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Question

Responsibility of the director
The director is responsible for decisions regarding the overall pacing and planning of the whole story or a particular sequence of it.

This can involve sequences of several minutes' duration or of only a few seconds. He must also decide how these sequences should be organised into scenes.

How long should each scene be? What should be the pace of the action in the scene? What should be the pace of the action in order to hold the interest of the audience? How can ideas in the story best be put over to the audience? These are the problems the director must solve. Going down to yet shorter periods of time, to individual actions, the responsibility is shared between the director and the animator. But the director still has overall control.

The animator should, however, add some ideas of his own as to how certain effects can be achieved—just as an actor would in live action. The smallest units—individual drawings and frames—are almost entirely the animator's province, and this is where his particular skill lies. How does a ball bounce? How does a character react in surprise, or snap his fingers? These are problems the animator must solve by his feeling for and knowledge of the subject.

An animated film usually takes a long time to produce. During this period it is essential that the director should keep a constant check on how the production is progressing and how closely the original timing and concept have been followed.

Most animated films are made to a predetermined length. A TV commercial must be an exact number of frames and a longer film will probably have to fit between fairly narrow limits. One of the director's problems is to fit the action to the time available.

First divide the story into sections or sequences of convenient lengths. Run through each section mentally as many times as necessary to absorb all the important story points. Then run through each section again, timing it mentally with a stop watch. Add up all the timings to give an overall total. This is sure to be more or less wide of the mark. If it is fairly close, see whether a sequence can be adjusted to bring the total about right. If it is much too short, more business must be invented to fill the time available. If it is much too long, maybe a whole sequence must be omitted.

Answer 1

指导者的职责
指导者负责关于全部的踱步而且全部故事或它的特别的序列计划的决定。

这能包括好几分钟的期间或只有数秒的序列。 他也一定决定，这些序列应该是如何进入现场之内组织。

多久应该每现场是? 什么应该在现场中是行动的速度? 什么应该是行动的速度为了要把握那兴趣听众? 如何能在故事中的主意最好是放在对听众之上? 这些是问题指导者一定解决。 下去到仍然较短的期数时间, 到个体行动, 职责是分享在指导者和赋与生气者之间。 但是指导者仍然有全部的控制。

赋与生气者应该，然而，增加他自己的一些主意关于如何特定的效果能是达成-正如一个演员会在活的行动。 最小的单位-个体图画和框架-几乎完全地是赋与生气者的省, 和这是哪里他的特别技术谎言。 如何做球跳? 如何做一个个性在惊奇反应, 或大声叱骂他的手指? 这些是问题赋与生气者一定解决被他的感觉为和知识那主题。

一个活生生的电影通常拿一长的时间对农产品。 在这期间它是必要的指导者应该生计常数检查在生产如何正在促进上和如何接近地最初的时间安排和观念有是跟随。

大部分活生生的电影是制造一预定长度。电视商业广告一定是正确数字框架和一比较长的电影意志或许有到适宜在公平地之间狭窄部份极限。 指导者的问题之一是到适宜可得的对时间的行动。

第一分歧进入方便长度的区段或序列之内的故事。 奔跑完成的每个区段心理上同样地许多次当做必需品吸收所有的重要故事点。 然后奔跑完成的每个区段再, 时间安排它心理上与一停止手表。 对给予有道理所有的时间安排一全部的总数。 这确定或多或少宽那标志。 如果它公平地结束, 见到是否序列能是调整带来那总数大约权利。 如果它更加太是短, 更多生意一定被发明填充可得的时间。 如果它很更加太长, 也许全部序列一定是省略。

Answer 2

Responsibility of the director
The director is responsible for decisions regarding the overall pacing and planning of the whole story or a particular sequence of it.

This can involve sequences of several minutes' duration or of only a few seconds. He must also decide how these sequences should be organised into scenes.

How long should each scene be? What should be the pace of the action in the scene? What should be the pace of the action in order to hold the interest of the audience? How can ideas in the story best be put over to the audience? These are the problems the director must solve. Going down to yet shorter periods of time, to individual actions, the responsibility is shared between the director and the animator. But the director still has overall control.

The animator should, however, add some ideas of his own as to how certain effects can be achieved—just as an actor would in live action. The smallest units—individual drawings and frames—are almost entirely the animator's province, and this is where his particular skill lies. How does a ball bounce? How does a character react in surprise, or snap his fingers? These are problems the animator must solve by his feeling for and knowledge of the subject.

An animated film usually takes a long time to produce. During this period it is essential that the director should keep a constant check on how the production is progressing and how closely the original timing and concept have been followed.

Most animated films are made to a predetermined length. A TV commercial must be an exact number of frames and a longer film will probably have to fit between fairly narrow limits. One of the director's problems is to fit the action to the time available.

First divide the story into sections or sequences of convenient lengths. Run through each section mentally as many times as necessary to absorb all the important story points. Then run through each section again, timing it mentally with a stop watch. Add up all the timings to give an overall total. This is sure to be more or less wide of the mark. If it is fairly close, see whether a sequence can be adjusted to bring the total about right. If it is much too short, more business must be invented to fill the time available. If it is much too long, maybe a whole sequence must be omitted.

Answer 3

主任的责任
主任负责决定整体起搏和规划，整个故事或某一特定序列的。

这可涉及序列几分钟期限或只需几秒钟。他还必须决定如何将这些序列应该是有组织到的场面。

多久应该每个场景是什么？应该是什么的步伐行动的现场？应该是什么的步伐行动，以持有人利益的受众？如何才能想法的故事最好是把给观众？这些问题的主任必须解决的问题。继续跌向尚未较短的时间内，对个别行动，是共同的责任之间的导演和动画。但导演仍然全面控制。

该动画然而，应该添加一些想法自己如何一定的影响才能实现，只是作为一个演员将在现场的行动。最小的单位，个人的图纸和帧几乎完全是在漫画家的省，这是他的特殊技能的谎言。如何球反弹？如何性质的反应感到惊讶，或提前他的手指？这些问题的漫画家必须解决他的感情和知识的主题。

动画片通常需要很长的时间才能产生。在此期间，至关重要的是，董事应保持经常检查就如何生产的进展，以及如何密切合作，原来的时机和概念得到遵守。

大多数动画电影，以一个预定长度。电视的商业必须有一个确切数字相框和更长的电影可能会有适合之间相当狭窄的限制。一个导演的问题是，以适合行动的时间。

第一鸿沟的故事到部分或序列的长度方便。贯穿每一节弱智多次必要吸收所有重要的故事点。然后通过对每一节，时间它精神上的最后一站观看。添加了所有的时间，以提供整体。这是肯定会或多或少广泛的大关。如果是相当密切，查看是否有序列可以调整，使共约权。如果它太短暂，更多的企业必须是发明，以填补现有的时间。如果是太久，也许整个序列必须省略。

Answer 4

指导者的职责
指导者负责关于全部的踱步而且全部故事或它的特别的序列计划的决定。

这能包括好几分钟的期间或只有数秒的序列。 他也一定决定，这些序列应该是如何进入现场之内组织。

多久应该每现场是? 什么应该在现场中是行动的速度? 什么应该是行动的速度为了要把握那兴趣听众? 如何能在故事中的主意最好是放在对听众之上? 这些是问题指导者一定解决。 下去到仍然较短的期数时间, 到个体行动, 职责是分享在指导者和赋与生气者之间。 但是指导者仍然有全部的控制。

赋与生气者应该，然而，增加他自己的一些主意关于如何特定的效果能是达成-正如一个演员会在活的行动。 最小的单位-个体图画和框架-几乎完全地是赋与生气者的省, 和这是哪里他的特别技术谎言。 如何做球跳? 如何做一个个性在惊奇反应, 或大声叱骂他的手指? 这些是问题赋与生气者一定解决被他的感觉为和知识那主题。

一个活生生的电影通常拿一长的时间对农产品。 在这期间它是必要的指导者应该生计常数检查在生产如何正在促进上和如何接近地最初的时间安排和观念有是跟随。

大部分活生生的电影是制造一预定长度。电视商业广告一定是正确数字框架和一比较长的电影意志或许有到适宜在公平地之间狭窄部份极限。 指导者的问题之一是到适宜可得的对时间的行动。

第一分歧进入方便长度的区段或序列之内的故事。 奔跑完成的每个区段心理上同样地许多次当做必需品吸收所有的重要故事点。 然后奔跑完成的每个区段再, 时间安排它心理上与一停止手表。 对给予有道理所有的时间安排一全部的总数。 这确定或多或少宽那标志。 如果它公平地结束, 见到是否序列能是调整带来那总数大约权利。 如果它更加太是短, 更多生意一定被发明填充可得的时间。 如果它很更加太长, 也许全部序列一定是省略。