The three-act structure is a model used in narrative fiction that divides a story into three distinct parts: the Setup, the Confrontation, and the Resolution.
Camera work can be categorised into three main sections:
A) The framing or length of the shot
B) The angle of the shot
C) The movement of the camera within the shot
Each of these elements contributes to the film’s mood, atmosphere, character development, and overall story. By analysing camera work, we can understand how the director manipulates and guides the audience’s experience throughout the film.
Act 1 The first act typically introduces the main characters and their circumstances within the world they inhabit. Later, a significant event known as the inciting incident or catalyst occurs, challenging the main character. Their attempts to address this incident led to a dramatic situation.
Act 2 Rising action typically illustrates the main characters’ efforts to resolve the problem introduced by the initial turning point. However, these attempts often lead to an increasingly difficult situation. The characters must confront their issues, even though they lack the necessary skills to handle the antagonistic forces they face. Throughout this process, the characters gain greater awareness of themselves and their abilities, ultimately leading to personal growth and change.
Act 3 The resolution of the story and its subplots occurs after the climax, which is the moment when the central tension of the narrative reaches its peak. This intense scene answers the dramatic question and gives the main character a new understanding of who they are.
In the 1940s, Disney established the foundation for animation principles, building on the work of Disney animators from the 1930s onwards. Their goal was to create more realistic animations that made cartoon characters appear to follow the fundamental laws of physics. At the same time, they aimed to address more abstract concepts, such as emotional timing and character appeal.
Squash and Stretch
Anticipation
Staging
Straight-ahead action and pose-to-pose
follow through and overlapping action
Slow in and Slow out
Arc
Secondary Action
Timing
Exaggeration
Solid Drawings
Appeal
The principles were introduced by Ollie Johnston and Frank Thomas, who were Disney animators. They created a book in 1981 titled “Disney Animation: The Illusion of Life.” If you’re a student or a fan of animation, I highly recommend reading this book. It not only provides a history of Disney animation but also explains the processes involved in clear, non-technical terms, covering the 12 basic principles of animation.
FRANK THOMAS & OLLIE JOHNSTON, STEPTEMBER 1912
What does each principle mean?
Squash and Stretch This foundational technique involves stretching and compressing character shapes to create the illusion of weight and volume, making movements more realistic and believable.
Example: The Bouncing Ball
FROM CARTOON ANIMATION BOOK BY PRESTON BLAIR
Anticipation This technique captivates the viewer just before an action occurs. It features a brief pause, building anticipation for what is about to happen. It holds power for a specific moment.
FROM THE ANIMATOR’S WORKBOOK BY TONY WHITE, 1988
Staging This involves arranging objects according to scene requirements. It’s crucial to present a scene in a way that conveys what is happening, taking into account composition, lighting, and camera angles.
WALT DISNEY ANIMATION STUDIO, STEAMBOAT WILLIE 1929PAGE FROM THE BOOK THE ILLUSION OF LIFE BY FRANK THOMAS & OLLIE JOHNSTON
Straight Ahead Action and pose-to-pose Sequential drawing involves creating frames one after another, while pose-to-pose animation focuses on establishing keyframes first and then filling in the intermediate movements. Both techniques are foundational and present advantages and disadvantages, but animators appreciate working with both methods.
THE ANIMATOR’S SURVIVAL KIT BOOK BY RICHARD WILLIAMS.
Follow-through and overlapping Action Follow-through and overlapping action both depict how the parts of an object move independently of each other. This method is particularly useful for animating hair and clothing, as it continues to show movement even after the primary action has stopped.
Slow in and slow out. Slow in and slow out describes how an object accelerates and decelerates. In the real world, things don’t just start and stop instantly. We animators must reflect this accurately. This enlightens how an object accelerates and decelerates. In real life, things don’t just start and stop instantly in the practical world. We animators must reflect this perfectly.
Arcs Arcs are represented by creating character movements that follow curves rather than straight lines. This concept is essential for producing fluid, realistic, and organic movement.
Secondary Action Secondary action involves the use of additional movements that complement a character’s primary actions, making the animation more realistic and engaging. This concept is essential as it adds depth and complexity, particularly when secondary actions are intertwined with the main action.
Timing Timing defines the pace of a scene and influences how characters move and interact with other objects.
Exaggeration It is an effective strategy for highlighting specific character movements, allowing observers to notice them. For instance, characters can move their arms and legs vigorously or exaggerate their facial features to convey intense emotions like anger.
Rabbit of Seville, Looney Tunes 1950
Solid Drawings Characters and environments can be perfectly represented through flawless geometric shapes, using the solid drawing principle as a strong foundation. To become an animator in a studio, it is essential to master key artistic techniques such as anatomy, shape, weight, and balance.
Appeal Creating flawless characters requires a strong appeal through their design, personality nuances, and realistic movements. Manipulating characters’ movements and using subtle facial expressions to convey emotions and personality is essential for expertise.
