Finally, here's part 2. This is about honesty in acting, and is primarily a method to employ while filming yourself for animation reference and includes an example of my work and some embarrassing clips of myself. Enjoy.
When working on The Tale of Despereaux, we were encouraged to act our shots out and then to show this reference to the director, Sam Fell, before starting to animate.
As context is important in the following example, I should give you some back story. A rat called Rosscurro has convinced a servant girl, Mig, to abduct a princess named Pea. Roscurro, through a series of events has turned from a hero to a bitter villain, hell bent on punishing someone, specifically the princess, for the ill-treatment he has received. He has told the naive Mig, that if she abducts Pea and locks her in the dungeon, she can become the princess in her place, when in fact this is untrue and he intends to trap both of them in the dungeon.
In this sequence the three characters are walking through the cavernous and deserted dungeons, Rosscurro is on Mig's shoulder and talking into her ear. The terrified Princess, who is bound up and held at knife point by Mig is screaming, and in this shot Roscurro says to Mig, who repeats everything he tells her, "Tell her it's no use, no one can hear her".
Here's one of my first takes, I decided at the start of the shot I would look toward Mig, and that for "tell her it's no use" I would try a dismissive gesture, then look toward the princess for "no one can hear her" while giving a fierce point.
There are many things I didn't like about this performance. Firstly, I'd given myself too much to do in the time I had (a common animation mistake), and I was struggling to fit in both the dismissive gesture and the point. Also, pointing is one of those animation clichés that it's best to try and avoid. This performance was very 'on-the-nose', so I decided to try a different approach.
Shooting this was still a valuable experience, as I could see straight away that those ideas were not going to work well. To animate the performance and discover that, would've taken days, here I was able to see very quickly that this was not as strong as I thought it would be.
This is footage from another take, this time I decided I wouldn't try to plan what I was going to do, I would just switch the camera on try and put myself in the mind frame of the character and see what happened. I also decided to concentrate on the subtext of the dialogue which was "so what, nobody cares" .
When I shot this I thought that I wasn't really doing anything and so this would be uninteresting and unusable, but when I looked back over the footage I was surprised to see I had been doing more than I thought and the performance seemed to work better than the last take. First of all, the action was much simpler - no hand gestures or excess information, but it was stronger for it, my body posture at the end was simple and clear, and seemed to be conveying what the shot was about, bitterness and disinterest. I had turned away from who I was speaking to, this is something I probably wouldn't of planned, it's customary to have your character look to whom they're talking to for clarity, and usually if a character is angry, you'd think that they would stare at the source of their anger. But in this shot, even though he was angry, he wasn't incandescent with rage toward the princess, in fact he was detached and uncaring about her, and her cries for help. Therefore, since he didn't care about either who he was talking to, or about, it made sense that he looked away and clarity wasn't a problem as there was no one else around, a point he was making in the dialogue. I subconsciously, did a little shrug during, "no one can hear her", it was subtle but was something that I could exaggerate in animation. There was also an eye shift around "hear", another thing I did subconsciously but which also made sense for the shot. My facial expression seemed to fit better as well instead of just anger, I had a more specific, surly sneer.
Here is my first, stepped key, block of the shot -
And here is the finished animation, rendered simply -
As you can see, apart from the adding of the vertical motion of Mig as she walks along, the shot hardly had any major revisions as it went through animation. I copied my performance, while exaggerating certain things, like the shoulder shrug as well as attitude in body posture. It was one of the most straight forward shots for me to complete on Despereaux, and although far from perfect, I believe it's one of my most successful. Sam Fell actually commented how strong the attitude was in it, which was very satisfying.
If you've ever tried to film yourself for an animation you're planning, and have had preconceived ideas about what you'd like the character to do, you quickly discover how hard acting is, to keep your mind on giving a performance while also concentrating on what your body is doing is extremely tough. I have a great respect for people who can get their bodies and face to do precisely what they want when acting out reference. Jeff Gabor is a great example, his Horton Hears a Who comparison reel is incredible, his ability to act what he wants to animate is very impressive. However, I find this method, even when done well, can lead to the result feeling unnaturally acted, rather than something more honest. Much better, I think to ignore what your body is doing, try and feel what the character is feeling, concentrate on the subtext, and see what happens.
Working on Guardians of Ga'Hoole I'm using this approach a lot, and my lead, James Cunliffe is showing me further techniques, like shooting with the dialogue slowed down or doing a couple of passes, the first one this, sub-conscious, 'honesty' pass then, shooting more reference this time concentrating on the physicality of the performance. Then you can use both to make a very strong piece of animation ... but more about this another time.