What is on my animation checklist?
我的動畫檢查清單上有哪些項目？
I have a series of things that I need to consider at each point during the shot. I don't always take all of these steps on every shot, but this will work as a nice master list to pull from depending on what is expected. At the launch, my checklist is a series of questions. Most of the time, these questions are answered as we walk through the sequence with the directors. If these questions aren't addressed, I ask about them when my shots are reviewed.
完成一個鏡頭的過程中，每個步驟我都有一連串的事情需要考慮。當然，我並不是每個鏡頭都照著這樣繁瑣的流程一步一步來，不過
列出一張完善有著主要項目的檢查清單，這樣的做法對於我們完成預期中的高品質動畫很有幫助。一開始，我的檢查清單是一系列的問題。大多數時候，這些問題會在完成動畫的過程中，與導演討論一一得到解答。但假如這些問題沒有被解決，我就會在導演審查時提出來。
Checklist of Questions at the Launch:
1) What is the context? What happened directly before and what is going to happen directly after the shot?
2) What are the main story points that need to come through in the shot?
3) Is there a particular emotion that we should be feeling as audience members watching this shot?
4) How much room is there to work the idea? Some shots need to stick pretty close to the boards, while others leave a lot of space for the animator to work with. It's our responsibility to know what type of situation we are dealing with.
If I know the answer to all of these questions, than I am ready to start planning my shot.
初期提問檢查清單
1)故事的來龍去脈是什麼？在這之前發生了什麼事？這之後又將發生什麼？
2)這一鏡需要傳達的故事重點是什麼？
3)觀眾在觀看這一鏡時，需要感受什麼樣的特定情緒嗎？
4)有多少的發揮空間？有些鏡頭我們必須做得跟分鏡表(Storyboard)近乎一模一樣，有些鏡頭則允許動畫師有自由發揮的空間。動畫師有責任瞭解自己負責的鏡頭是屬於哪一種。
假如我已經知道以上述這些問題的答案，那就表示我準備好開始規劃鏡頭了。
Checklist for Planning my Shot:
規劃鏡頭的檢查清單
I use different methods for planning out an acting shot versus a physical shot. For a physical shot, I will try to find some good reference of the movement and then jump right into thumbnailing. For acting shots, I like to spend some time analyzing the line.
我用不同的方法規劃不同的鏡頭，一種是屬於主觀的表演鏡頭，另一種則是屬於客觀物理性的鏡頭。面對客觀物理性的鏡頭，我會找一些合適的參考資料，然後直接畫下規劃用的草圖。面對主觀的表演鏡頭，我則會花多一點時間分析台詞。
My checklist is as follows:
以下是我的檢查清單：
1) Go for my gut instinct. I like to get my initial instinct out on paper and possibly on the camera. I may come back to this, but I may not. Sometimes it helps to get my idea out there so that I can clear it out of the way to make room for better ideas.
1) 順著直覺走：
我喜歡在紙上記下我最初直覺的想法，或是用相機記錄。之後我可能會用到它，但也可能派不上用場。有時候，這樣的發想可以幫助我釐清，讓點子成形，甚至有機會想到更好的點子。
2) Analyze the dialog. There are a few things that I look for in the dialog when I am planning my acting:
2) 對話分析：
我在規劃表演時，會從對話中找出幾個需要注意的地方。
Dynamics: Find the places where the line has inflections. These are great places to hang acting ideas.
抑揚頓挫 - 找出對話語調的轉折點，這些地方就是你讓表演突出的最佳位置。
Phrasing: I try to assign specific verbs to go along with parts of the line. If I can assign a verb to describe what the character is doing or thinking, it is easier for me to create a pose that communicates properly.
措詞語法 - 我試著在每段台詞中，個別找出適合那一段表演的動詞描述，因為如果我能用某個簡單的動詞來形容角色此刻到底在幹麻或是在想什麼，那我就很容易用某個姿勢(Pose)來適當地傳達訊息。
Meaning/Subtext: Many times, characters say something that implies something more meaningful. Digging out the true meaning of the line can lead to some really fresh acting choices.
明義暗喻 - 很多時候，角色台詞其實比字面上擁有更多的背後意義。挖掘出台詞的真實意義，可以引導你創造更多不落俗套的表演。
3) Research:
Character Reference: I always try to think about the character. How would they react to this situation? If this character has been animated already, how did other animators handle this type of acting?
Film reference: See if this type of situation has been handled in other films. Sometimes this will help to inspire acting ideas in a different direction.
3) 做功課
角色研究 - 我總是設想角色可能在想些什麼，面對某某狀況角色會怎麼行動？假如這個角色已經有動畫了，那其他的動畫師又是如何處理這樣的狀況呢？
影片研究 - 找看看有沒有同樣的情況在其他影片出現過。有時候這可以激發你想出不同方向的表演點子。
4) Video Reference. Now that I have analyzed the scene some more, I shoot some reference. I leave the camera running until I feel comfortable. I switch it up between acting and doing. When I am "acting" I am trying to feel the line out and see what comes naturally. When I am "doing" I have a specific idea in mind that I try to imitate with my body.
4) 錄製參考影片
現在我已經對場景做了足夠的分析，我會開始拍攝參考影片。我讓攝影機持續錄影，直到我覺得自在滿意為止。我會在兩種模式中不斷切換我的重心：
「即興」（acting）和「演戲」（doing）。當我「即興」的時候，我會試著感受台詞，觀察自己有什麼自然產生的動作；當我「演戲」的時候，我腦海中已經有特定想法，我只需要我的肢體去把它演出來。
Get other animators involved in the reference. I find that if can get direct feedback as I am acting, it can help the ideas develop faster. I take turns acting and directing.
還有，讓其他動畫師也參與參考影片，我發現當我在表演的時候，如果可以直接得到回饋的意見，這可以讓點子更快的成形，我等於是輪流在演出跟導演。
Analyze the reference, find the truths. Sometimes it helps to cut together a super take with what you feel are the best choices for each part of the shot. Make your choices. At this point I usually pick one or two ideas that I like best for each beat and start to prep those ideas for blocking.
分析錄好的參考影片，找出實際的狀況。有時候，這樣的分析有助於你從各段最好的部分中，剪輯出最完美的一鏡（take）。接著，你要做出選擇。這種時候，我通常會選出一到二個我最喜歡的構想，然後開始準備用這些構想去做初步動畫（blocking）。
5) Apply the Principles. I look for places to add physicality, reversals, lead and follow. I make sure to exaggerate the ideas in my reference and push the things that the reference is hinting at.
5) 應用動畫法則
我會找出要加強身體重量感、逆向緩衝、引導和跟隨的地方。我會設法強調我在參考資料中的點子，並且加強參考資料中得到的啟示。
6) Thumbnail.Depending on the shot, I thumbnail instead of shooting reference.On certain shots, I thumbnail after doing the reference to make sure that I am pushing the poses and the physicality.
6) 繪製小草圖（Thumbnail）
根據鏡頭，我會畫小草圖取代拍攝參考影片。在某些特定鏡頭，搜集完參考素材之後，我會更進一步的繪製草圖，確認並加強表演張力以及身體動感。
Blocking
At this point, I have a pretty good idea of what I am going to work into the shot. It's time to start blocking.For most shots, I work in stepped mode for my blocking. This enables me to do detailed poses that communicate clearly without having to worry about the in-betweens.
1) Block in my keys.
These will be the main storytelling poses in my shot. I don't have any limit to how many keys I set on my first pass of blocking, but they tend to be pretty sparse. Sometimes I will leave as many as 10-12 frames between poses. I will block in a full pose including rough ideas for the hands and face.
2) Test it and time it.
I playback my pass of keys and move them around on the timeline until the beats feel like they are in the right places.
3) Break it down.
I add my breakdowns as a part of my blocking pass. I tend to break a shot down until I have a key on about every 3-4 frames. When I add my breakdowns, I think about which key that breakdown should favor. At times I even favor different body parts to different keys. I am also thinking about my paths of action.
Blocking
此時，我已經有一個很棒的構想來完成動畫。現在是該開始blocking的時候了。大多數鏡頭，我都是按著步驟式方法做blocking，這種方法讓我可以做出明確清楚的細節動作，而且不必煩惱
鍵間張（in-betweens）（編按：關鍵張前後幾格的動作）。
1) 設定關鍵張（keys）
這些關鍵張將會是用來說故事的主要動作。在第一次blocking時，我並沒有限制自己要設多少關鍵張，但我傾向不要太多。有時候我會間隔10-12張才設一個關鍵張。我做blocking時通常就會設定完整的姿勢（pose），包括粗略的手指動作跟臉部表情。
2) 測試節奏
為了符合節奏，我會播放我完成的關鍵張（keys），並且在時間軸上不斷去移動它們，直到整個節奏對了，它們也在最適合的位置上。
3) 分解動作（Break it down）
我會加入
中間張（breakdowns）（編按：動畫筆記本格主稱此動作為中割張），並將之視為blocking的一部分。我會把一顆鏡頭細分到每3-4張就設一個key。當我加入中間張時，我會思考該強調哪個關鍵張。有時候，我甚至會用不同的中間張強調不同的身體部位。我同時也會思考我設計的動作走位。
Once I have a pass of blocking, I will ask some questions again:
1) Is it clear? Will someone get the idea of what I am going for without any explanation?
2) Did I push the posing and timing enough?
3) Do I like the idea? I try to be the first judge of my work before I get the supervisor and directors involved. Chances are, if I don't feel good about it, then they won't either.
當我完成blocking之後，我會再問自己一些問題：
1) 這樣
夠清楚嗎？我是不是可以不用解釋，就能讓別人瞭解我在幹嘛呢？
2) 我的姿勢（Pose）跟時間掌握（Timing）
夠說服人嗎？
3) 這個點子
我喜歡嗎？在作品送到動畫指導或是導演那一關之前，我會試著當自己作品的第一個評審。往往當我自己覺得東西不好的時候，他們也不會點頭通過。
(閣主負責任翻譯‧有疑義歡迎討論)
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