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Hi, everybody, welcome to the first video tutorial service tutorial，April 2005. my name is Keith , I am your host for this evening or this morning depends on when you download the file. Anyways the first topic we are gonna cover in our tutorial services is posing. We are gonna cover posing for a while. There is a reason why I'm gonna cover posing for a while, because it's really important. In fact I'm of the mind that posing is probably the most important thing you can do in animation, everything else is gravy. I’ve got somebody to back me up on that Ham luske is one of the nine old men. Who is past on now, but he was one of the nine old men at Disney. And he has a quote here for animation. He said your animation is only as good as your poses. You can have good timing and good overlapping action, good follow through, but your poses are not strongly into the point meaning telling story, you don't have good animation. I believe that's very true, i see a lot of emphasis on polish in the cg animation these days. I see a lot of emphasis on making sure that lots little things are ok, either overlaps and stuff, but the things it's lacking is a sense of good posing. Understanding what communicates a character, in every image of pose could be an illustration. It has to be an illustration. It has to read instantly, it has to be something that you get right away, and the thing about posing is that it's the gateway to character, and because it’s the gateway to character, that is the gateway to telling your story. They say that stories is king, story is not necessarily king. It’s more like a prince, crown prince perhaps, but the only reason that story means anything to us is because we care about our characters. If we don't care about our characters we don't really care about what happens to them, therefore the story is meaningless. Let’s take a look at the letters here, there is two things allow you to understand the character and they are found in the pose. Those two elements are appeal and emotion. Come from two sides of the same coin: the first part of the pose has to be appealing, appealing doesn’t necessarily means it's fuzzy bunnies with big brown eyes and looks cubical all, appeal just means something that people can respond to. They are naturally drawn to, they can look at character immediately identify who they are and have the structure within themselves to understand what the characters thinking. Good character design is very important for this. That’s why some of the best characters and simplest ones because her easy to read immediately and figure out: hi, I know that person, or i can at least recognize that person, and i can tell the difference between when they are sad, when they are happy. That’s why stuff like Wallace and Gromit is great. Gromit, the dog has absolutely no mouth whatsoever to work with. It because he so easily understandable from his appeal we can understand exactly what he is talking about while he is not even talking. And that appeal is a gateway to understanding their emotion and that emotion shows who they are as a character. So emotion has to be able to be something that you can draw out of a characters and so we can understand who they are. So appeal and emotion together are our elements of the pose and the character is in the pose. Buzz holds themselves differently than woody, shere khan holds themselves differently than bagheera, moakley holds himself differently than blue and it's just a single image can communicate this entire thing, and it's only appeal in communicating emotion, and there is your character.......
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