Learning jump action form Ballet dancer



This study inspired by one of my friends. He shows me the Ballet dancer performance. The action was so attracted me, so I did the study. With this study, I am analysis how ballet dancer jump.




This study is base on the video reference below. I pick the keyframe to make a rough animation.

Alway cruise why the ballet dancer can look dignity. Today I know the reason.
They always chest up and face looks front. even some anticipate before jump needs a hard force, they still chest up.


My note for this movement :
An interesting thing I notice compared to the normal the ballet dancer using more they leg to leading toward the whole body, for instance, the frame 4.5.6. she swings her right leg very hard. using the centrifugal force to lead the whole body in the air.

The arms kind of just a secondary support. In frame 3 its push down to preparing the jump. And the 6.7. pull up very hard in order to support the jump.

The cushion in the dancing really small and smooth.


















Based on this Ballet video reference :










Other video references:






Comments

Post a Comment

Popular posts from this blog

Note from a Klaus animator's interview

Image
Today I join an interview host by CGMA. They have invited the 3 animators from the movie Klaus. They are Cécile Carre , Simone Cirillo , Giovanni Braggio . They are all the animator I really like in the movie or as an artist/ animator. Really glad to have this interview and really inspired what they are talked. Here is some of the note I did in the interview. ___ Usually, in the studio, you will be assigned a sequence which is mean you will be give many shots that is connected. Think about those while planing those shots: What happens around the shots? What moment are those shots want to deliver? What is the use in the movie? Where is the big importance in the shot?  How the director wants you to communicate? How I want to show around those shots? Push more on the important one and release it on the others. Find a good balance between each shot. This is not about showing off your skills. It is about what the shot wants to describe In the production: shooting ...
Read more

How to explore the emotion and using in my animation

Image
Some note for the video. This video is talking about how to explore the emotion and using in my animation. I think the biggest point and biggest challenge is to find a spontaneity action. Spontaneity action will make people feel more genuine, fresher. We need to find the Singularity acting which is : It isn't wired and doesn't make sense to people It is something simply shows out of common which is mean is unique and creative acting The process when we making character animation : 1. familiar with my emotion, normalize them and bring to surface(the shot) Let myself become the character feel the as same as the character feel it in your own body(emotion) 2. act the emotion when planning the shot(video reference, 2d planning) find the uniqueness avoid cliche which is mean the acting every will do shot the video reference, don't need to hit the beat in when you shot it. play the audio and feel it to act it out. do several times and find the uni...
Read more

講座筆記｜設計思維

方序中 在製作一個專案時，我會想著這個專案的個性，用最能表現出它個性的方式來做設計。 Ex: 北流: 音樂- 活潑、金馬: 電影- 浪漫、金曲: 看的見的音樂- 節奏感的傳遞。 討論之前會先想像客戶的需求是甚麼，在溝通/提問的過程觀察每個細節，發覺客戶的痛點、需求 字體很重要: 「改字」是附加個性和需求，但要避免畫蛇添足、「造字」就是圖像化，讓視覺變得更多元 如何在設計中成長: 多看 ->多想 ->多做 為公部門做案子，不只是讓更多人看到，也是練習在讓在大眾都看懂的條件下構思設計、美感的可能性 現在找答案的過程太簡短，如果能再發想階段(找尋答案的過程中)發掘更多的可能會是很好的。切記要享受過程、享受失敗 勇敢的提案，不要限制每個案子發揮的極限。 提案會提，三款方向:  1. 客戶期待的樣子 2. 設計師聽完需求思考過的 3. 天馬行空，一想不到 大膽許願(假設)，想跟誰合作、想要用什麼手法創作 時間: 70%想像整理，30%電腦前製作 廖小子 未來設計會更重視個人的素質、創意和美感 不好辨識的曖昧邏輯，是現代非常有趣的技法。設計有著不好辨識的外型，但只會出現在特定地方，讓不好辨識可以很快地跟特定之物產生聯想。 找到設計的限制同時，自由也就會出現 敏捷式開發。從草稿開始就密集的跟客戶討論，先求有再求好，有東西就先給客戶看，有了回饋在繼續開發。減少後期修改的機會，換句話說就是在可接受損失的範圍內和客戶密集的溝通。 與客戶膠著狀態如何應對? 從談判中觀察你和客戶在哪些區域可以妥協，從中找到平衡共識 (原:觀察甚麼時候客戶比你敢，甚麼時候你比客戶敢)。如果還膠著就在花多一點時間想，如果客戶都不怕等了你幹嘛怕等 1. 認真告入別人的底線，甚麼時候要有回饋，並說明後果.。這些在合約裡面要說清楚，修改次數，幾天要有回饋等等 2. 如果是畫面上的膠著，透過更仔細的對談來討論出修改方向。可以提出接下來畫面會怎麼修改，並讓客戶理解 簡報就像是一場秀，要把作品可以帶出的感動傳達給客戶，在簡報的時候是要人看著講話的你，不是簡報。 現在處於一個反應的時代，要點在於你能不能回應於快速變遷的時代。盡情的對於當下的時代/世界做出反應，並表現出來。 不要失去初衷，永遠記得設計帶給你的東西。不一定要做設計，但一定要找到一個自己喜歡做的事，並持續對世界保持好奇的態度。 劉耕名 一個字...
Read more