Animation Sinewave
The Dynamics of Animation Sinewave
a study conducted by mdf. escarcha
Two forces determine the dynamics of Animation Sinewave namely time and pacing. Time provides the parameters from which the material visually unfolds and reveals its total plan in terms of deployment to the immediate audience. Pacing, on the other hand, is dictated by the length of the dialogue, the length of description and the number of scenes and shots in a particular beat. Combining the two forces, pacing and time determines the rhythm of the material. This rhythm when plotted on paper on in a computer produces a pattern called the Animation Sinewave.
The Sinewave can be classified into two types, Symmetrical and Asymmetrical. A Symmetrical Sinewave exhibits identical ups and downs as you divide the material into the standard three acts. The peaks in each ups and downs are called conflict points while the rising and declining points are called end points. An Asymmetrical Sinewave exhibits an irregular ups and downs. Conflict points, as peaks, vary in placement the same holds true for end points. This is often called the "roller coaster effect".
In order to determine the Sinewave, one must be well versed with Beat Management. It is through proper Beat Identification that a story editor or writer is able to plot the sinewave of a particular animation material. In physics, distance and time determine speed. Applying the same principle, Sinewave is determined by the rhythm of the material. Rhythm is speed. And time and pacing, in this case, determines speed.
Making a parallel observation, using principles in physics, we can draw several laws of motion in terms of Animation Sinewave. For example, Sinewave is a function of motion, thus it is guided by the law of Inertia. Thus, motion will continue within the Sinewave as long as it is not disrupted. Disruption, therefore, in the sinewave occurs when the material faces obstacles that basically slows down the motion or stops the motion. Solutions to the said obstacles create motion.
In this regard with go to the second law of motion, Action and Reaction. Obstacles are actions within the material that affects the motion in the sinewave. The Solutions to these obstacles are reactions to the obstacles. The relationship between action and reaction is directly proportional. Meaning, an obstacle should be directly proportional to the solution. This is vividly illustrated in a cliche that "you don't need to kill a fly using a canon'.
Both examples illustrate that the same laws of motion that we learned when we took up Physics in high school and in college guide Animation Sinewave as a function of motion. Thus, when we try to plot sinewave on paper or in the computer, we see movements through the ups and downs in the sinewave itself.
Often, Animation Sinewave is used to convert materials for feature animation into short animation and vise versa. This is possible because one can visually see the material as it moves on paper or in the computer. The technique is a bit tricky but fun to do. It requires careful isolation of the conflict points from the end points.
My Neighbor Totoro, produced by Studio Ghibli, exhibits an asymmetrical sinewave. The conflict points and end points have varying placements. The highest peak is placed in the second act while the lowest peak is placed in the third act. Given this characteristic, one can make an educated conclusion that the memorable beats that gained the highest emotional reactions are found in the second act. Therefore, when we draw an imaginary line and connect the conflict points, one can see an escalating and non-escalating behavior in the movement in the sinewave.
Question, is there another set of dynamics besides Animation Sinewave? Yes, there is. It is called the Ripple Effect. Try to throw a stone into a body of water and observe the effect. Such effect has a mathematical order that can be translated in animation storytelling. I will reserve the discussion of this principle in future articles.
The dynamics of the Animation Sinewave is a subject in itself in the study of animation. It is a useful tool in plotting the emotional and physical movement of a material. It is said, mastery of the sinewave often leads to the efficient manipulation of the audience's emotion. Meaning, you are able to plot when and where in the sinewave your audience will hold their breathe, experience happiness or sadness as well as create a moment that provides an induced adrenaline rush. Sinewave is a powerful tool. In the hands of a master storyteller, it can make a common material into an icon whose function is timeless.
a study conducted by mdf. escarcha
Two forces determine the dynamics of Animation Sinewave namely time and pacing. Time provides the parameters from which the material visually unfolds and reveals its total plan in terms of deployment to the immediate audience. Pacing, on the other hand, is dictated by the length of the dialogue, the length of description and the number of scenes and shots in a particular beat. Combining the two forces, pacing and time determines the rhythm of the material. This rhythm when plotted on paper on in a computer produces a pattern called the Animation Sinewave.
The Sinewave can be classified into two types, Symmetrical and Asymmetrical. A Symmetrical Sinewave exhibits identical ups and downs as you divide the material into the standard three acts. The peaks in each ups and downs are called conflict points while the rising and declining points are called end points. An Asymmetrical Sinewave exhibits an irregular ups and downs. Conflict points, as peaks, vary in placement the same holds true for end points. This is often called the "roller coaster effect".
In order to determine the Sinewave, one must be well versed with Beat Management. It is through proper Beat Identification that a story editor or writer is able to plot the sinewave of a particular animation material. In physics, distance and time determine speed. Applying the same principle, Sinewave is determined by the rhythm of the material. Rhythm is speed. And time and pacing, in this case, determines speed.
Making a parallel observation, using principles in physics, we can draw several laws of motion in terms of Animation Sinewave. For example, Sinewave is a function of motion, thus it is guided by the law of Inertia. Thus, motion will continue within the Sinewave as long as it is not disrupted. Disruption, therefore, in the sinewave occurs when the material faces obstacles that basically slows down the motion or stops the motion. Solutions to the said obstacles create motion.
In this regard with go to the second law of motion, Action and Reaction. Obstacles are actions within the material that affects the motion in the sinewave. The Solutions to these obstacles are reactions to the obstacles. The relationship between action and reaction is directly proportional. Meaning, an obstacle should be directly proportional to the solution. This is vividly illustrated in a cliche that "you don't need to kill a fly using a canon'.
Both examples illustrate that the same laws of motion that we learned when we took up Physics in high school and in college guide Animation Sinewave as a function of motion. Thus, when we try to plot sinewave on paper or in the computer, we see movements through the ups and downs in the sinewave itself.
Often, Animation Sinewave is used to convert materials for feature animation into short animation and vise versa. This is possible because one can visually see the material as it moves on paper or in the computer. The technique is a bit tricky but fun to do. It requires careful isolation of the conflict points from the end points.
My Neighbor Totoro, produced by Studio Ghibli, exhibits an asymmetrical sinewave. The conflict points and end points have varying placements. The highest peak is placed in the second act while the lowest peak is placed in the third act. Given this characteristic, one can make an educated conclusion that the memorable beats that gained the highest emotional reactions are found in the second act. Therefore, when we draw an imaginary line and connect the conflict points, one can see an escalating and non-escalating behavior in the movement in the sinewave.
Question, is there another set of dynamics besides Animation Sinewave? Yes, there is. It is called the Ripple Effect. Try to throw a stone into a body of water and observe the effect. Such effect has a mathematical order that can be translated in animation storytelling. I will reserve the discussion of this principle in future articles.
The dynamics of the Animation Sinewave is a subject in itself in the study of animation. It is a useful tool in plotting the emotional and physical movement of a material. It is said, mastery of the sinewave often leads to the efficient manipulation of the audience's emotion. Meaning, you are able to plot when and where in the sinewave your audience will hold their breathe, experience happiness or sadness as well as create a moment that provides an induced adrenaline rush. Sinewave is a powerful tool. In the hands of a master storyteller, it can make a common material into an icon whose function is timeless.
posted by akira's nightmare at
1:39 AM
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