He mainly talked about his way of creating the rhythm in his animations. He uses something he calls energy lines to do so. (looks sort of like brain waves graph)
He listens to the recorded voice overs to decide how dynamic or soft the movements should be.
Even when we're just standing still we're still sort of moving.
Simple lines can make a huge change, tell a different story.
Make sure that the performance is unique, true to the character.
Laban movement theory.
Play out little scenes, video it to see what you look like, what you do, what parts of the body you move around when in certain situations.
When it's an important situation, for example a deeply hurt, confused bird, hold it's pose for just a split second longer to let his emotions sink in.
He went from working on choreography for 13 birds to 160 birds, which was quite a difficult step up.
Again it took a lot of testing to see which dance etc. looked right.
Mostly during this talk we learned how the little tiny movements can change the whole meaning. So pay attention to detail.
Mostly during this talk we learned how the little tiny movements can change the whole meaning. So pay attention to detail.
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