Animating Dialogue: Speaking Through The Body | John Pomeroy | Skillshare

Playback Speed


  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Animating Dialogue: Speaking Through The Body

teacher avatar John Pomeroy, Animator & Directing Animator

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

4 Lessons (54m)
    • 1. Animating Dialog Introduction

      3:32
    • 2. Lesson 1

      24:47
    • 3. Assignment

      2:03
    • 4. Lesson 2

      23:44
  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.

156

Students

--

Projects

About This Class

Dialogue is very important to expressing personality and mood in animation. Creating great dialogue requires that you know the tips and tricks used by the professionals. In this course and the Animating Dialogue: Moving the Mouth course, John Pomeroy, an animation legend, describes what he has learned over decades of animating at Disney with Don Bluth and others. He also shares what he was taught by some of Disney’s Nine Old Men.

In the first of two courses on animating dialogue, John Pomeroy teaches the process professional animators go through when animating dialogue. Starting with a character layout, exposure sheet, storyboard and recorded dialogue, John walks you through the steps you’d go through if you worked in an animation studio.

In “Animating Dialogue, Speaking Through The Body”, John Pomeroy discusses how to begin animating dialogue by using the body to express the emotional content of the scene. He demonstrates and discusses the importance of poses to the dialogue before focusing on mouth movement. In this session, John starts with an analysis of the scene and finishes with a pose test using the body to express the dialogue. In the next course, he describes how to add mouth movements and finish the pose test.

Lesson Introduction - In this video introduction:

  • John Pomeroy introduces himself and his work
  • John describes working at Disney with the Nine Old Men of Disney Animation
  • John the introduces the scene folder and contents

Lesson Part A - In this online lesson:

  • John Pomeroy unpacks the scene folder and describes the components (Exposure Sheet, Layout, Animatic or Storyboard, Recording of Dialogue)
  • John describes the exposure sheet (x-sheet) including dialogue notation
  • He begins by analyzing and defining the emotional content of the scene being animated
  • John describes the importance of relating and acting out the dialogue with the body.
  • He discusses a few of the tips and tricks taught to him by one of Disney’s Nine Old Men Frank Thomas
  • John draws the key poses of the sample dialogue while describing the importance of layout, attitude, texture, simplicity


Assignment - In the video explanation for the assignment:

  • John Pomeroy describes the assignment of creating an animation pose test using body only for the recorded dialogue.
  • John walks through the x-sheet describing how to use the sheet to create the key poses.

Lesson Part B - In the second online lesson:

  • John Pomeroy does the lesson himself describing the process he uses for creating the pose test.
    The final result, a pose test using body only is shown.

Meet Your Teacher

Teacher Profile Image

John Pomeroy

Animator & Directing Animator

Teacher

John Pomeroy, animator and directing animator, started work at The Walt Disney Company in 1973 as a background artist, and became a full animator in 1974 to work on Winnie the Pooh and Tigger Too. While working at Disney, he met fellow animators Don Bluth and Gary Goldman, and began working with them on an independent short film project, Banjo the Woodpile Cat.

In 1979 John Pomeroy, Bluth, Goldman and several other Disney animators left the studio to form the independent studio Don Bluth Productions (later to become Bluth Group), which produced the film Secret of NIMH and the animation for laserdisc video games Dragon’s Lair and Space Ace. The independent studio later reformed as Sullivan-Bluth Studios and opened a major animation facility in Dublin, Ireland.

Pomeroy... See full profile

Class Ratings

Expectations Met?
  • Exceeded!
    0%
  • Yes
    0%
  • Somewhat
    0%
  • Not really
    0%
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.

Transcripts

1. Animating Dialog Introduction: everybody Welcome to talk by a pro. I'm John Pomeroy, your instructor, and we're going to be discussing animation dialogue. I've been in the business for about 41 years. I started at Walt Disney Studios back in 1973. I worked on films like uh, Rescuers, Pocahontas, American Tale Land Before Time, Atlantis, The Lost Empire and Winnie the Pooh and, um, have a lot of experience early in my career with being taught the basics of animation by some of Disney's nine old men. These were the revered animators at the studio who, uh, who did all the hardest assignments, all the all the tough characters and who did some of the most classic moments in animation that we all remember. One of my mentors. When I first started, there was Frank Thomas, and he taught me some very important things about dialogue animating and enunciation mouse . And how do you express personality through the spoken word? It's very important. And today what we're going to discuss is some of the basic tools and animation that you use for animating dialogue. Now, this is a two d traditional animation approach, and many of the principles that I will be teaching can be also transferred to three D and digital animation. It's all basically the same, trying to understand personality, the expressions of face and how to change. Manipulate the face for a particular action or particular attitude. These air all principles that will be used in both two D and three d. So I think what we'll do is we'll approach it from a two D angle, and we'll be using pencil and paper and not any computers. And you'll see kind of the hands on approach to how to make personality believable as it's talking, we'll get into post Tests, will get into facial expressions, will get into miles and how to articulate the mouse for vowels and constants. Um, professional animation is interesting because it's not always taught clearly at college level about what happens when a director will issue you a scene. If you're involved in a commercial. If you're involved in a short TV project, a cartoon Siris on TV or a full theatrical feature film, the process is that you'll talk over a scene with the director and they will issue you a scene folder much like this one right here and the contents of this usually incorporates a layout X sheet. Sometimes you'll be issued a way file, which will be the digital recording of the voice for you to animate and maybe even a storyboard or Anna Matic for you to review to see what you're seeing. Hookups are on either side of your scene, so we'll be right back and we'll cover each of those bases and unfold all of the magic of animated dialogue. Thanks. 2. Lesson 1: So I think what we'll do is we'll unpack this folder. And so pretend for a moment that you're at a handout seen with your director and might be a TV seen animation. Senior might be a theatrical animation scene, but this scene will incorporate some dialogue. So we'll open our seen this talk by a pro folder, By the way, on it has some dialogue in it. Now, one of the first things that will pull out of this folder is what we call an exposure sheet or an ex sheet for short. And this is the record of the recorded words of dialogue that you're going to be animating . Now. I'll explain further what? How to interpret all of these little squiggles and these little phonics that are involved in it. Next you'll get a layout, and this is on 12 field paper. This is a 12 field layout of the character that I'll be animating, and you may get a model she, which is always good to have to show construction and maybe different poses and how the character looks when it's turned around. This is just one pose for a little character named Twinkle. Also, you may get a storyboard, for you may get what's called Anna Matic, which is the recorded storyboard on a digital format you can review and this You open it up and it's like a comic book. You'll see the scene to scene breakdown visually, and you can see the scene that might be coming before you're seen and then seen. It follows your scene so you could do what we call hookups because continuity is a very important thing to maintain the realism and in the authenticity, because you don't want some character to be facing the wrong direction. When you have a scene and he's gotta be turned around also with props, you want to make sure that if the character is holding a book or a cup or some prop in his hand that you're carrying that prop in your scene and then likewise in the scene afterwards . So continuity this keeps us in. Check with that if you study your Anna Matic, if you put that on your computer and you can review the continuity, you can also see the temple of the scene. The timing. If it's a fast seen or slow scene, you can see the attitude of the character, the scene before years, the character. Maybe sad. You want to continue that sadness or that flavor through your scene, and then carry that into the scene that follows with whatever Animator will pick up that scene so very, very important. Um, layouts I will give you the designated size. So the director, before the scene was issued to you, a director will get together with the art director of the layout person and discuss the staging of this scene whether it should be a, you know, super close up. Ah, full figure, wide shot, aerial shot, low angle or just a medium shot like this one here. Ah, this is fielded to kind of focus in on the character's face on the delivery of the words, you know, on the expression and on the move and her emotions. Um, so it's important that you stay on this size unless the director wants you to break away and do some action that you know. Either she walks into the camera or walks away from the camera. Now, getting back to the exposure sheet, I'm gonna put on my glasses for a moment. Um, we have here the word placement for the dialogue. Now we're going to give you the dialogue and the exposure sheet and the layout sometime during our session. What we want to cover today basically is we want to cover the basics of animating dialogue , the tools and then take you through the process of animating a pose test. But not with the spoken word yet. We're going to speak with the body. That's a very important key to this lesson right now on the exposure sheet, you'll have the written words. He was perfect. And if you listen to the dialogue over and over, you can get a feeling for what the emotion might be. And I'm gonna play it right now for a moment you want. Now I'm getting a sense right now that there is a on anxiousness, maybe even a fear on this character where they're saying the words he was perfect. So already I'm starting to get a feel for what the gesturing would be like with the attitude, the body posture, even the facial expressions, air starting them, come to me. Mentally, I'm getting kind of a visual of what this scene might start looking light as a pencil test . So knowing that we go back to the X sheet and we start to look at the words, he was perfect. Now this is a four foot seen Thaek street. The way it's broken down is in one foot increments of 16 frames per foot. So we have 1234 now for all the novices out there or new students that have never worked with animation exposure sheets before. Ah, foot and 1/2 is equal to about a second 24 frames per second. So we've got something here that's almost maybe between two and three seconds worth of screen time. Eso it's gonna be seen. And it's important that the emotion be right on the money and whatever emotion that you pick, keep it simple and keep that emotion playing through the whole scene. Unless the director has something in mind, he wants you to dio he was perfect. So in this column we see all these squiggly little lines here. The word he is written out phonetically. He waas w W U h s. So the editor who is copying all of this, they're doing what's called a close up reading their transcribing what they hear digitally on the soundtrack onto ah, Phonic Lee placed display for the animator, uh, to see how many frames the word he would be, how many frames the word was. And then how many frames for Perfect Perfect is the longest delivery on here. In between each of the words, you may see the words I an age, which means inhale or e x h, which means exhale so that these a little spontaneous breaths that come in between the delivery of each of the words. The squiggly line means the hardest emphasis on the word. That's where you want to place your accent so he waas perfect on the per. You'll see a big, squiggly line on the perfect effect of that word. You'll see a squiggly line also that will tell you where you want your accents and your accent, action and accent drawings. Um, when I want to get, um, immersed, so to speak, in a scene that I just got handed out. I usually do the most mundane of actions, and I start placing the numbers on the right side of the sheet all the way down. It's totally Monday, but At least I start as I'm doing this process. Begin to think of the acting of this scene. I'm getting myself familiar with the same, Um, years ago when I was working with Frank Thomas on one of my first scenes in Winnie the Pooh , he taught me the value of being able to relate and act out the dialogue with the body. And that's very important. You can start planning that right here on the X sheet. Usually they'll be one key accent on any particular sentence of a delivery of a scene. He was perfect. I listen to that dialogue in the tape. Seems to me that the accent would be right on the word perfect, but I'm building up. So he was perfect. I may do something action with his shoulders. Um, one of the things years ago that Frank taught me another little lesson that he passed on to me was on a quick dialogue where there's many words in quick succession. You want to hit the word with your mouth and in your gesturing, maybe 1 to 2 frames before the word, but on slow deliveries, say, if this was a sad or seen or slave. The delivery was much slower. You could hit the dialogue, the accent, maybe 6 to 10 frames in advance, sometimes even longer if the scene is really, really slow. Now that we've unpacked are seen, we've talked about all the tools that we need for animating dialogue. I think what we need Teoh cover right now is the approach to actually drawing our first post test. Now remember, we are speaking our dialogue not through the mouth, but with the body. And I'm thinking there's probably, you know, any number of attitudes that we can take. But I'm I'm envisioning a simple word. Life. What? How many times, or how many ways can a character deliver that one word sentence and I'd like to strike, show you how I would approach a oppose test, maybe with the first pose. Usually when I'm stuck trying to get a handle on a scene, you know, whether it's a long delivery or short delivery. If I get that one first post that one key drawing that usually helps me to figure out the subordinate poses and get a handle on the scene. If I were to animate a character saying the word what? You know, I may think in terms of you know what the eyebrow is gonna be like, What the shoulder is going to be doing it. What are the hands and the gesturing gonna be like? Is he facing 3/4 away from this? The viewer is he looking directly into the viewer is the head tilt. All these questions start kicking around in my head. So I'm gonna do an imaginary scene in my head right now. Put it on paper for you. Off the word. What character? Turning into the camera or coming up into the camera and saying What? The gesture, facial expression, the attitude. And I'm thinking that this characters may be surprised. Okay, that'll be my emotional handle on the scene. So let's get started. So facing the empty paper now and trying to get an idea of what this first post will be like, I want to just kind of do a review quickly of you know, how emotion is expressed in a in a pose. As I said earlier, I want this to be maybe an expression or emotion of surprise when this character says the word What? But what if they were sad, you know? So I mean, if we're sadness, say that we're the head, they would be bowed over like this. If I If I do kind of a symbol here, shoulders hanging, you know that itself expresses sadness When the eyebrows air turned down like this, If they're looking off to the corner, you know, basically that sadness when everything, all the all the shapes, air kind of contracted on themselves. There's a depressed feeling on the character. If they're happy or they're glad it's just the opposite. There's an expansion of the character in their pose. Shoulders are up, arms or back. There's a confidence. And so where this was all pressed in, this is expanded out. They're smiling. There's eye contact. So with surprise, I have to figure out what the overall attitude is expressed in their pose. So and taking the character of Twinkle, let's say if she's let's say, if my key pose for surprise when she says the word what shoulders back, maybe hands out. Put the hands and fingers out as if she were surprised. Lift the head up off the shoulders a little bit and I'll create kind of a shape here that will represent the little flower bonnet that she wears with stem. And I'll start building my pose on something that basic. And it's important that you keep it simple because you wanted to be as readable and clear as possible if it gets too complicated that it will work against you when you're trying to continue the work with other poses. So we want to make this a simple is possible. Give a little more definition to this pedal. Flowers shape on her head, Eyes open wide. NOs. Um, I may just for as a placeholder put an open mouth, even though it may be filled in with a different mouth expression. I just want to do that as a placeholder. I'll do that a lot with my dialogues. I'll just put kind of the A placeholder, a default position for a mouth. And then, as I get into articulating the Mount as my last step in animating, I'll put in the finished mouth that maybe a t sound that maybe an R sound and maybe any other sound, but that let's see your garland of flowers around her collar and then her pedal dress. So I'm just kind of boxing in all of the other shapes. But the basic shape is there, this one of surprise. Also, you know what the hands do is important, too. I mean, I'm keeping all the fingers together. They could easily be spread as she's experiencing surprise on this word. Um, the brows up here. I may bring that pedal up just a little bit so I can see the Browns because that's kind of an important part of the dialogue in the expression of surprise. See, this is the kind of liquid stuff that happens while you're planning out your first poses. You'll shift and change things to get the best possible pose for your dialogue. Okay, there there's my word. Watch. Usually, when I'm plotting these out, I'll give it a dummy. Number two. I'll just say, Maybe this will be drawing three because I'll have a starting pose, a middle pose, and then my final expression. There may be a default pose after this, after that will meet my settling post so she'll say what and hit this post and then settle down in a lesser mawr broader pose. Um, also, when you're trying to animate something like this. You want to think in terms of texture so that you don't have broad poses all the way through. You start out quiet and like a nice passage of music, you'll build up to a crescendo, and that's where you'll place your broadest posed. And then it'll recoil or diminish into a settling pose. Andi, this is one of the things that was taught to me by some of my animation mentors years ago. So let's we've got our surprise pose of what? And then we can start to build up our pose before she goes into that expression. It will be our number one pose before she says the word What neighbor? Maybe her head's tilted this direction, and she's looking over at the viewer person she's talking to. But like in that direction, eyebrows may be seated a little closer to the eyes to set up for the surprise put on her little flower cap, and I'll have once again kind of the default mouth there. My generic mark mouth, which may be changed as I get deeper into the same and I'm starting to flip. Maybe her hands will be together, um, for her starting pose relief dress so real rough. I'm getting just a non idea of first and second pose just being my extreme post. This will be my first set. Oppose. I worked my intermediate post now, but I'm going from oppose one to oppose three. That's my start pose. That's my expressed extreme pose. I'd like to set this post up with an anticipation of some sort. So going from pose number one, oppose number three. I want to start with opposed that contracts. So we go from slight expansion toe big expansion to a contraction as my anticipation for pose. Three. The surprise. So I'm setting myself up for this. Posed by maybe scrunching the shoulders a little bit, dropping the head, closing the eyes a little bit. Anything to set the stage for this big surprise look. So I'll do. I placement right about there on the high line, and I'm once again working very rough because all of this I can change if I get a better idea noses down here. I'll close the mouth. I'm going to close the eyes, bring the eyebrows down, and once again, I'm not worried so much about what the mouth they're doing I'm worried about. I'm concentrating on how the dialogue is expressed with the body flower camp. She's dipping as she's saying this word. It's important to know that there is an ark that's happening here in the action, so it's not straight across. I'm dipping slightly so I can build into the big surprise pose. Shoulders come up slightly, hands will release from each other in anticipation for the surprise pose fingers. And, um, there might even be a slight bend in her torso so that as the torso is expanding, you want to set up for that as it bends a little bit. That will make a nice transitional shape from here to the big surprise pose at the end. So I mean, when it just bend her torso just a little bit in our pedal dress. And of course, all this will be refined as I tie it down further when I get into the final facial expressions and dialogue. So shoulders up, they're going up. Head is going down, we're contracting, bringing everything in and then it expands. So that will be posed. Number two. So we got a beginning a middle and a final pose, and there. She's going to say what? And then we'll settle in to oppose a little less extreme for final pose after she says the word. What? That might even be the word that might even be that the letter t on the word What? Um, because she'll hit the W sound right here, and I'll eventually change that. That mouth to a pucker, as if she's saying the word. What conventional settle, Maybe even pull back a little line. My eyes, eyebrows, shakes. So basically there's my whole little scene right there. I got the four poses. I got a start. Foes in anticipation pose my big extreme pose where she says what? And in my settling pose now further down the line, as I said before, once this part is working and I like the way she speaking through her body. Then eventually each of these mouth will be changed, as per your ex sheet to convey the annunciation of the words. So this will be changed to a pucker, and then this will be changed to a T, and in between this and this will eventually be the word. What? The mouth will stretch large on the a set of the H in the a sound of what and enclosed for the t sound. Okay, 3. Assignment: So now we have everything. Let's review real quickly what we have. We unpacked our folder. We have and exposure sheet here with the written account of the dialogue that's going to be animating. We have a layout that we're going to be animating to. We have a bottle sheet, and we have either a storyboard or an anti Matic to refer to for our animation hook ups and the flavor of the scene. So I think now we're ready to start on a post test animating dialogue with the body only. So we're just going to do a first pose, a keys, pose and work out of that into a secondary pose that basically is delivering the diet line of dialogue, but with expression, with gesture with attitude, with silhouette value on the character. So now we've kind of covered the basics of building a animation post test for dialogue scene, using the body Onley Very important. So you've seen my step by step process with keep owes than first posed middle now pose and final pose and all the steps in between. So what we would like you to do right now is to go off on your own and take the wave file that you've got on the line. He was perfect. And go in, animate your own body pose. Test body only. Remember that we're not getting into the mouth yet. On as an extra option, you can. Even I used the lay out that I'm gonna be using. You can download that along with the with the twinkle model. If you want. It's up to you. Your choice. Okay. And then we will be back later, uh, for my version of the assignment. Okay, take care. 4. Lesson 2: Welcome back. Now that you've done your assignment and, uh, are reviewed all of the little particulars about animating dialogue with the body, I'm going to do you my version right now of the assignment with Twinkle. Okay, Okay. I got my layout here, and I'll just be basically plotting out. I'll start out with my first key pose like I covered previously. The word perfect. I'm gonna quickly listen to dialogue here on my report. So I just going to keep in mind, you know, the way that she is delivered that that that particular phrase, especially the word perfect. There's kind of a pleading feeling to the way she's delivering it. So I want a I'm going toe start with a pose, coming three court into the camera and I'm gonna have her hands out as she says that talking to the person off stage hands are very important in dialogue. It's like the words have to be expressed even through the fingertips of the character who's doing the talking for it to seem authentic and real. And, of course, with personality animation, The key thing is the willing suspension of disbelief, making sure that you believe this character is sincere and alive. She starts out with her hands extended to whoever she is talking. Teoh Flower Garland Hurry, flower petal cap. Wanna make sure that you get plenty of room for the eyebrows? Because I think the eyebrows were going to be really important in her delivery placement of the eyes. I see almost slightly curved upwards, as if she were pleading. She's distressed about this person. He was perfect. Be just pinched a little bit of the top. I'm going to put a default position, a kind of a placeholder miles shape right there that's going to be changed. But just to keep something there, I want to remind myself that's an area that's gonna be very important. The pedal. I want to frame the face with your little cap that she's got and the stem I'm gonna have hanging over in the opposite direction because I don't want that to get in the way of her face. So there is my rough key pose for the word perfect and this pose she will hit on a very beginning of that word, because if the body is late at all in enunciating the words and the body is not placed with the perfect accent on the word. It just doesn't read white, and it doesn't have any punch to it. It's very important if you're exposing your key drawing to the key word. You want to make sure that you hit at least 12 frames before the word. So there's my word. Perfect this drawing if we will just give it the number for will hit just before that. So it would be maybe around there 1 to 2 frames before she pronounces the word P because I want her to hit that accent. Then the word happens. It reads really nicely when you do that. So there's my first key. Now I'm gonna go and set up my first pot's my beginning position, which would be drawing one. And this will be before he says. She says the word he coming up into the work. He so it'll be placed back here a little bit because I want her to come in advance 3/4 into the scene, into the camera, coming towards the person who is listening to her off stage now. She was leaning in this slight direction, so I'm going to start back either straight or pull her in the opposite direction to set up for this with this extreme pose here. And I'm gonna put her hands up harshly. Our little arms. Now, I made tilt her head in the opposite direction just to give this a little bit more punch to it. Because if I keep the her high line and the access of her hit aligned in the same way may not be as fun to watch. So I'm gonna tilt in the opposite direction. Now I'm working real rough. And if this doesn't work well for me as I get all the other drawings placed in there, I may end up changing this, but right now I'm gonna I'm gonna do that. Got her camp stem turned around the opposite direction. Okay, My eyes looking up from order for I mouth placement and the rest of her little flower. Yeah, has a little footnote. Sometimes I like to shade drawings in just to give the ink and paint or coloring department indication of where a cast shadow might go, too. Because sometimes the cash shadow can kind of enhance the mood or the emotion. If it's drawn over the part of the forehead or whatever. It gives a little extra kit, too. Her emotions. And hopefully they can carry that off into their final color version of this scene. Her leaf petal dress flower, garland collar. There's my post one. Now I'm ready to start with a possible posed to and three So in between here, where she says he was perfect, I'm thinking that the word was will be like a possible anticipation to the word perfect. So she'll be drawn up. It'll be a contracted pose with maybe shoulders up, head tilted down, maybe eyes even close. So we're going to between this pose in this pose, I'd like toe arc down and then back up 3/4 into camera. I think that would be a nice action. And then she would go up and then come back down into her resolve, pose or settling Popes so well, Jeff, the head down and as she's bringing her head around price the eye line right about there. I'm gonna close the eyes, chill the pedal of her cap forward a little bit that her nose and then a mouth position that will be changed later. The bottom part of her cheeks tilting downwards on her flower head camp on the stem, traveling around the back side of her flower camp. I'm gonna shade this in just a little bit. Bring her shoulders. She gets ready to express her word. Waas, and this will be in anticipation of the word perfect. I am closing her hand up in a fist because if you're expressing a character with open hands like this and you want to build in anticipation before it seems like the likely position for the hands would be either pulled in together or tightened into a fist, we'll bring these shoulders up as high as they can go. My, even like I explained to you before, it's nice when you can see the body change shape. She's kind of in an expansion typos here. The body has been stretched forward. It would be nice as an anticipation to contract the body, so it squashes a little bit anticipation for that. So I'm gonna do that just a little. As she goes down the flower petals press not just a little bit. It gives her an extra little bit of fluidity. She's dipping down, and then gonna come back up so we have our anticipation post set up there. That would be the word Waas, and we will call that. Let's say that is close three and it coming up ahead of four. See how that is working into the word perfect into our key extreme pose. I'll add another pose number two, which will be he and you can go two ways. With that, you can either do a breakdown in between this and this, which would keep it very simple and fluid straightforward. Or you can actually do in anticipation of an anticipation. Where the character raises up slightly opens their eyes. Why tilts the head up? Put uh, placeholder mouth there raises her camp. She's going up in this direction before she starts forward arms and actually drop a little bit. Fingers can open up, she says, he and then drops down in the word waas. He waas waas perfect. Then, afterwards than a final settling pose, we'll call that number five, still maintaining the same look or pleading quality and her in her expression as she drops her head just a little bit. And cells I direction is important and that's something that you can always improve as you find tone the scene. But we just want to get the basic beats down first, have drops down a little bit in her arms, drop down a little bit. - Now it's at this stage where you begin to look for ways where you can push, um, pushing the pros a little bit. Um, as I'm going through here, I can see maybe this could be a little bit stronger. And maybe what I'd want to dio is just accentuate a little bit more and push it. Maybe she climbs a little bit higher in her accent, tilts the head a little bit more. Redirect the I line up here a little bit. So it has a little bit more punch when she says the word perfect. - So I pushed it a little bit from from that to this. See that might have a little bit more punch than before. Don't want it too much, but just enough was her thing. So what I'll do is I'll flesh out these drawings a little bit more. Maybe put one or two breakdowns in it, and I'll have my my body post test for this twinkle line of dialogue. He was perfect. Um, important step. I just want to cover before you shoot. Your post test is the exposing of the actual pose drawings on your ex sheet. Um, right now, I've got five drawings, and what I will do is I'll expose them in the appropriate places. Now, I'll use placeholder numbers only because they're eventually going to be changed into your regular numbers. Here. That air you could see here on the right right side of the column. Um, so drawing number one and you can pick out any column you went up here? It doesn't really matter, but drawing one will be, of course, right at the start of the scene. My next drawing. After that, here's my layout. Throwing is drawing number one the he drawing, which is drawing number two. Now. I would want that to hit just a few frames, maybe one or two frames before the actual word. He So all of these drawings are going to be exposed to frames appease. So I don't need to do every particular frame here. I'm going to go down, maybe down to frame 19 and that's two frames before the word he and I'm gonna place drawing to right there. That's where I want that drawing three is my anticipation drawing of twinkle And as on the word Waas So I may put that I am going to put that Let's see, Count down there is drawing to one, 234 I would say maybe eight frames down from drawing to at the frame just before W on waas . That is where I will place drawing three. Drawing three will go there now drawing four I've already placed here. That is on frame number 36. I should move that up just a little bit more cause I'd like a least 2 to 3 frames before the word breaks. So I'm gonna place it on frame 35 is where drawing four will go right there. So I got 123 um, eight frames, six frames in between drawing three and four. So drawing for we're going frame 35 then my final drawing. I think I will place maybe on frame 57 at the letter K is where I will have my drawing that will settle so the majority of the frames will be on the word. Perfect. Okay, that's my rough exposure for my post test right there. And that's what she should be doing on your ex sheet. Also, before you shoot it that way. You know how many frames you won't expose each one of these drawings. Okay, now, here's what my test look like. After we shot it, he was perfect. He was perfect. I want to thank you for coming to this class, and we look forward to talking to you. Next about mouth movements and the very, very exact science of a nun shading words on animating dialogue. We'll see you next session.