Chapter 4: Staging The Action
Staging an animation is equivalent to directing a live-action. The storyboard and script are translated into action, so choices must be made about timing, framing and camera movements. Though with a comprehensive storyboard and animatic, a lot of this process will already be developed.
The reading goes on to talk about how animators in the earliest years of production adopted live-action devices of structuring and staging. A few case studies are given as examples of how regular filmic techniques were assimilated into the productions of different animation studios.
The importance of spacing is discussed in great detail. On-screen space is what the viewer can see, while off-screen is imaginary. The edges of the screen are crucial in defining the latter, with the top and bottom having a positive role to play. Frame ratios between theatre and television are discussed. Academy aspect ratio is 1:33, while wide screen varies from 1:66 to 1:85. This book was written quite a while ago, so I notice a lot of this information is outdated now.
A zoom can occur in animation as in live-action, but cannot be produced in the same way. Focal length does not change in animation, it is just an enlargement or a reduction of the field. It must also occur frame-by-frame. Pans in animation must be careful not to create a strobing effect if many vertical lines feature heavily in the scene.
As previously discussed in 'Film Art,' timing is explained as a major element in structuring of meaning. Running time, the actual length of the film, differs from the timing within the action of the film. Timing gives the film its rhythm. Exaggerated pauses are said to be used to great effect in animation, in combination with rapid movement. The dope sheet carries all the information needed for the camera operator to shoot animation during the production process. It is divided into columns, and vertically into multiple frames. Each position, length of shot and action are specified on this page, so it functions like a timeline of an entire scene.
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