As I had rapid success and advancement with Manny's poses last week, it was only neccessary for me to adjust a few minor points and create a few new renders that illustrated his best features!
Many of these were needed to advertise and illustrate the work I put in to allow his complete upper body (thats including his neck & head!) to be as mobile as it could be
I've decided to post each individual camera render and explain my reasoning behind the actions I chose to portray at each stage within the animation as a whole
Scene 1
As the backing track had been chosen at this stage, my intention to place an opening panning shot to demonstrate Manny's model and his shop-window environment seemed all the more relevant. The choice of opening volume on backing track also focused the timing of the camera's pan to move swiftly onto...
Scene 2
...this brief, but emotive shot, just as the opening chord is struck! Here, I was attempting to time the opening bigger chord of the backing track with Manny's awakening, his pupils suddenly appearing to appear as though he is about to come to life for the first time. The human emotion, although only focused on his pupils here, is very strong.
Scene 3
A common move seen performed both by wrestlers and body builders (the real-life individuals Manny's actions were based on) The rolling of the head side-to-side and the raising and falling of the shoulders/chest illustrates Manny limbering up for what he is about to do next. The neutral expression on his face demonstrates focus and concentration, whilst the movement of the shoulders indicates the attention he is paying to, looking after his vital limbs.
Scene 4
Many of these were needed to advertise and illustrate the work I put in to allow his complete upper body (thats including his neck & head!) to be as mobile as it could be
I've decided to post each individual camera render and explain my reasoning behind the actions I chose to portray at each stage within the animation as a whole
Scene 1
As the backing track had been chosen at this stage, my intention to place an opening panning shot to demonstrate Manny's model and his shop-window environment seemed all the more relevant. The choice of opening volume on backing track also focused the timing of the camera's pan to move swiftly onto...
Scene 2
...this brief, but emotive shot, just as the opening chord is struck! Here, I was attempting to time the opening bigger chord of the backing track with Manny's awakening, his pupils suddenly appearing to appear as though he is about to come to life for the first time. The human emotion, although only focused on his pupils here, is very strong.
Scene 3
A common move seen performed both by wrestlers and body builders (the real-life individuals Manny's actions were based on) The rolling of the head side-to-side and the raising and falling of the shoulders/chest illustrates Manny limbering up for what he is about to do next. The neutral expression on his face demonstrates focus and concentration, whilst the movement of the shoulders indicates the attention he is paying to, looking after his vital limbs.
Scene 4
Manny's arms move to the front as he tests out their maneuverability, as well as clenching his hands up to demonstrate his self-assurance as to what he is doing. The camera angle indicates the scale of both Manny, in comparison to his environment, and just how much maneuverability he has at his disposal.
Scene 5
The arm's are then brought close to the chest as Manny presents the first of several power moves that he will display in this animation. The decision to portray all these shots as close-ups highlight, not only the time spend in creating an accurate scale model of a shop mannequin common features, but also the subtle, restrained movements that I have included that still demonstrate emotion and definate gesticulation not seen if otherwise in an open shot.
The arm's are then brought close to the chest as Manny presents the first of several power moves that he will display in this animation. The decision to portray all these shots as close-ups highlight, not only the time spend in creating an accurate scale model of a shop mannequin common features, but also the subtle, restrained movements that I have included that still demonstrate emotion and definate gesticulation not seen if otherwise in an open shot.
Scene 6
The proactive, sly grin is a facial animation again commonly seen by body builders, as almost a show of partial-arrogance, but that esteemed self-assurance that they know their position amongst others. The end of the shot where he drops his mouth is a variation, again seen in wrestlers and weight-lifters/body-builders where they will give away this hint of emotional connection, but then scrub it away at the last moment before they are about to 'perform'
Scene 7
The longest single scene, the camera is capturing a lengthy series of postulations and gesticulations all intended to present Manny's demonstration of his flexability and visible effect he would have (if he really was out there, in the real world!) Also ,the tempo of the backing track adds a feeling of urgency and fast-pacing to the actions displayed on-screen. The panning of the camera again indicates his scale compared to his environment, but this illustrates the feeling (and motioning) that you wouldn't want to enter his performing space when he is doing these actions - the pacing of the backing track accentuates this effectively.
Scene 8
The final pose, in which he displays a characteristic all too often seen by wrestlers especially. The gesture of bringing Manny's biceps up towards his mouth and the representation of him moving his head/lips towards them in defiance. The motion of them being brough down against his sides demonstrates a relaxed, but still all-too-alert feeling that is commonly seen after a body-builder has finished his round - the climax of the backing track adds to this feeling of tenacity.
Scene 9
Again, an extreme close-up can capture the finer details in this animation, but also command the viewing of emotion contained within it. The combination of the wink and the curl of the upper lip accentuates the sneer that Manny would portray as a feeling of "well, you've seen what I can do, now what..." The final clash of the backing track concludes this rather perversive display of facial gesticulation.
No comments:
Post a Comment