Hook ups
When I started working at Blue Sky, one aspect (out of many) that was brand new to me was the hook up. My entire time at school I was never exposed to hook ups, and at no point did I have to practice it. As a matter of fact, it never even crossed my mind.
You might ask, "What is a hook up?" Well basically in a movie you get a shot to animate. That shot is one of many that make up a sequence. That shot's starting point and end point have to match up with the shots before it and after it. The matching of start poses and endposes between shots is called a hook up.
So what makes that so hard? Well sometimes you get a shot where the shot before yours, and the shot after yours has already been animated. So now the first pose and last pose in your animation has been predetermined by someone else. That makes for limiting factors in what you can do.
It also makes for a bunch of interesting challenges. For example, how do you convey the message you need to convey, in a believable way, with the starting point and end point predetermined? Is there anyway that I can change the pose and still have it read as a hook up? What are the main things the audience needs to read for it to feel like it flows believably between shots? How much leeway do I have in my hook up if there is a cut away shot between the hook ups?
Something to think about I guess...
You might ask, "What is a hook up?" Well basically in a movie you get a shot to animate. That shot is one of many that make up a sequence. That shot's starting point and end point have to match up with the shots before it and after it. The matching of start poses and endposes between shots is called a hook up.
So what makes that so hard? Well sometimes you get a shot where the shot before yours, and the shot after yours has already been animated. So now the first pose and last pose in your animation has been predetermined by someone else. That makes for limiting factors in what you can do.
It also makes for a bunch of interesting challenges. For example, how do you convey the message you need to convey, in a believable way, with the starting point and end point predetermined? Is there anyway that I can change the pose and still have it read as a hook up? What are the main things the audience needs to read for it to feel like it flows believably between shots? How much leeway do I have in my hook up if there is a cut away shot between the hook ups?
Something to think about I guess...
5 Comments:
try game animation some time. nothing but hook ups! it does really force you to really analyse your poses though.
It's very similar to games where everything is a cycle so all moves have to match up seemlessly to the start/end pose. I do remember some instances where the start pose is different from the end pose and I really did feel it felt "limitinig." Interesting. I never realized that a similar issue can come up in a film, although it makes total sense to do that occasionally. And don't listen to the guy above: he hooks up constantly and leaves you with the undesireables at 2am. HA!
Yeah, sometimes I think it can help you plan your shot though, because your scene is already setup, and you have a clear destination.
Of course, it's much nicer when you get shots that are back to back, because you kind of have control of the cut in the way. Rather than editing to the action, you get to act to the edit and come up with a move to cut on.
Great little bit of information! Thanks!! :)
great insights, i think AM has something in store to help us students cope with these kinds of things for the future. there are so many things that come up in a job that you dont learn in school.
Post a Comment
<< Home