Cómo crear poses y animarlas.

¿Qué es una pose clave?

En animación, una pose clave es un fotograma que se utiliza para representar los movimientos importantes que tienen lugar en una secuencia determinada. Se usan para ayudar a los animadores a saber cuántos aspectos diferentes de una escena hay que animar, con sus fotogramas y cadencias exclusivos.

Por ejemplo, si se va a animar un personaje que levanta una mano, las poses clave ilustrarían el brazo estirado hacia abajo a lo largo del cuerpo, el final del movimiento y algunos puntos intermedios. Los animadores toman cada pose como punto de referencia para entender el resto de los movimientos intermedios.

Diferencia entre poses clave y fotogramas clave.

Aunque una pose clave es, en esencia, un fotograma de la animación, los fotogramas clave presentan una ligera diferencia, porque se refieren a transiciones más generales que no son meros movimientos de accesorios o poses de acciones de los personajes en la pantalla. Los fotogramas clave también podrían ser indicaciones de audio o visuales que no estén relacionadas con la animación.

Motivos para usar poses clave

Una pose clave es una parte esencial de una secuencia de animación. Sin las poses clave como guía, al animador le costaría transmitir al espectador la lógica de un movimiento o expresión.

Puedes pensar en ellas como la diferencia entre trabajar con o sin un guion: los actores pueden improvisar una escena, pero es muy probable que se alejen muchísimo de la que se había concebido inicialmente. Incluso los actores con experiencia en improvisación suelen tener “giros” o frases clave para mantenerse centrados. Del mismo modo, los animadores necesitan esta orientación al animar una escena para mantener el rumbo.

Anatomía de una pose clave.

Vamos a fijarnos en ejemplos de poses clave para explicar su importancia.

Cada una de las tres imágenes anteriores muestra la pelota en distintos estados. En conjunto, puedes imaginar con claridad que muestran un ciclo de la pelota al botar en la superficie.

Estas poses clave muestran las distintas expresiones y cambios de forma que toma la pelota al botar en el suelo. Sin ellas, podrías no darte cuenta de que la intención de la animación es mostrar una pelota botando.podr´

• Without the ball on the left, you could easily think the ball is just a blob that wobbles on the floor.
  
• Without the middle ball, there’s no obvious effect of gravity on the ball as it hits the floor.
  
• Without the ball on the right, there’s no registering the ball first hitting the floor.
  

Animators need key poses so they can grasp the full range of motion and expression that objects and characters are going through before proceeding to animate a full sequence.

The above series of key poses denotes the different phases of a character’s walk. While the arms and legs are in logical positions as he walks in-step, it’s still important for an animator to determine the range of motion by creating the key poses. A different character walking with a limp, for example, would display a quite different range of motion in its legs, which an animator would need to capture effectively.

A more subtle display of motion like a character’s facial expression also needs a fully fleshed out selection of key poses. A character who’s registering a range of different emotions will need clear definitions of each. 

If a character like the man above feels conflicted about a decision they need to make, or is reacting strangely to something, you’ll need a key pose to demonstrate each stage of that internal struggle. Otherwise, you risk not conveying the full impact of the feelings, which could mean muddling the stakes of the story so far.

Creating key poses is the best way to ensure that motion and expression are fully explored before animators continue with the process of animating the sequences in between. 

That said, there’s another approach to animating which suits a more experimental style.

How to animate poses.

There are two opposite approaches to animating with key poses – one which relies on them to flesh out a sequence, and one which aims to be a little more free-form from the initial key pose brief. Let’s see how the two approaches differ and when the best time to use each is.

Pose-to-pose animation.

Pose-to-pose typically takes on the process outlined above, where an animator is tasked with creating the key poses of the scene, or the key story beats. Once the sequence is mapped out with the desired key poses, the team takes care of filling in the gaps with in-betweens. In larger teams, this could be a job for junior animators.

Pose-to-pose is best utilised in situations that require smoother, more structured storyboarding. Timing is an essential part of pose-to-pose. It means animators can create the requisite number of frames to make the transitions smooth enough. By creating the key poses from start to finish, animators have more control over the contents of ‘in-betweens’ or ‘tweens’ that make up the sequence, in terms of pacing and creative.

Breakdowns are a clever combination of key poses and in-betweens – they help break down the action between key poses A and B by adding a further step to the mix. In a sequence depicting a character walking from the left of the screen to the right:
 

• The key poses would be the two poses at either end of the sequence, with others where key gestures, expressions, or steps need extra emphasis.
  
• The in-betweens are the frames on either side of the key poses, completing the movements smoothly.
  
• Breakdowns might involve the character stopping to look at their watch, or stumbling slightly – anything that breaks up the long sequence and adds spontaneous spice to a sequence.
  

Straight-ahead animation.

Like pose-to-pose, straight-ahead animation uses a key pose to dictate the starting point of a sequence. Unlike pose-to-pose, there’s just the one starting key pose before the animator presses on with the rest of the sequence, without the stabilisers. No inbetweening is used because there are no more key poses to sync up the action with.

Straight-ahead animation suits a much more experimental style. Without the projected arc of pose-to-pose, the images as they’re developed can take on a much looser interpretation even of a scripted sequence. Within a story, some animators prefer to use straight-ahead animation to depict a free-form sequence that strikes out from the rest of the tighter flow of a project.

Woolie Reitherman, one of the Nine Old Men at Walt Disney Productions during the 1960s and 1970s, says the technique served him well. “When I didn't know what I was doing in an action, I always went straight-ahead… To me, it's fun. You find out something you wouldn't have found out otherwise.”1

The popular depiction of a fight between two characters on screen – a cloud containing fists flying as it floats across a background – tends to shrink and expand as it goes along. 

Until the fight’s over and a clear winner (and loser) are shown at the end, the fight cloud is a great example of a straight-ahead event that doesn’t need to pick out key poses. That’s why the size and even the colour tend to vary throughout – without key poses to adhere to structurally, a straight-ahead animation loses consistency as it goes along, and can change shape seemingly at will.

Which is better – pose-to-pose or straight ahead?

Both techniques have their advantages and disadvantages when it comes to the process, as well as their finished look and feel.

Key poses: frequently asked questions.

What are in between poses?

In between poses are the frames inserted between key poses to progress an object’s movement from point A to point B. They may sound less important than key poses, but in between poses make up the vast majority of a sequence, and are only less regarded in context because they don’t directly drive the story forward.