Headshake Overview

I did this overview of the headshake from the scene. Match it up with the planning sheet I posted if you are interested in the process of going from timechart to actual drawing. I am quite pleased with the flow of the mouth shapes in this part of the scene so that was just another reason to post this overview. Enjoy.

Here is the scene as it looks right now. Most of what is needed from now on is filling in drawings without killing the pace of it all. It'll hopefully be done at the end of tomorrow.

Adding the lip-sync

Adding the lip-sync from Frederik Villumsen on Vimeo.

It is time to start getting the mouthshapes on the keydrawings witht the accents. It is far from easy and it will take a few passes for me to get it right I think. I wanted to do a small part of it almost fully to get myself on the right track before starting to 'ruin' all my keys with unusable mouths. So I started from the beginning. Lot os things to keep in mind with this! Mood, wide-to-narrow, open closed! I think the art in this is to be able to make it believable with the least effort possbile, while supporting the mood and thoughts of the character. Here is what I have for now for the first bit.

Headshake Planning

From fr91 to fr111 I want a headshake. *I just like to think she, she...* is the dialogue for this bit and I think that a headshake would support his subtext very well. (see post about subtext further down on the page)
I will animate it from profile to 3/4 and it will be on 4s. A headshake on 4s means that he will shake his head 3 times in 1second, 25fr. I find it helpful to think this way when planning a headshake.
As you can see from the time charts I did, I am going to ease out from every key. Next week I will do a test to see the diference in doing the same headshake, but with ease ins instead. For this assignment I find that this is the best choice since it will help the lip-sync better along.
Check out the key drawings and timing of this in the video a few posts below to see how it works.

Eye Pass

The eyes will be an important part of the scene so I wanted to give them the time a day they deserve. After I got my acting beats down, while acting it out myself, I started to think about the flow of the eyes. Where should there be blinks? Where should they be open and closed? All this planning is saving me the pain of erasing faces, eyes and nicely drawn but wrong mouthshapes from my keys. It is pretty simple and doesn't take a lot of time or effort to do. I am very pleased with the results I am getting with this aproach and can only recommend you try it.