作者：Andrew Gordon 于：Wednesday, January 04, 2006

　　当我在制作我的场景进入到overlap和follow thru的阶段时，这使我感到很兴奋。这意味着我快要完成这个镜头了并且我将要添加最后的细节。这些细节对于使动画看起来正确是如此的重要。比如说在给角色的触角做动画时，就像在《a bug's life》里，触角确实有助于使角色保持鲜活。不仅仅是让它松软，触角应该表现出角色的感觉和态度。我也喜欢当角色快速做出一个pose时添加一些小的细节。比如说微颤着定住。Doug Sweetland，一个从Toy Story做起的老牌动画师，就以擅长在角色定住时做复杂的微颤而闻名。这样的细节赋予了一种超级真实的感觉。这也变成一种风格化的选择。当你做了很多年动画时，你开始发展出一种让你的动画区别于他人的能力。所以当你需要为角色的那些松软的耳朵，或者脂肪组织的微颤做动画时，把它做正确，然后做出风格。

　　既然我们这个动画工业已经进入了高清时代，所有的微小细节都变得清晰可见。我们作为动画师的生活也变得更加艰苦了，因为每样东西都是如此的高清晰，而且角色还要很具有风格才行。有一件事你要一直记住的是：你的眼睛将要被引导向何处。我们动画师，当然会一遍又一遍的看我们的镜头，但是大多数的观众，他们会只看屈指可数的几遍。把你的overlap做对是很重要的，但是更重要的是，把你的时间花在出彩的地方。

我脑子里能一下想起来的几个很有风格的overlap 是：

在酷狗宝贝系列：The Wrong Trousers里的企鹅（头上的红色橡胶手套）
马达加斯加Madagascar里面狐猴国王的尾巴有些有趣的动画
丛林日记Jungle Book（任何Milt Kahl画的猩猩路易王的动画）

ToyStory2里面Woody从盒子里面走出来的动画（Doug Sweetland制作，译者注）

我很希望各位能提供更多其他的例子。

这样的例子有好多。有时我选择让电脑来计算出某些方面的overlap。

我忘了是谁说的了，但是一个出色的overlap可以把一个普通的动画变成一个拥有出色的overlap的普通动画。

-Andrew

Wes 说道：
我觉得冰河世纪里的喜德Sid也有不错的overlap。因为它的下半身很重，而上

半身就有些滞后。也许也有点follow thru，但绝对是充满了overlap。

还有Pixar短片跳跳羊历险记（Boundin's）那些耳朵充满了出色的overlap。
（跳跳羊历险记的动画总监就是Doug Sweetland。译者注）

Looney Tunes里面的角色像Bugs, Pepe le Pew, Wile E. Coyote, Sylvester... 他们都有很多不错的overlap。

Matt说道：
是的，James Baxter的作品非常有趣。他精准的知道该放多少overlap，结果总是恰到好处服务于场景。

Matt说道：

对，Eric Goldberg也非常棒。我看过他的简直能冲击你的大脑的作品。在Looney Tunes里面有个镜头：我想要做但是没时间，于是Eric做了。三个角色，35英尺的胶片（2d动画用的35mm的胶片，90英尺合一分钟，35英尺合23秒多，译者注）。他做了三个星期。包括中间帧。他看的很准，然后就去做。

Dr. Gordon说道：
Overlap是一个动画术语。它是指角色身上受到来自一个物体或者自身肢体的主要运动影响产生的运动。

这是一个不错的wiki的定义。（wiki是个网络百科全书，maybe，译者注）

举个例子。把角色的胳膊从一个放松的姿势变成从桌子上拾起一串钥匙。一个通常的错误是在放松状态下一些时间，然后移动胳膊所有的部分（物体）到达最终的位置。这样的处理技巧会产生一个非常没有生气的运动（因为每样东西都在同一帧开始和停止）。正确的动作序列需要上臂首先抬高。然后前臂的重心向外，紧跟着是手腕弯曲回来。最后手指弯曲抓住钥匙。每个动作都在前一个结束前开始，从而提供了你的观众所期望的真实的overlap。换句话说，手臂的运动向上旋转被手腕的向下旋转交迭。

Mark说道：
ToyStory2里面Woody从盒子里走出来的镜头是两部玩具影片里我最喜欢的镜头。当我第一次看到时佩服的五体投地，我喜欢逐帧的观看。很高兴知道是谁做的这些动画。Doug Sweetland真的是个巨牛的动画师。

<完>

英语原文刊登在：

http://splinedoctors.blogspot.com/2006/01/overlapp-in-style.html

Overlapp in Style...

Wednesday, January 04, 2006
Overlapp in Style...

When ever I get to the part of the scene where I am getting into overlap and follow thru, it gets me excited. It means that I am almost done with the shot and I am adding the last details. These details are so important to make it look correct. In the case of animating the antenna on a character, as in A Bugs Life, the antenna really helped keep the character alive. The were not just floppy, they had to be animated to reflect the attitude of what the character was feeling. I also enjoy doing small details on characters when they hit a pose quickly. Jiggle Settles for instance. Doug Sweetland, a Toy Story veteran, was well known for having these intricate jiggle settles on his characters. It added a sense of hyper realism. It also became a stylistic choice. As you animate for years, you start to develop things that set your work from others. So when you have to animate those floppy ears, or jiggle the fatty parts of your characters, do it right, and do it with style. As the industry turns Hi-Def, all these small details are going to be easier to see. Our life as animators is getting tougher because of how high rez everything is, and how stylistic the characters are. One thing to always note is where you eye will be directed. As animators, we look at our shot over and over, but most viewers see it only a handful of times. Its important to get the overlapp right, but more important to spend your time in the areas that count.

Some well done stylistic overlapp that I can remember off the top of my head is:

The Penguin in the Wrong Trousers (the red rubber glove on his head)
Madagascar had some amazing tail animation on the lemurs king
Jungle Book (any of Milts work on King Louie)
Woody coming out of the box in TS2

I'd love to get people to site some other great examples

There are so many. Sometimes I choose to let the computer figure out certain aspects of the overlapp. Its hard to go in and exaggerate when you are burnt out, but it can make all the difference.

I forgot who said it, but great overlapp can turn a mediocre scene into a mediocre scene with great overlapp.

-Andrew

posted by Dr. Gordon at 10:59 PM

15 Comments:
Weston said...
I love that penguin from the Wallace and Gromit! I think Sid from Ice Age has really good overlap at times because he was animated with such a heavy bottom half that his upper half of his body is delayed a bit. But that might also be a bit of follow through, but definitely full of overlap.

How about Pixar's short film Boundin'. Those ears we full of great overlap.

Looney Tunes characters like Bugs, Pepe le Pew, Wile E. Coyote, Sylvester... well a whole lot of them had really nice overlap.

3:24 PM

Matt Williames said...
Dude, anything Baxter has touched has taisteful overlap. It always feels like it should. those waiter bugs in "rescuers down under", the antennae have that sorta buggy feeler quality. But then his wilbur dancing stuff with the scarf. ohmagosh, makes me weep.

11:22 PM

Dr. Gordon said...
Yes, James Baxters stuff is amazing. He knows exactly how much to put in and it always compliments the scene.

How bout Eric Goldbergs stuff in Fantasia Cont..

The Flamingo doing yo-yo tricks.. Amazing stuff..

11:27 PM

Bobby P said...
I think I read somewhere that Mr. Goldberg animated the whole sequence himself?
Not to mention the whole thing is hand water colored, amazing.

12:25 AM

Matt Williames said...
Yep Erics amazing... I've seen him do stuff that just makes your brain hurt. There was a shot in Looney Tunes: Back in Action i was gonna take but didn't have the time, so Eric did it. 3 characters, 35 feet. He did it in 3 weeks, in between meetings! Not to mention he does everything in the first pass. He sees it clearly, then executes it. In the words of Frank Molieri, "it's already done, now i just have to draw it."

12:13 PM

Dr. Gordon said...
I worked with Frank Molieri at Warner Classics. He was my mentor. Frank is a great guy. Do you work with him?

-Andew

6:19 PM

Matt Williames said...
Yeah, Frank and I are good friends. He's one heck of a guy, and an amazing draftsmen!

7:55 PM

Drew said...
chuck jones' stuff with looney tunes was pretty amazing. he's probably known more for his timing, but he had such an ironclad grip on each pose and each drawing. i think of the cape on the "scarlet pumpernickel" and the baggy clothes on "robin hood" with daffy and porky. great stuff. probably my favorite director of all time.

-drew

8:33 AM

Elliot said...
I'm do not understand what overlap means in this instance.
Anyone happy to fill me in?

1:00 PM

Bobby P said...
Matt- Wow, Gadzooks man you got to work with Eric Goldberg!
Speaking of BIA, last time I checked the credit list it was a like an all- star list of 2D vets coming from every studio to WB's. Was it Anthony DeRosa supervising? Well, in any case, must've been a blast to work on.

1:23 PM

anthea said...
Great post! You definetely hit home with this one since my entire job consists of adding overlap to sleeves, hair etc. I have begun to see how important this step is to the polishing phase. Still trying to learn how to make a sleeve settle in a perfect arc.

6:04 PM

Matt Williames said...
indeed BIA was great to work on even though it was a 'not so great' film. Eric really took a chance on hiring me, i was real young and not experienced. but he gave me a shot, and i am very greatful. and yeah, i worked with Tony D a lot... i just finished working with him on curious george.

9:02 PM

Dr. Gordon said...
Elliot,

Overlap, Is a term used in animation. It refers to anything on a character that is affected by the primary motion of an object or body part etc...

Here is a great wiki definition...

Take the example of moving a character's arm from a position of rest to that of picking up a set of keys on a table. A common mistake would be to advance a few frames from the at-rest position, then move all of the arm elements (objects) to the final position. This technique would result in a very lifeless motion (because everything starts and stops moving at the same time). The proper sequence requires that the upper arm begins to rise first. Then the forearm pivots out, followed by the wrist bending back. Finally the fingers curl around the keys. Each of these motions begins before the preceding motion is complete, providing the realistic overlap that your viewer expects. In other words, the motion of the arm rotating upward is overlapped by the wrist bending back.

6:44 PM

Elliot said...
Cheers Doc Gordon.
I live in a small island to the south of mainland Australia and am very much removed from the industry I am actually a part of.
Thanks.

9:40 PM

Mark DeRidder said...
The scene of Woody coming out of the box in TS2 has always been my favoirite scene in both Toy Story movies. It blew me away when I first saw it and I love to watch it frame by frame. Good to know who actually animated it. Doug Sweetland is quite an animator.

Any other Doug scenes worth noting?

-Mark

设计理论咨询联系九域天地综合艺术中心设计资源中心