Follow Through and Overlapping Action
When an object along with its appendages come to a standstill after being in motion, different appendages and body parts will stop at different times with different rates. The appendages often drag behind the body, exhibiting inertia. This is the essence of the Follow Through and Overlapping Action principle of animation.
In this scene of the Beowulf movie that released in 2007, the follow through technique is used make the animation of his hair convincingly real. As the character (on the right) turns his head, his ponytail (appendage) experiences a bit of drag and is hence slightly delayed. Even after the character’s head comes to a stop, we can see the ponytail follow through as it continues to move slightly past the stopped head after which it comes back to a stop. In contrast, Beowulf’s hair employs a lower degree of follow through and overlapping action, suggesting that his hair is more stiff than his friend’s.
When an object along with its appendages come to a standstill after being in motion, different appendages and body parts will stop at different times with different rates. The appendages often drag behind the body, exhibiting inertia. This is the essence of the Follow Through and Overlapping Action principle of animation.
In this scene of the Beowulf movie that released in 2007, the follow through technique is used make the animation of his hair convincingly real. As the character (on the right) turns his head, his ponytail (appendage) experiences a bit of drag and is hence slightly delayed. Even after the character’s head comes to a stop, we can see the ponytail follow through as it continues to move slightly past the stopped head after which it comes back to a stop. In contrast, Beowulf’s hair employs a lower degree of follow through and overlapping action, suggesting that his hair is more stiff than his friend’s.
Secondary Action
Secondary actions support or emphasize the main actions in a scene, adding depth to characters and objects. In the following scene, a character confronts Beowulf, pointing his spear at him while still holding the reins with his other hand. The subtle movement of the reins shows that the character remains vigilant and prepared for action, ready for any threat from Beowulf. This secondary action adds dimension to the character, conveying his alertness. Additionally, the horse's subtle movements further enhance the realism, suggesting the character's limited control.
Secondary actions support or emphasize the main actions in a scene, adding depth to characters and objects. In the following scene, a character confronts Beowulf, pointing his spear at him while still holding the reins with his other hand. The subtle movement of the reins shows that the character remains vigilant and prepared for action, ready for any threat from Beowulf. This secondary action adds dimension to the character, conveying his alertness. Additionally, the horse's subtle movements further enhance the realism, suggesting the character's limited control.
Anticipation
Anticipation is an animation technique that prepares the audience for what's about to happen, making actions more realistic and emphasized. The 2007 Beowulf movie uses anticipation in nearly every action scene. For example, before Beowulf jumps, he stretches his arms and crouches to build energy, making the jump feel natural. Similarly, before plunging his sword into a sea monster's eye, he raises it high to show the force behind the action. This technique is used recurrently to enhance the realism and impact of punches, kicks, and other actions.
Slow In and Slow Out
To make movements more realistic, adding frames at the beginning and end of an action can create a natural increase and decrease in speed. In the 2007 Beowulf movie, the "slow in and slow out" animation principle is used to enhance realism. For example, when Grendel's mother entices the new king, her head movement slows at the start and end. The same technique is applied when she picks up Grendel's severed head and circles Beowulf. This principle is used throughout the movie to make actions feel more lifelike.
Arcs
When objects or characters move, their trajectories usually follow arcs, not straight lines. Animating with arcs makes motion more realistic, reflecting real-world movements. This principle is evident throughout the Beowulf movie. For example, when a character is killed by an axe, his fall follows an arced path, making it look lifelike. Similarly, when Beowulf throws an axe, its trajectory is arced, adding to the realism.
When objects or characters move, their trajectories usually follow arcs, not straight lines. Animating with arcs makes motion more realistic, reflecting real-world movements. This principle is evident throughout the Beowulf movie. For example, when a character is killed by an axe, his fall follows an arced path, making it look lifelike. Similarly, when Beowulf throws an axe, its trajectory is arced, adding to the realism.
Appeal
Appeal is an animation principle used to create characters that capture the audience's interest, not just by being lovable but by being engaging and charismatic. In the Beowulf movie, appeal is evident in realistic and intriguing characters. For instance, the dragon's large teeth and monstrous face effectively convey its danger. Grendel's mother is made appealing by covering parts of her in fluid gold, enhancing her mystique. Much of the movie's appeal comes from the photorealism of its characters.
Appeal is an animation principle used to create characters that capture the audience's interest, not just by being lovable but by being engaging and charismatic. In the Beowulf movie, appeal is evident in realistic and intriguing characters. For instance, the dragon's large teeth and monstrous face effectively convey its danger. Grendel's mother is made appealing by covering parts of her in fluid gold, enhancing her mystique. Much of the movie's appeal comes from the photorealism of its characters.
