Action Analysis Class - July 26th, 1937 (II)
The last of this bunch of Action Analysis Classes, this one brings us Don Graham's (and, indirectly, Walt Disney's) interesting views on rotoscoping and the use of live action. This has direct application in today's world, with MoCap films nominated for Academy Awards. Pages 7 and 8 should be required reading for Academy voters...
Comments on rotoscoping also from Stan Quackenbush, J[acques] Roberts, Snyder, John Elliotte, [Walter F.] Clinton and Les Novros. Note also that [Dick] Anthony says "...they're going to give us the deer now" - Bambi was on the table, but Pinocchio was decided upon at the last moment.
Don Graham notes that "to learn to animate you have to animate", and that "Spencer, Thomas, Woolie and Quackenbush" got to animate rather quickly. The lesson ends with a look at the High Jump...
Comments on rotoscoping also from Stan Quackenbush, J[acques] Roberts, Snyder, John Elliotte, [Walter F.] Clinton and Les Novros. Note also that [Dick] Anthony says "...they're going to give us the deer now" - Bambi was on the table, but Pinocchio was decided upon at the last moment.
Don Graham notes that "to learn to animate you have to animate", and that "Spencer, Thomas, Woolie and Quackenbush" got to animate rather quickly. The lesson ends with a look at the High Jump...
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posted by Hans Perk at 2:00 AM
5 Comments:
This is GOLD . "Thank you" many times over for posting these.
The comments about rotoscope are , of course, most relevant considering the present ascendancy of "Mo-cap" as a proposed replacement for real animation.
I have all these Action Analysis notes, and I went through them all years ago. I guess it's time for me to start reading again. The information is so poignant to today's animation world.
Thanks so much Hans for posting more of these notes - there is so much insight and knowledge to be gained, plus it's extremely inspiring - it really gives a sense of being among these pioneers and hearing how they developed this amazing medium to such a high level even in its infancy.
This is so vital. Putting it back to the animators, the creators, to raise the bar to prove the fallacy of the 'improvement'. Looks like Pixar is on the right track, once again.
Now, if only 2D artists could do the same, and explore what only moving drawings can do...
By the way, my guess is that the Anthony mentioned was layout and background man Dick Anthony, but it could also be Berk Anthony, who started as Kimball's assistant. Maybe the employment records could clear this one up...
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