束时有缓慢运动与缓慢停止（除非有外力强制使其停止或改变方向）。这种运动在机械物体的运动中不一定适用。7. Arcs: The parts of an articulated skeleton move as a result of joint rotations. When a wrist travels from point A to point B, it does so as a result of elbow and shoulder (etc) rotation. Therefore, the motion will tend to arc. It is possible to move ones wrist in a straight line, however, continuous compensatory adjustments in the rest of the arm are required to achieve this motion and such movements tend to look less organic (or at least more deliberate - like a straight punch). If you want a character to move like a robot, ignore the concepts of arcs, overlap and slow in/slow out. 7.弧线运动：连接的骨骼运动起来是分节进行的。比如手腕从一个位置运动到另一个位置，他的运动位置会受到手腕和肩膀的影响。所以，手腕的运动就看起来像弧线运动了。我们有能力让手腕以直线运动，但是必须要有手臂的协调，同时，这种运动看起来很机械化（或者目标很明确，比如直拳打人）。如果想让角色动起来像机器人，他就忽视掉弧线运动、重叠动作和慢入慢出吧，呵呵。8. Secondary Action: Any motion that is 2ndary to the main action. For instance: drumming your fingers on your knee while talking. 2ndary actions often reveal emotional subtleties or hidden thoughts. If the 2ndary action pulls the viewers attention away from the main action, however, it becomes the main action. 8.次要动作：任何动作都是主要动作的次要动作。比如：在聊天的时候用手指敲击膝盖。次要动作常常暗示出细微的甚至是看不出来的情绪反应。但是如果次要动作过于强烈，盖过了只要动作，他就成了主要动作了。9. Timing: Varying speed of motion can indicate different types & strengths of forces. Timing can demonstrate different attitudes. Turning ones head very quickly implies a different motivation from doing so slowly. Fast walks can imply determination. Slow walks can imply depression. Metronomic timing is usually undesirable. 9.节奏：运动过程中变化着的速度反映了作用力的类型与力度。节奏可以展示出不同的态度。急速的转头和慢慢的转头意思可不一样。小跑似的走路说明角色和笃定。缓慢的走路说明角色很失望。特别平均的节奏是我们不希望看到的。10. Exaggeration: Exaggeration is used to increase the readability of emotions and actions. Animation mediums dont deliver all of the same information as does real life. A video screen is not truly 3-D. Sound comes from a single source. Depth perception is not interactive. Because of the limited information being delivered, its often necessary to exaggerate in order to effectively tell the story of a particular performance. Effective exaggeration isnt always a matter of making a motion larger, though. Significantly decreasing an action is also a type of exaggeration. Accentuating the subtleties, that is. Completely stopping a characters motion for an unnaturally long period of time can demonstrate a particular emotion: Perhaps impatience or disgust. Exaggeration is, of course, especially apparent in cartoon-style animation. 10.夸张：夸张是为了增加角色表情和动作的视觉效果。动画这种媒体不能完全将显示生活中的动作表现出来。完全照搬现实动作可不叫动画。如果声音来自一个地方，深入的观察是没有交互的（译者：这两句不是很明白）。我们传递的是有限的信息，所以为了有效的讲述故事常常需要对故事内容进行夸张。但是，有效的夸张并不仅仅就是把一个动作的幅度增加。合理的减小动作幅度也是夸张的一种表现形式。突出细微的东西也是夸张。将角色的姿势保持一定时间完全不动，也可以表现一种情绪：角色完全失去耐心或者角色心生厌恶。夸张，尤其是在卡通类型的动画片中，会很明显的用到。11. Solid Drawing: In cel animation, each individual drawing should be a successful work of art on its own. This adds to the appeal & readability of a performance. It is also important to stay on model. Each drawing should look like the character being presented. It is distracting when the size of a characters head is inconsistent during the course of an animation. 11.立体造型：在关键帧动画中，每一张图本身就应该是一幅完美的艺术品，这样可以增加动画的吸引力和视觉效果。保持角色形象不变很重要。每一张图种的角色要看起来一样。如果在动画中角色的头不连贯就会减少动画的效果。12. Appeal: Is the presentation of your idea pleasant to look at? (Or unpleasant if that is the intention). Are general aesthetics being effectively applied (composition, character design, color, camera angles, etc)?12.吸引力：你的动画创意看起来很棒吗（或者有意的制造出不快乐了吗）？动画中的美（好的构图、很棒的角色设计、色彩很棒、摄像机镜头也很出彩）有合理的表现吗？ And 12 more. 还有另外12条 13. Simplicity & Readability: Dont unnecessarily overcomplicate your scene, character or performance. Do just enough to tell the story. Too much secondary and too many details can sometimes confuse the issue and make the idea being presented unclear.13.简洁性与可视性：请勿没必要的使你的场景、角色或者表演过于复杂化。把你的故事讲好就可以了。太多的次要动作或者细节反而会使你的作品乱七八糟，或者说你的思路看不来不清晰。14. Posing: A subset of staging. Interesting poses are extremely important for effective & natural-looking animation. Pay attention to center of gravity issues (does your character look like hes going to fall down?). Its usually a good idea to avoid too much symmetry in your poses. One hip is often a little higher than the other. Weight is rarely distributed evenly over both feet. How does the silhouette read? 14.摆姿势：构图的下一级。有趣的姿势对动画的效果和自然状态会起到很重要的作用。注意一下角色的重心（角色有没有看起来快要摔倒了？）。通常来说，我们要避免姿势看起来很对称。臀部的一侧常常比另一侧要高。身体的重量很少会平均分配到两脚。再注意下动画剪影是否能清晰的表述故事？15. Forces: An object moves when forces are applied to it. Consider where these forces are coming from. Are they being generated from within (desire, intention, muscle movement) or from without (gravity, the wind, a push from another character)? The origin, magnitude, direction & duration of these forces will dictate how your characters move. How is your character affected by these forces? Does your character resist them or does he “go with the flow”? Do multiple forces cancel out one another? Understand a forces “attack & decay”. How powerful is the initial “hit” of the force? How long does an object continue reacting to the force? Consider the material of the object. Rubber “decays” slower than cloth. 15.力：物体运动是因为有力的作用。考虑一下这些力是怎么产生的。他们是由角色内部原因（情绪，意图，肌肉运动）产生的，还是由外部原因（重力，风力，或者被另外的角色推动）造成的？力的来源、大小、方向与持续时间会直接影响到角色的运动。你的角色受到这些力后会如何反应？是和原来的运动冲减了还是顺带加快了原来的运动？多个力是相加还是想减？理解力的作用时间。力的作用有多大的影响？角色会有多长时间来对这个力进行反映？可以考虑下作用力物体的属性。显然，塑料的作用时间会长于布料。16. Weight: Demonstrating the implied mass of a character. This is a function of the proper application of squash & stretch, anticipation, follow through, overlap, timing, exaggeration, and slow in/slow out. Whether or not a character looks especially heavy or especially light when getting up from a chair is dependent upon how these principles are applied. A heavier object requires more force to set it in motion. This is often demonstrated by increasing anticipation. Likewise, it requires more force to slow, stop or reverse the direction of a heavier object. Placement of your characters center of gravity is an important aspect of weight. Physics rules indicate that a static objects center of gravity must be directly above or below the average of its point(s) of suspension. For instance, when you stand on one foot, your COG needs to be directly above your support foot. Otherwise, you will begin to fall. Of course, this all changes if you are in motion. Pay attention to pivot/leverage points as well. Watch out for isolated body part movements. Even the simplest arm move often involves contributing motion from the shoulder & torso. Keeping your individual body parts appropriately working together is another way of indicating weight.16.重力：重力能定义角色的重量。重力能影响到角色动作中的挤压与拉伸，预备动作，随动，叠加动作，节奏，夸张，还有慢进慢出。角色从椅子上站起来时候看起来是重是轻也是由重力决定的。比较重的物体要使他动起来就需要更大的力。那么这常常表现在角色作用在该物体上时有更大的预备动作。同样，大重量的物体要停下来、慢下来或者转变方向就需要更大的作用力。物理学告诉我们，一个固体的重心绝对是在物体的几何中心附近。比如，当你用脚站立的时候，重心就在你的支撑脚的上方。否则你就要摔倒。当然，如果你在运动过程中就要另当别论了。同时请注意运动的轴心点位置。不要单独考虑单一骨骼的运动。就算是很简单的手臂运动，你的肩膀与脊椎也会有运动的。让你的身体每个部位都协调运动也是证明重力存在的一方面。17. Twinning & Texture: To maintain natural-looking performances, it is usually desirable to break up the motion of individual body parts so they are not doing the exact same thing at the exact same time. ie: when slapping your characters hands on a table, you might want the left hand to hit a frame or two before the right. A variation of the twinning concept is when members of a swarm or flock are exactly mimicking one other. Pay attention to the overall “texture” when animating groups of objects or characters. Consider a flock of birds or a field of grass reacting to the wind. What is the overall feel of the group? Is there enough variety in the trajectories of the individual elements? Is every bird flapping its wings at the exact same frequency? Is the wind affecting every blade of grass in exactly the same manner at exactly the same time? Are the individual elements supposed to be working together? If so, are you using an appropriate amount of variation between these individuals? Are your synchronized swimmers exactly synchronized? If so, is this intentional? Even when individual members of a group try to copy one another exactly, minor variations often occur.17.群集动画制作：为了让动画看起来更真实，通常要将群集中的每个角色分别做动画，不让他们看起来在同一时间做同样的动作，比如，你要拍桌子，可能会想要左手提前一两帧先碰到桌子。群集动画的另一个例子就是天鹅飞过和羊群的动作。注意一下天鹅群和羊群的组织结构。想想鸟群或者是草堆在有风吹过的时候是如何反应的。他们整体的趋势是如何的？单独的个体有足够的变化吗？每只鸟会以同样的频率扇动翅膀吗？风吹动草儿时每一棵草都是一样运动的吗？个体的运动和整体协调吗？如果是这样，你的动画考虑到合适的个体变化了吗？个体是完全同步动作的吗？如果是这样，他们是有意的吗？即使群集中的个体有意要模仿另一个体的动作，其中也会有少许变化。18. Details: Sometimes the difference between a good animation and a great animation comes from effective attention to detail. You never know where a viewers eyes may be wandering. Just because the main focus of a shot is on your characters face, dont forget to animate the toes. Details like thigh muscles jiggling when a foot hits the ground add to the naturalism of a performance & can help tell the story. Introducing naturalistic imperfections will also add to the believability of your shot. Keep in mind, however, that it is usually not desirable to confuse the action with too many details. (see principle #13) Watch out for technical glitches such as geometry intersections and IK “pops”. Material integrity is also an important detail to consider. Is it appropriate to squash & stretch a rigid object such as a stone? Some animators will do this as an aesthetic choice. Others prefer to follow realistic rules of physics. And dont try to hide animation errors behind overly detailed modeling, lighting, texture maps & particle effects. This is an undesirable variation of the “attention to detail” concept. Consistent style, physics and quality are also important details to maintain.18.细节：有时候还好的动画和很好的动画之间就差着这么一点点的细节。你永远不知道观众会注意到角色的哪些部位。不要因为角色的主要动作在脸部，就忘掉了对舌头做动画。脚在触地的一瞬肌肉的些许运动会增加动画的真实性。对动画加入一点现实中的动作缺陷也能增强动画的真实性。但是，也别忘了，不要对你的动画增加过多过幅度的细节动画（这一点参考第13条规律）。注意技术上的过失，比如穿插和打断IK。物体本身的属性也是要考虑的一方面。想想对一颗石头来说，挤压和拉伸的效果适不适合使用？有时候动画师会为了增加美学价值故意这么做。但大多数的动画师还是选择参考真实世界（对石头不用挤压和拉伸）。不要试图过度的掩饰掉更精细的模型、灯光、贴图和粒子特效的动画错误。这是关注细节一部分中不可忽视的定律。一贯的动画风格、物理特性也是要仔细考虑的内容。19. Planning Ahead: Its always a good idea to plan out a performance before starting. Act out the motion with a stopwatch and take down some numbers. This is very important in stop motion where its impossible to go back and fix an individual part of a performance after it has been filmed. Its especially important to plan ahead when you have a deadline. Most of us rarely have the opportunity to animate by trial and error. As the carpenters say: Measure twice, cut once. 19.预先计划：在开始做动画之前想好要怎么做，这是个很好的主意。带着倒计时钟表演出来，顺便记录下动作时间。这在逐帧动画中尤为重要因为动作一旦被拍摄下来要修改单独的某一帧是极其困难的。要是你的动画有时间限制，那么做好计划就更加重要了。我们大多数人基本是没有时间或者机会来重复的尝试和修正错误的。就像木匠所说，多量一次，少切一次。20. Hookups & Continuity: To maintain flow and readability, each scene needs to “cut” properly with the next. Are the spacial relationships between your characters consistent from one scene to the next? Does an objects trajectory look like it continues sensibly after a camera cut? Does the new camera position confuse the clarity of the action? If you cut away from a particular action then return later, do the changes in the scene make sense with the length of the time lapse? Do your actions overlap? Should they? Sometimes it is desirable to intentionally break the rules of continuity, but care should be taken when doing so.20.流畅和通顺：要保持影片的流畅通顺，每一场动画都要合理的和下一场结合。角色们在连续的两个镜头里面距离是一样的吗？在镜头的切换中物体的运动线是否是连续的？新的镜头保证了动作的流畅吗？如果你将一个连续的动作在中间剪开插入其他内容，这种变化在错误的时间长度上是否看起来还可以？动作有叠化吗？是否要加上叠化？有时我们需要故意打断这种流畅，但是做的时候要谨慎小心。21. Acting: Animation is acting. Always keep this in mind. What is your characters motivation & emotional state? Such information should be revealed in your performances. A shots story cant be told if the characters are simply moving through the scene without any indication of intention or personality. Always ask “why?” Every movement should have a purpose. Arbitrary motions rarely contribute anything to a characters performance. Contrasts are an important element in acting as well. Animating the same character with significant contrasts in timing can imply completely different personalities & motivations. 21.表演：动画其实就是表演。这一点永远要记住。角色在动画中的动作意图和情感状态是什么样子的？这些信息在你的动画表演上要有体现。如果角色单纯的走过场，而没有任何意义或者个性，你的短片就会相当失败。时时刻刻问个为什么。每一个动画都要有合理的意图。很随便的动作对于角色的表演是没有任何意义的。反差在表演上也是重要的一方面。在一部影片中对同一个角色使用反差很大的表演可以体现出角色迥异的个性和动机。22. Blocking/Refining: A third method of animating as opposed to Straight Ahead or Pose to Pose. This method (very often utilized in CG) involves initially establishing the overall posing, timing and trajectories of your character as a blocking phase. Details are added after these global issues are refined and approved. Similar to the (sometimes) preferred method of painting where the overall composition and colors are established rather abstractly and the image slowly comes together as a whole as the details are refined with smaller and smaller brushes. As opposed to finishing one corner of the painting before moving on to another. This blocking/refining method is especially desirable in CG so that global timing can be refined before there are a huge number of keyframes to tweak. 22.做预演或者简化动作：这是相对于直接动画和帧到帧动画的第三种动画做法。