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"Is CHILDHOOD always the best time ?”
13 years ago
Staging is the presentation of an idea so it is completely and unmistakably clear, this principle translates directly from 2D hand drawn animation. An action is staged so that it is understood; a personality is staged so that it is recognizable; an expression so that it can be seen: a mood so that it will affect the audience.
To stage an idea clearly, the audience's eye must be led to exactly where it needs to be al the right moment, so that they will not miss the idea. Staging, anticipation and timing are all integral to directing the eye. A well-timed anticipation will be wasted if it is not staged clearly.
It is important, when staging an action. that only one idea be seen by the audience at a time. If a lot of action is happening at once, the eye does not know where to look and the main idea of the action will be "upstaged" and overlooked. The object of interest should contrast from the rest of the scene. In a still scene, the eye will be attracted to movement. In a very busy scene, the eye will be attracted to something that is still. Each idea or action must be staged in the strongest and the simplest way before going on to the next idea or action. The animator is saying. in effect, "Look at this, now look at this. and now look at this."
In Luxo Jr., it was very important that the audience was looking in the right place at the right time, because the story, acting and emotion was being put across with movement alone, in pantomime, and sometimes the movement was very subtle. If the audience missed an action, an emotion would be missed, and the story would suffer. So the action had to be paced so that only Dad or Jr. was doing an important action at any one time, never both. In the beginning of the film, Dad is on screen alone your eye was on him. But as soon as Jr. hops on-screen, he is moving faster than Dad. therefore the audience's eyes immediately goes to him and stays there.
Most of the time Jr. was on-screen, Dad's actions were very subtle, so the attention of the audience was always on Jr. where most of the story was being told. If Dad's actions were important, Jr.'s actions were toned down and Dad's movements were emphasized and the attention of the audience would transfer to Dad. For example, when Jr. looks up to Dad after he's popped the ball and Dad shakes his head, all eyes are on him.
Another idea developed in the early days at Disney was the importance of staging an action in silhouette. In those days, all the characters were black and white, With no gray values to soften the contrast or delineate a form. Bodies, arms and hands were all black, so there was no way to stage an action clearly except in silhouette. A hand in front of a chest would simply disappear. Out of this limitation, the animators realized that it is always better to show an action in silhouette. Charlie Chaplin maintained that if an actor knew his emotion thoroughly, he could show it in silhouette.
In The Adventures of André and Wally B., André awakes and sits up, then scratches his side. If he were to scratch his stomach instead of his side, the action would happen in front of his body and would be unclear what was happening.
Sources : Internet
To stage an idea clearly, the audience's eye must be led to exactly where it needs to be al the right moment, so that they will not miss the idea. Staging, anticipation and timing are all integral to directing the eye. A well-timed anticipation will be wasted if it is not staged clearly.
It is important, when staging an action. that only one idea be seen by the audience at a time. If a lot of action is happening at once, the eye does not know where to look and the main idea of the action will be "upstaged" and overlooked. The object of interest should contrast from the rest of the scene. In a still scene, the eye will be attracted to movement. In a very busy scene, the eye will be attracted to something that is still. Each idea or action must be staged in the strongest and the simplest way before going on to the next idea or action. The animator is saying. in effect, "Look at this, now look at this. and now look at this."
In Luxo Jr., it was very important that the audience was looking in the right place at the right time, because the story, acting and emotion was being put across with movement alone, in pantomime, and sometimes the movement was very subtle. If the audience missed an action, an emotion would be missed, and the story would suffer. So the action had to be paced so that only Dad or Jr. was doing an important action at any one time, never both. In the beginning of the film, Dad is on screen alone your eye was on him. But as soon as Jr. hops on-screen, he is moving faster than Dad. therefore the audience's eyes immediately goes to him and stays there.
Most of the time Jr. was on-screen, Dad's actions were very subtle, so the attention of the audience was always on Jr. where most of the story was being told. If Dad's actions were important, Jr.'s actions were toned down and Dad's movements were emphasized and the attention of the audience would transfer to Dad. For example, when Jr. looks up to Dad after he's popped the ball and Dad shakes his head, all eyes are on him.
Another idea developed in the early days at Disney was the importance of staging an action in silhouette. In those days, all the characters were black and white, With no gray values to soften the contrast or delineate a form. Bodies, arms and hands were all black, so there was no way to stage an action clearly except in silhouette. A hand in front of a chest would simply disappear. Out of this limitation, the animators realized that it is always better to show an action in silhouette. Charlie Chaplin maintained that if an actor knew his emotion thoroughly, he could show it in silhouette.
In The Adventures of André and Wally B., André awakes and sits up, then scratches his side. If he were to scratch his stomach instead of his side, the action would happen in front of his body and would be unclear what was happening.
Sources : Internet
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