chapter 3- acting -ll

7/28/2019 Chapter 3- Acting -Ll

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Nathanielle Concepcion

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First thing we have to realize: there are nopredetermined or default acting kits foryour characters.

If you dont place your all on the actingphase of your script, you may have anawesome animation, but at the end thething`s going to collapse.


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In this phase, what were trying to accomplishis to give our character realistic moods,temperaments and personality.

We have to make believable the message andemotion the character is treating to us.

The meanings of the words HAVE to goaccording to the emotion the character is

giving out to comprehend.


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At the end of all, it doesnt matter how goodthe animation is, if the script base is badenough, you fail, and if your characterization

is also bad, then congratulations, you justFAILED.


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There is one important aspect of a greatfilm:

The script

If one does not manage to built a goodenough idea for the script, even with a morethan great sequence of animation, it will notsucceed.

Table of contents:

Good idea+ Bad animation= Good film

Bad idea+ Good animation= Bad film

Good idea+ Good animation= SUCCESS! :D


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In order to get a great performance for agreat animation for GREAT film, you shouldalways have in mind this when getting out

the most of your character: Know your character

Empathize with your character

BECOME the character


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Great animation can not save a poor voiceperformance; however, there is nothing morecertain to kill a first-rate voice performance

stone dead than poor animation. It not just about mixing sound into a

sequence, its to make it come to life alltogether and making the spectator believe

in it.Dialogue is necessary to create a believable

film of animation.


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Of course, there are some exceptions

For years these two have managed tocaptivate audience without saying a word

except for the Roadrunner`s beep-beep.


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In order to create believable animation anddeliver a convincing performance you mustconnect with your audience, and the only

way to do that is through your characters. Before your audience can empathize with the

characters, you must understand them andempathize with them.

We will always place a bit of us in ourcharacters, some times even the things wedislike the most, but thats what bringsaudience, the effort of giving your full.


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Much of the physical acting we see inanimation depends much less on the outwarddisplay of subtle actions driven by complex

thoughts and emotion. The physicality of animation acting is most

evident in cartoon animation.

It depends on your technique, kind of script,

and dialogue.


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Psychological acting and the actions thatresult from it are expressive of thoughts andemotions, and often entail much less

dynamic movement. The incremental movement of the figure

within this type of action demands morerefined work, involving far less

differentiation between frames.


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The shifting emotional tensions within theanimation should be reflected in the dynamicof the sequence and the phrasing of theanimation.

The pace of the animation is establishedbefore the animation begins, and isdetermined by the storyboard and therecorded voice track.

A suspense or terror intended scene would beruined if the timing of the animation is toofast, as it could also ruin a comedy scene istiming is too slow.


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If the sequence moved at a continuousbreakneck speed or plodded alongrelentlessly at the same pace, then theaudience would lose interest.


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chapter 3- acting -ll

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