Rough Blocking stage perhaps to take fewer steps, but from my point of view, it is the most important.
Once an organizer told me that :”The objective of the rough blocking is that until a child of 6 year old will understand it, as if it was a comic book… ” (I don't know if he was referring to directors )
Basically what is being sought is to understand your plane the first reading and printing with a minimum of poses …One shot, one frame!
In summary, the purpose of this phase is to seek:
Those are my steps:
1. Prepare the initial staging : Colocad a vuestro personaje en la escena teniendo en cuenta la geografía, addresses of body, eyes and general composition (hook ups) based on the information you give on the storyboard, the preview and the adjacent planes.
2. Do the Golden Poses : As a result of your planning, create the main narrative poses or “Golden poses” to define your characters choreography , marking every detail and facial and paying special attention to the composition, silhouette and line of action.
3. Do a rough timing : Place these poses in the accents (beats) defined without tune too (just to have the organized poses).
4. And…That's it!
Once finished, you have to ask yourself if your concepts are working :
• Intention and message : Do your Rough Blocking summarizes the intention of the director and the message and purpose of the plane? Does your shot work in the sequence?
• Character : Does the pose correspond to the character of the character? his anatomy, his limitations?
• Action : Do we understand perfectly what the character is doing and transmitting on this moment?
• Mood : Do we understand how the character feels and what is he thinking? Are you transmitting the poses you've planned?
• Style : Do the poses corespond to the style of animation?
If you didn't get to thoses previous concepts, here you have a toolkit to fix it :
LAYOUT or STAGING
From the information you get:
• Hook up : Have you checked the hook ups (hook ups)?
• Body Direction : Have you checked the direction of body?
• Eye direction : Have you checked the direction of eyes?
• Aspect Ratio : Have you checked what is the format of the image?
• Position : Have you checked the position of the character on stage?
The information that you guys put your planning:
• Clarity & Simplicity : Have you composed your plane so that the movement be read simply and clearly?
• Focal Point : Have you checked the foci of attention and where to take the eye of Viewer?
• Negative Space : Have you checked the negative spaces?
• Composition : Have you checked the elements of composition : lines, volumes, texture, illusion of space?
• Framing : Have you checked the relationship with the framing and other objects coming?
• Choreography : You have worked the position of the characters and used their actings to reinforce the relationship between them?
POSE (See POSE)
• Forces : Have you found the power centers and the external forces and transmited through the line of action the intention of the character?
• Physicality : ¿Habéis comprobado la solidez del body dynamic y marcado los ángulos del torso y los hombros en función del peso, balance and fulcrums?
• Design : Have you maintained a harmony in the pose, avoiding twinning, tangents?, In other words : Do your pose has appeal?
• Contrast : Have you worked on the silhouettes and negative spaces in order to have clear and simple poses?
• Exaggerated : Have you exaggerated enough your poses, falseando si es necesario y usando el squash & strech?
• Entertainment : Did you use all the parts of the character to transmit your intention?
TIPS & TRICKS
• Al principio de mi rough blocking, frame each 5 frame which allows me to get me the timing and concentrate only on the poses.
• Suelo trabajar en esta fase con las curvas en Step y marcando clave a todos los controladores del personaje (Full Key).
• Al trabajar con varios personajes, frame them full key in the same frame to maintain my clean blocking, especially when 2 characters interact.
• Los personajes del fondo pueden tener claves con un timing diferente desde el momento que no distraigan.
• Evito poner constraints al menos que tenga muy claro como los voy a trabajar o que sea necesario.
• Trabajo los brazos en FK para asegurarme que la pose esté bien construida.
I hope that was usefull…