Second Pass

Ok, Second pass. I laid in my next pass of keys. I call them lesser keys, which consist of other anticipations,& keys, which I felt could be left out without losing too much in my 1st pass. Like I said in class, many people will have their own opinions on the exact label of a pose as it relates to keys, breakdowns, some of us have sub-catorgories. To sum it up it's a way to go from the Macro to the Micro, working from the Bigger idea down to the fine details, work-flow or in this case- AKA Pose to Pose one of the Principles. As long as you are clear on the pose and what it is doing to help create the action in your scene. These poses can all be considered extreme poses, without them the character will be missing something in the interpretation of the reference I'm working from. I'm still not concerned with my timing at this point. I'm using the timing of the reference just as a guide. After I get my breakdowns in and am happy that I have what I need from my reference, I'll start working with my timing. My character is a very cartoony type of character so I'll be pushing farther and farther away from my reference, exaggerating much more. The broader I move him the more I will have to work with my timing. Everything leads back to Timing & Spacing. I cannot use the same timing from my video if I change my spacing that drastically without him moving much quicker and maybe popping too much. Again, at this point I'm more concerned with good strong poses other than motion, checking to see that the mechanics are doing what they need to and that the poses relate to each other while also keeping in mind what I'm seeing in my reference. I'm going back and forth from the perspective window to the shot camera and working in the graph editor to keep my progression clean and tweak my poses.