当然目前的制作方面已经全部完成。再去考虑任何事情都是没又意义的
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小宁翻译的一些动画理论
希望这些能对［你］产生帮助...
April 9th, 2004
Ringling School of Art + Design
Transcribed by: Jeremy Collins
-Carefully choose gestures. 适当的去选择你的动作和姿势，在设计的时候要想清楚
-Gestures should hit on vowels. 元音上都会有关键动作
-Choose 1 or 2 of the most important poses and make sure they carry emotion and read. 选择1-2个最关键最有代表性的姿势，让他们能被观众一眼看懂
-Avoid clichés at all costs. (i.e. using the first pose that comes to mind.) 避免陈词滥调的想法（脑子里第一感觉往往是最好的）
-Watch out for “showing” in your animations instead of “doing”. 要注意把你的动画做成表演的而不是仅仅在表现那个动作
-Use gestures from NOW, not 1950. 请使用现在流行的动作，而不是以前的老动作
Shoulders:
-Essential but commonly overlooked in animation. 肩膀是最重要的但也是常常被忽略的地方
-They have a wide range of motion and “emotion” in them. 肩膀有很大的运动范围同时它又能表达很多情感
-The shoulders often lead many actions. 肩膀往往带动很多的运动
-When your arm is completely extended your shoulders touch your ears. Their range is very wide. 当你手臂伸长的时候肩膀能碰到你的耳朵，这说明肩膀的运动范围非常广
Inbetweening:
-Computers inbetween with math, not with the principals of animation. 电脑的中间帧动画是基于数学计算而不是基于动画原理
-Specify exactly what the pose needs. 关键姿势需要非常到位
-You must define the timing from ears to toes in your animation. 在你的动画中你必须确定全身从上到下，从耳朵到脚趾各个部位的节奏
-“The computer is the dumbest inbetweener there is”. 电脑的中间帧是最平淡的
-Watch for twinning in your poses.
-Try working with curves other than the default splines to develop your inbetweening. 为了让你的中间帧更精进些，需要对你的曲线进行加工而不是让曲线保持原始的spline状态
-Spend the most time on the first post. It is the most telling in your whole animation. 多花点时间和精力在你的起始关键帧上，它代表了你整个动画
-Use all of the controllers provided. There should be animation on every possible curve. 做动画时请给所有的控制器key帧，他们可以为你的动画提供每一跟有用的曲线
-Nothing truly is ever at rest.
Facial:
-The ocular muscles usually move before anything else. Brows lead the action and the mouth typically comes last. 面部可以看见的肌肉群运动往往都是最先被看见的，它们的运动特征非常明显和吸引人目光，而眉毛是面部运动的发起者，它带动了其他部位的运动，嘴巴往往是最后运动的
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