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Finding dialogue accents

From: 2D Animation Principles

Video: Finding dialogue accents

Here we have a line of dialog. >> This is way too much for me.

Finding dialogue accents

Here we have a line of dialog. Let me play it for you, first. >> This is way too much for me. >> It's a very short, very simple line. Let's hear it again. >> This is way too much for me. >> Now let's assume that your job is to animate a scene around this line of dialog. What's the best way to go about it? Well, the first thing that you do, is to try to discover where the accents are. Now firstly, I've made it a little simpler here, in that I've made these little notes showing exactly where each word appears. Let's play it again and watch that. >> This is way too much for me.

>> So that was in good use of time. So let's find out what the accents are. Let's play it again. >> This is way too much for me. >> So do you hear what he says way. >> This is way too much for me. >> You can almost feel the voice lifting up. >> This is way too much for me. >> So what I'm going to do is get the Brush tool, and you can do this on paper if you like. I'm going to draw on the dialog layer where I've written out the dialog by hand. >> This is way too much for me. >> This is way too much for me, so I'm thinking way is the high points.

Let's make a little dot up here. >> This is way too much for me. Let's listen to the beginning again. This is... >> This is way too much for me. >> Seems like this is, is coming down. >> This is way too much for me. >> Before soaring up on way. So I'm going to guess, roughly, that we're looking at the S sound as the low point. >> This is way too much for me. >> So we're starting a little higher, and we're coming down to the s sound before going up to way. >> This is way too much for me. >> And let's listen to the rest again. >> This is way too much for me.

>> Now, at this point, you're probably going nuts, because you've been listening to this sound file looping. This is what you do. You listen to it until the sound almost becomes music. >> This is way too much for me. I'm hearing a down on the uch of much. >> This is way too much for me. >> And so what I'm going to do is simplify this. We, we could probably go in and put all kinds of little bumps, but for such a short line, I think we're coming in on a, on a single path down to here. >> This is way too much for me.

This is way too much for me! >> A me at the end seems to have a little lift at the end. >> This is way too much for me! >> So around here, little higher. Not as high as this. >> This is way too much for me! >> There we go. >> This is way too much for me! >> Now why have we done this, because these accents will determine The actual animation of the character's body, and the biggest movements of the body should, all things being equal, correspond to the biggest accent. The biggest accent that we have happens right on this point. And then the next section I'll show you how we can apply this little graph to the animation of the figure itself.

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This video is part of

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2D Animation Principles

35 video lessons · 6953 viewers

Dermot O' Connor
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  1. 1m 42s
    1. Welcome
      51s
    2. Using the exercise files
      51s
  2. 18m 9s
    1. Understanding appeal and design
      4m 3s
    2. Comparing body types
      6m 27s
    3. Understanding silhouette
      1m 52s
    4. Creating gesture drawings
      2m 50s
    5. Tying down the drawing
      2m 57s
  3. 18m 10s
    1. Comparing storyboard styles
      5m 8s
    2. Understanding shot composition
      4m 36s
    3. Demonstrating lighting
      4m 8s
    4. Understanding the 180-degree line
      4m 18s
  4. 13m 8s
    1. Understanding X-sheets (dope sheets)
      3m 25s
    2. Comparing frame rates
      4m 39s
    3. Creating sweatbox notes and preparation
      5m 4s
  5. 18m 42s
    1. Understanding arcs
      7m 38s
    2. Squash, stretch, and volume
      4m 59s
    3. Comparing timing and spacing
      6m 5s
  6. 10m 4s
    1. Using anticipation, overshoot, and settle
      4m 2s
    2. Breaking and loosening joints
      2m 43s
    3. Leading action
      3m 19s
  7. 19m 51s
    1. Understanding primary and secondary action
      4m 14s
    2. Using overlap and follow-through
      6m 0s
    3. Applying lines of action, reversals, and S-curves
      4m 34s
    4. Moving holds and idles
      5m 3s
  8. 15m 52s
    1. Understanding walk and run cycles
      5m 24s
    2. Creating eccentric walks
      6m 50s
    3. Animal locomotion
      3m 38s
  9. 14m 31s
    1. Finding dialogue accents
      2m 42s
    2. Creating dialogue through body movement
      2m 46s
    3. Creating stock mouth shapes
      5m 4s
    4. Using complementary shapes
      3m 59s
  10. 13m 8s
    1. Creating thumbnails
      4m 31s
    2. Comparing straight-ahead and pose-to-pose animation
      4m 37s
    3. Adding breakdowns for looseness
      4m 0s
  11. 2m 9s
    1. Next steps
      2m 9s

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