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Jump Notes

The document provides guidance for animating a jump, including: 1) To show anticipation, arcs on the arms, and overlapping action throughout the different phases of the jump. 2) To use techniques like slow-ins and slow-outs during hang time at the top of the jump to contrast moments of weightlessness and heavy squash points. 3) To avoid issues like hinged arms, twinning of the arms, or inactive arms during the jump, and instead use principles of secondary motion and overlapping action during landing.

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April Jane Zambrano
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34 views3 pages

Jump Notes

The document provides guidance for animating a jump, including: 1) To show anticipation, arcs on the arms, and overlapping action throughout the different phases of the jump. 2) To use techniques like slow-ins and slow-outs during hang time at the top of the jump to contrast moments of weightlessness and heavy squash points. 3) To avoid issues like hinged arms, twinning of the arms, or inactive arms during the jump, and instead use principles of secondary motion and overlapping action during landing.

Uploaded by

April Jane Zambrano
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
You are on page 1/ 3

Points to Watch for In the Assignment

• Hold the character for about • Be sure the arms and hands • The arms should
24 frames at the beginning in donʼt stay in the same spot as help power the
the neutral standing position you anticipate down. push up

• Look for arcs

• Try overlapping the


action on the body during
the anticipation down
• Arcs on the
- not everything has to
arms
move at the same time.

• Be sure you allow enough • Look for push in the legs


time for the anticipation

• We should be able to see these elements


in the execution of the jump:

Overlapping action throughout

Anticipate Action Reaction Recovery

Relax Squash Stretch Relax Stretch Squash


Page 1 of 3
• Make use of slo-ins and slo-outs, especially at the top of
the high point in the jump. This is called, “hang time”, or
the “weightless moment”. It helps to contrast between
this time and the heavy squash point.

• Consider the option of doing a variation


in the arm and leg positions where you
have one arm thrust up higher than the
other and/or one leg (usually the same
side as the arm thatʼs up) also doing a bit
of a step in the air.

• Avoid doing “hinged” arms that move up


and down at the same angle. Loosen up
the shoulders and look for the opportunity
to add in follow-through in the hands.

• Keep the path of action straight up and


2 down just like in the “Perpetual” and
“Double Ball Bounce” assignments. If
you shift the character back at the high
point it will look odd as they drop forward
and down to regain the original foot
3 positions.

The logical reaction to the character


shifting back at the high point would be
to have the character land even further
back - behind the starting position.

1 Page 2 of 3
• Look for the “seaweed” or overlapping (secondary) action in the body as it
lands. The forward and down motion of the body must be reversed, stabilized
and finally stopped.

Down Top recovers up


Top recovers
and back
back down
Forward & down

Pelvis counter
balances up Pelvis goes Pelvis goes
Secondary action and back down up -
here
then eases back
down into final
pose

Primary action
here

• Due to primary and secondary action and the nature of a body full of joints, When the body
comes to a stop, not all the parts will stop at the same time... thatʼs the very definition of overlap-
ping action. Look for follow-through at the end of the jump and stagger the completions of action
for the various parts. Some things may need to be “traced back” in an animated hold as the other
parts continue to settle to a stop.

This is the number one area that people seem to fail on this assignment.

• Avoid “twinning” which is • Try to avoid jumping


the perspective distortion up with inactive arms.
and shifting of the arms off Use the arms to help
the original horizon line for power the motion
the character. upwards.

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