Unit 4 : Human Biped "Take"

In this unit, we are exploring the reaction shots of a human character and understanding the details and subtleties of human emotions. In order to capture a realistic and authentic reaction, we go further into detail and the fundamentals that are presented in a human character. This involves numerous challenges, as the face and body display a wide range of emotional subtleties and definitions. Mastering the creation and interpretation of these expressions is essential for capturing a compelling and convincing shot.

This shot differs from the previous one by emphasising the human facial expression, while still integrating body language effectively. The body must contribute to the reaction and the eyes and mouth must be exaggerated effectively to convey such a reaction to the audience (Whitaker and Halas, 2009), as you naturally look at the eyes first. I began by becoming familiar with the "Willy" rig created by Mathew Moore. The rig is well designed and very thorough with controls, making the character very easy to navigate, as well as having a cartoon comic style to it. I went through the controls and adjusted the settings what I knew would work for me, for example, turning on the visibility of facial controls and eye constraint controls. I also adjusted the hat on the head of the character, as it was partially covering the eyebrows, and I wanted this feature to be clear.

Once I had the rig set up and the project file, I considered how to approach this shot with everything I have learnt so far and what I have learnt in this unit.I needed to recall the goal of this exercise, which is to develop a human biped take and to concentrate on subtleties rather than exaggerations. A "take" is referred to as a reaction shot in the acting world that can often be dramatic or comedic and adds a layer of depth and connection with the character to the audience, it also relies on timing and to an extent exaggeration (Whitaker and Halas, 2009). So the first thought I considered was what kind of reaction shot I wanted to showcase. Is this character happy, sad or angry? Where is the character and what are they exactly reacting to? As this is a very short scene, the reaction and narrative had to be effective and simple. From a previous exercise, I had used a modelled theatre set from TurboSquid, and was inspired to use it again for this shot. Having the set now, I wondered what the character was reacting to. I questioned myself again: is this a happy play, a tragic play, or a scary play? Since the camera won't capture the events on the "stage," I needed to consider how this character would begin and end, to show they were responding to a moment on stage. I believed that a happy reaction wouldn't be compelling enough for the narrative, nor would a sad one. However, a frightened reaction could be impactful, particularly if something like a sound or effect occurred on stage.

Therefore, it was decided that the character is enjoying the moment, having fun watching a play. Suddenly, something frightening occurs, causing the character to nearly jump out of their skin! They look around for reassurance and try to collect themselves.

Now that the storyline had been finalised and some rough sketches were created, I began the animation, following from the theory to work in an effective manor. Firstly, I outlined the key poses, which goes as follows:

1. Starting position - character is happy and content

2. Anticipation - position of the character goes down after the effect happened on stage to emphasise reaction

3. Accent - the highest and most exaggerated position of the reaction

4. Squash - showcasing the after effect of the reaction

5. Overshot - position to show the feeling of the reaction

6. Settle - final position of character looking scared and concerned

   
   

These are principles we learnt in the previous exercise but are fundamental to creating an effective reaction shot, as well as breaking down each element in such a quick moment. Anticipation is an essential element of animation that effectively conveys a character's actions. It captures the audience's attention before the action occurs (Whitaker and Halas, 2009), ensuring they notice and comprehend the action as it unfolds, regardless of its speed. Without it, animations can become dull and lack excitement. The final position is what the audience observes and connects with, making it crucial to fully express the character's emotions on their face at this point (Whitaker and Halas, 2009).

Taking all these principles into account aids in crafting this "take" shot, allowing me to concentrate on the characters' expressions. The crucial aspect is researching various facial expressions to determine which emotions are communicated through the positioning of the eyebrows, eyes, and mouth. Even a small shift in position can entirely alter the character's reaction. In the first unit, we created expressions using a flour sack, which I kept in mind for this shot, along with observing other elements.

Final shot

I used the theatre set from Turbosquid, which I had also used in my previous project, because it is well-designed and effectively helps to establish a mood. Moreover, I added lighting for the "jumpscare" moment and animated the light to dim, turn off, and then back on again.

I'm pleased with the result of this brief animation and how it transitions from one emotion to another using only a few frames. I'm also fond of the eye movement, as I concentrated on achieving that "dart" effect. To enhance it, I might adjust the lighting brightness to soften the contrast. Additionally, I could refine features like the hands to add more depth and weight to the animation.

Bibliography-

Whitaker, H., Halas, J. and Sito, T. (2009). Timing for Animation. 2nd ed. New York: Focal Press.