At parts during in the creation of the animatic I found it was easier to create rough drafts of the more complex animation sequences.
The scene in which one of the characters clings to his friends leg as he is dragged along the floor was particularly challenging, as it involved both a walk cycle and a full body animation of the character clinging on. I used a close up, low down camera angle to reveal the characters worried expression which added another area of difficulty to the animation. This meant I had to compromise on the shading that featured so prominently in the rest of the animation, and though I’m happy with how this shot turned out, I think the drop in consistency had a negative effect.
It’s this consistency of style that is so important in immersing the viewer in the animation. As film maker and animator David O’Reilly writes in his short essay ‘Basic Animation Aesthetics’ – ‘Attention to aesthetics gains an audiences trust, makes them forget they are watching a film and by extension feel any emotion you can think of.’1 This is the reason the highly detailed films of Wes Anderson are so immersive.
I believe this translates to animation on a much smaller scale also. It is for this reason that I intended to draw each line with the same stroke width, and use the same colour scheme throughout. However at various points I’ve betrayed this rule and I think this too had a negative effect on the animation.