Unit 10 : Pantomime

In this unit, we examine how to express narratives and emotions through body language to effectively convey a character's thoughts. We have previously explored pantomime in earlier units, but here we integrate the concept of pantomime and mime with 3D animation techniques and methods to create emotionally resonant narratives.

Pantomime involves acting out emotions and actions without using words. This is a crucial concept for animators, as we must first effectively express a character's motion and emotion, followed by dialogue (if used). Understanding various body languages and expressions, personality, and how a character would convey an action or reaction to reveal traits is essential. Text, and even more so subtext, is vital in creating engaging animation, forming a universal language.

In this exercise, we are to create a short animation that depicts a characters emotional response or narrative. I took time to consider this exercise, I wanted to create a whimsical, comedic shot using the Willy rig, and emphasis his reaction.

I sought inspiration from visually driven actors like Charlie Chaplin, Laurel and Hardy, and Rowan Atkinson as Mr. Bean, who are icons in the physical comedy genre. I have a deep appreciation for physical comedy, and Rowan Atkinson greatly influenced me. Mr. Bean, a naive character who often finds himself in troublesome situations due to his childlike intentions, communicates primarily through body language and gestures, mumbling and grumbling along the way.

I imagined Willy innocently finding himself in situations he wasn't ready for, which would scare or shock him, leaving him unable to respond. I also aimed to use his cartoon-like style to add a comedic touch and amplify his reactions.

I sketched a few thumbnails of the concept -

Willy is happily climbing onto a frame, taking in his surroundings and savouring the moment. As he approaches the edge, he once again looks around with joy and contentment, fully immersed in the experience. Then, he glances down. It is at this point that he realises where he is and what is about to occur. Although he was aware of the height, its magnitude surprises him. In disbelief, he looks away, takes a moment, and then peeks again to confirm if it's as daunting as he initially thought. It is. He steps back and freezes completely. The camera then pans out to reveal the impressive height of a diving board at a swimming pool, appearing almost comically and unrealistically tall.

Thumb-nailing and storyboarding have become more frequently practiced in this module, and I understand why it's so important to plan each animation. I then proceeded to blocking, incorporating the extreme or accent poses, along with key poses, to establish the timing, and camera angles.

Initial blocking

I intended to establish solid blocking to clearly convey the narrative. Once I felt the timing was natural, I added the in-between poses and breakdowns. I aimed to incorporate key animation principles such as anticipation, reaction or "take," overshoot, squash and stretch, and then settling. This approach helped me capture the essence of the animation and depict the character as shown in the thumbnail sketches. I then moved on to refining, which involved adding facial expressions and smoothing out tangents to create fluidity and weight for the character. I concentrated on the timing for this shot, as I wanted Willy to react and then pause before slowly "peeking" over the edge. I really wanted to emphasise this moment.

Blocking with in-betweens

Final Animation

I'm pleased with this animation and consider it my best animation so far on this module. I incorporated models from TurboSquid and CGTrader, along with an HDRI skydome, to enhance the shot with colour and atmosphere. I also feel confident in my understanding of pantomime and the typical methods and practices involved in planning an animation, demonstrating that it's a crucial element in crafting strong, emotionally driven characters and narratives.