Modular Pieces

For Level Design had to create a level and using 5 modular pieces.
Done in Maya.

Two Levels

My two levels consist of an outside gate surrounding some stairs that leads into an underground tunnel or bunker. The inside part of the level is underground where the player comes from above climbing a ladder.
Part of the mission was to model five modular pieces. So I’ve built a set of stairs, a gate doorway, a part of a metal fenced gate, a damaged part of the fenced gate and some floor platforms.
The 7 keys are as follows:
Time: From Monday November 19, 2012 to Wednesday November 21, 2012
Tech: Autodesk Maya 2012
Limitations: Recycled some assets.
Requirements: A part of a complex that leads into a gated area that leads into underground. It is realistic horror feel of the mood of the game.
Purpose: A path that leads below ground.
Gameplay: Explore the area a look for clues and/or supplies.
Theme: A part of a mysterious mansion.

Outside gated area

Underground tunnel area

Arched entrance door piece

Gate piece

Damaged gate piece

Platform piece

Stairs

Terrain, Natural Landscapes and Lighting

For Level Design class.

Terrain, Natural Landscapes and Lighting

When it comes to terrain sometimes what it is used is called heightmaps. Heightmaps are   images used to serve or interpret terrains such as mountainous areas and rocky areas. Some advantages to modifying heightmap terrains is that they’re quick to do and texture. Some disadvantages are that sometimes they’re simple to do and require little effort to create larger versions of them, therefore, mistakes can often occur. A heightmap terrain uses same sized polygons which can end up in terrains looking and feeling unnatural. Therefore, it is recommended that heightmaps are left to use for smooth terrains like smooth hills. Also, for more complicated terrains, using noise features on the texture is not recommended because this too leaves an unnatural look and feel to terrain surfaces.
It is suggested that designers should try to smooth the terrain and hide the ugly edges as well as place rocks made from separate meshes on top of it. Getting a near perfect looking terrain is almost impossible to do. If a terrain requires it to be very rocky with steep surfaces the best thing to do is to model them separately and add the meshes later.
When texturing a terrain it is important to thing to do is create an effective composition of materials that reflect the theme and look of the level. They should complement each other. Otherwise the look of the level will feel inconsistent and maybe even confuse people. Another important thing is that the texture is painted good to translate effectively what the surface is supposed to look like. A designer can create good color variations that fit well together. But if it is painted bad then is just ruins it. Using multiple variations of a type of texture also helps define area borders with smooth transitions.
When it comes to rocks it is much more effective to model them than to use heightmaps. Otherwise attempting to use heightmaps for rocky terrains is impossible. It will never look good. When it comes to rocky terrains and heightmaps it is better to only use heightmaps on smoother surfaces of the area such as the floor where players will walk on. The type of rock should also reflect the type of environment the level is in. like the design of rocks that have been underwater once will look different in look and texture than mountain rocks that are under the sun all the time. Also the look of rocks can be able to determine if an area of a level is friendly or dangerous. The history of the place also can determine the look of rocks.
Horizons can help make the level area look bigger than it really is. One way designers do this is to make mountains and rocky areas so large and high that players won’t be able to see past them and see what is on the other side. The sky helps enhance this illusion as well. However, simple designs of a blue sky with a sun in the middle can make it looks boring. In order for a sky to look interesting is to  have interesting composition in it. This can include clouds to give it a gloomy or rainy look. Lighting is effective as well. The color composition should be interesting too. Like how does a cloudy sky look at dawn when the sun is going down.
Lighting is one of the most important things in the look and feel of a level. An important thing to lighting is that it always has to have a light source. Where is the light coming from? If there’s simply light somewhere and it can’t be determined where the light source is coming from then it can break the illusion and believability of the lit area. A good example of bad lighting is when the light source lights up more of the area than it should. The proportion of the lighting to its light source is important. It has to be believable. You can’t expect a small light bulb in the middle of a long corridor to light the whole corridor equally. The same goes for brightness. If the lighting of an area is brighter than the light source then it ruins it. Or if the light source is brighter than the area it is illuminating.

Eight to Ten Room Level Concept Midterm

For Level Design midterm I had to come up with a level concept  of eight to 10 rooms, design  a 2D floor plan and use the checklist. Floor plan was done in Illustrator.

“Estranged”

My level idea is of a survival/horror adventure video game one-player based and consists of solving puzzle-like situations as well. In some cases the player might have to solve some kind of puzzle in order to continue the journey.
The story begins with David came back from a vacation roadtrip and is back in his hometown. He went out of town a couple of days for vacation and is ready to continue his usual life routine. He’s driving into town and he realizes the streets are strangely empty. It was evening but not late enough for the streets to be this empty. He keeps driving and remembers that he is going to put gas in his car. He goes into the usual gas station he always goes to and stops his car at the pump. He goes into the station to pay when he realizes everything is on but no one’s around.
Now David pays full attention and decides to walk around. He discovers that some of the streets are blocked off by debris and in some occasions cars are stacked crashed together making it impossible to pass through. His only option is through a small car junkyard. He realizes no one is around attending the junkyard either. This makes David worry. He finds a knife and arms himself with it just in case. He looks around and decides there is no way out. Then he discovers a back part of the junkyard gated locked and decides there must be a key somewhere. So he goes to the junkyard offices to see if he can find anything. He does. David goes into full panic mode when he crosses the junkyard again to get to the locked gate and discovers creatures in the junkyard. Armed with only his knife he defends himself. He gets passed the creatures and quickly unlocks the gate. He is getting surrounded and cornered by these creatures so he has no choice but to crawl into a manhole sewer inside the gated area. He briefly walks under the streets in the sewer before exiting into an alley.
From here the player descends into the streets trying to find his way around until he gets home or answers on what is going on. He has to zig zag around debris and locked doors along the way he encounters strange creatures that want to kill him.
This game level consists of Map Gameplay. The player starts at a certain location and the map guides him to where he has to go to find his way out to the next part of the level and also guide him/her to key locations to locked doors. The map also dictates at what points in the levels the player will encounter enemies.
The floor plan for this level is considered to be a realistic floor plan. Things and objects in the game are there for a reason whether it is objects to help the players’ health, objects to help them defend themselves against the enemies, as well as object to help them along the way like doors being unlocked by keys.
The level for this game is designed for single-player not multi-player. The floor plan for this wouldn’t be too effective for multi-player. The reason for this is because there are areas in this level that would be useless for multi-player because players can “camp” or cheat by hiding in a certain spot waiting for other players to pass by to kill them. Although this level is for single player there are no dead end paths really.
There are no traps in this particular level. The only threats are enemies and the level of danger that the enemies pose.
The AI consists of creatures roaming around the streets until they spot something they want to kill. For this the player can avoid confrontation with these creatures sometimes if he stays out of site. However, sometimes the player cannot go around some enemies so they have no choice but confront the enemy.
The difficulty of the level is considered by three variations of enemies. The first set of enemies are easy enough to kill with a melee weapon. The second variation of enemies are a little harder but not quite the most difficult. The third set of enemies is the most difficult to deal with. However, by this time the player already has a firearm to defend himself effectively against the most difficult enemies.
The List of 7 keys  is Time: there is no time limit in this level. However, the player needs to find the keys to get through the doors in order to proceed to the next part.
The next is Tech. This game looks proper in the Unreal Engine. Preferably three person view.
The Limitations here are the geometry is a bit complex.
The Requirements are an open area of city space where the player can navigate freely but still with some limitations.
The Purpose for the player is to find himself around the city and eventually make it to his destination.
The Gameplay here is exploration adventure and survival.
The Theme is a big town not so much a city.

Floor plan of "Estranged" level

Vertical Alignment and Horizontal Alignment

In-class assignment for Level Design was to find examples of vertical alignment and horizontal alignment in level designs.


Vertical Alignment when used in video games is usually used to construct and/or give the appearance and illusion that things might be very tall. One example is buildings. Composed side by side of each other gives the illusion that these buildings are tall or even taller than they look. The buildings consist on many vertical lines to give this appearance. Games that used outside cityscapes use this. A game example is Batman: Arkham City. The city of this game is known to have very tall buildings. Also, “Vertical elements can emphasize a feeling of coldness…” The tall buildings enforce this as that is exactly what Gotham City is.

Screenshot of "Batman: Arkham City"

The second type of composition in video games is Horizontal Alignment. This is mainly used when constructing indoors sometimes, particularly rooms. But I think it can also apply to huge outside objects. In this case, in Grand Theft Auto IV, an example of horizontal alignment is the bridges in the city of the game. The many horizontal lines used to create the bridges contribute to the theme of the environment. In this case, bridges go well in a city. I don’t think there’s a city in the world without at least one bridge.

Screenshot of "Grand Theft Auto IV"

Abstract and Realistic Floor Plans

For Level Design class I had to design two floor plans of two different levels.
For one level I had to design an abstract floor plan and for the other level I had to design a realistic floor plan.
Designed in Illustrator.

The objective for this level is to get past enemies, avoid wall booby traps while collecting points and/or coins along long corridors. Parts of some corridors are missing some floor platform so the player will have to jump over them or else fall and die/lose. The path is pretty much linear with a boss to battle at the end of the level path. Defeat the boss and level is complete.

Abstract floor plan

The level here starts outside of a house. The objective here is to find your way into the house by exploring the outside yard. The player will find a key that will unlock the front door. Once inside the player does more exploring throughout the rooms of the house and collects items. The player has to find another key that will unlock a door at the back of the house that leads to stairways that lead to the next floor and/or lower level of the house. The player has to takes these stairs to advance to the next part of the house.

Realistic floor plan

Checklist of Level Concepts

Checklist assignment of three level design ideas for Level Design class.

Level Design Concepts

What goes into level design isn’t just simply the design of the level but there’s more to it to not only make the level look attractive and engaging but also other elements put together on it to make it work as well as possible as a whole. Things like the reason for the design and why design it the way it’ll eventually look all are things that are put thought into. One of the things that helps visualize the development of levels is concept art illustrations. Concept artists create series of shots of a level and it helps to visualize it, set the mood and atmosphere, before it goes into final production. For video game design concept art is utilized as well as running the level through a checklist system. The list covers time, tech, limitations, requirements, purpose, gameplay and theme.
The first example of this is “Call of Duty: World at War.” Earlier titles focused on World War II but it never covered The Pacific side of the war where the war was fought against the Japanese Empire. World at War did this by offering players several level missions focusing in the Pacific Islands where the battles took place. The first mission, called ‘Semper-Fi, takes place in Makin Island. The concept of this design was to show gritty, brutal realistic scenes and environmental visuals and show accurate depictions of the types of places the battle in the Pacific was being fought in such as beaches and muddy jungles. They wanted players to also experience fighting in the darkness of night as well as be aware of camouflage snipers in the trees and hiding in bushes.

"Semper Fi" mission concept art by Thomas A. Szakolczay

"Semper Fi" mission level gameplay scrennshot

The checklist:

Time – no time limit.

Tech – IW 3.0

Limitations – controlled area of space.

Requirements – sanded beach areas with wooded cabins and paths with heavy jungle surroundings.

Purpose – the player (single player) and his squad (AI) are trying to fight through Japanese opposition and get to a beach to make their getaway by boat.

Gameplay – survival, open area with military strategic methods to fight the enemy.

Theme – Oceanside beaches and jungles.

          The second example is from the same game, Call of Duty: World at War, with the ‘Black Cats’ mission. This mission is unique in that the gameplay is different from the other levels. The concept for this was that instead of being a foot soldier fighting in the jungles the player is a gunner for a fighter plane, or a Black Cat. The experience for the player is simply to point and shoot with various rapid firing guns within the Black Cat. The AI controls the plane. With open skies and the ocean below the player has to shoot and destroy Japanese ships carrying weapons as well as shooting down enemy planes that began the infamous kamikaze attacks.

"Black Cats" mission concept art by Thomas A. Szakolczay

"Black Cats" mission level screenshot

The checklist:

Time – no time limit

Tech – IW 3.0

Limitations – controlled open space, complex geometry

Requirements – massive open air space and massive ocean space

Purpose – to shoot and destroy enemy merchant ships and enemy war planes

Gameplay – survival, eliminating the enemy and prevent kamikaze attacks on friendly ships

Theme – open air space

          One unique game that’s visually stunning is Grand Theft Auto IV. The game consists of players doing missions within this massive open space world, or sandbox style world, where the player can also free-roam anywhere within that space. In GTA IV’s space, this space is Liberty City. This city consists of three islands surrounded by water. The concept behind the design is to create the most realistic true-to-life city the player can experience. The main concept is to be realistic from the city surroundings to the character’s the player interacts with. The realism in the surroundings shows for instance, in the way the water moves and the reflection of things on the water’s surface. Also, weather was implemented in the game’s world. Although Liberty City is a fictitious city it is loosely based on New York. It can rain, be sunny, cloudy, windy, and changes from day to night. The visual purpose is to give the player the experience of walking, driving, and admiring the scenery of the city life.

"Grand Theft Auto VI" concept art

"Grand Theft Auto VI" screenshot

The checklist:

Time – certain missions are time limited

Tech – RAGE, Euphoria

Limitations – complex geometry

Requirements – free-roam open world

Purpose – connect with people and do missions assigned to earn money

Gameplay – free-roam exploration 

Theme – big city

Storyboarding and Camera Angles

With the different kinds of camera and frame angles learned in the lecture of Storyboard and Character Development class the assignment was to re-draw some of the scenes already done but draw them in different angles. Also, draw a key moment in two different angles for comparison.

Here are the opening scenes with some camera angles like zoom, high angles, close up shots, and over the shoulder.

Page 1

Page 2



This is the scene moments when the dog jumps out of the bushes at Rick done in two different angle shots, birds eyes view and POV.



POV shot




 Bird's eyes view shot

Fill in Gaps from Original Thumbnails

Assignment was to make more detailed storyboards detailing in-between scenes of the original 5 thumbnails of the first assignment for Storyboard and Character Development class. The other part of the assignment was to calculate 2 types of aspect ratio sizes, one for TV and one for cinema.

I focused more on the first part of the story.

1 

2

Cinema aspect ratio 1:85

TV aspect ratio 1:33

Rough Draft and 5 Thumbnails

For Storyboard and Character Development the assignment was to write a 1-2 page proposal of the story I want to tell a little bit more developed followed by 5 thumbnails of scene of the story.

Proposal for Story

“The Journey”

Rick wakes up in the morning and with lazy eyes looks at his alarm clock. His eyes widened when he realizes that he’s going to be late for school. He sits on his bed, looks at the pile of clothes lying in one corner of his room and randomly picks out a black t-shirt and some baggy pants. Rick quickly gets dressed and not bothering to brush his teeth he grabs his book bag and heads for the front door.

Rick is a typical lazy teen who procrastinates about everything and in fact comes very close to being late for class almost all the time. He looks at his wristwatch and realizes he has about close to ten minutes to catch his usual bus. If he fails to catch this particular bus he will be late for sure. It’s close to about a ten minute walk to the bus stop Rick looks behind the front door before heading out and grabs his skateboard to get him to the bus stop faster.

The morning is cloudy. Looks like it might rain. It’s the types of mornings that Rick prefers to stay in and sleep in. morning traffic fills the street and cars honking horns randomly.

Rick begins his journey skating towards his bus stop. He’s racing through the sidewalks and swerves around people. As he approaches a particular house known for having a mean pet dog Rick remembers this and cautiously attempts to pass through quick and quiet. But his plan didn’t work as the mean dog jumps from out of the bushes, and barks and runs towards Rick. Rick is just trying to get away from the dog. To Rick it seemed like the chase was on for several blocks. The dog finally tires of chasing after Rick and slows down until finally he just turns around and walks back home. Rick regains knowledge of his whereabouts and notices he’s kind of far from his bus stop. He notices some kids sitting on the on the stairs of the front yard of the house across the street from where he was. These kids had a mean look in their faces like they instantly took a dislike to Rick. They also looked a little older than Rick. One of the kids gets up from the steps and yells out at Rick, “Hey kid, nice skateboard. Can I have it?” The kids then begin chasing Rick. Rick backtracks the route in which he came from. He approaches the house with the mean dog and sees no dog. The kids are catching up to Rick due to Rick getting tired. The mean dog pops up again but this time he goes after the kids. The kids scatter the opposite direction from Rick and Rick is relieved. But upon looking at his watch again he realizes he has minutes to make it to the bus.    

He approaches the stop and sees the bus stopping. Rick tries to speed up some more. People get on the bus. Just as the bus is about to close its doors Rick makes it right in the nick of time and gets into his bus. He’s barely going to make it on time to class.

5 thumbnails

Proposal for Storyboard Assignment

First assignment for Storyboard and Character Development class is to pitch a proposal story that I will storyboard throughout the term. Using the basic 3 act structure demonstrated in class by instructor.

"The Journey"

Act I

Rick leaves his house to go to school. He has to do a little walking before arriving at his bus stop. On this particular day he decides to take his skateboard instead of walking. Rick is already running late so he has to make it to his bus on time.

Act II

Before arriving to his bus stop a dog jumps out from a house's bushes and scares Rick forcing him to try to get away from the dog by taking a different path. The dog chases Rick for a couple of blocks. The dog gets tired of chasing Rick and slows down, turns around and walks back to his home. Rick realizes he's in an unfamiliar and unsafe area. Some kids sitting on the front steps of a house want to steal Rick's skateboard and end up chasing Rick.

Act III

After all the re-routing Rick finally comes back to his bus stop and  gets on the his just in the nick of time.

15 Sites

Assignment for Modeling I class is to list 15 websites or links that's about 3D art and 3D art concepts and to write about 4 of these.

http://www.3dtotal.com/

http://www.gnomonschool.com/

http://www.cgsociety.org/
http://neisbeis.cgsociety.org/gallery/750466/

http://www.bertmonroy.com/ 

http://www.robhruppel.com/

http://evoleeq.com/art/

http://simonweaner.daportfolio.com/

http://spine3d.com/ 

http://www.raph.com/3dartists/

http://mattepainting.org/

http://degerardo.com/ 

http://3dartistonline.com/

http://www.shrutishankar.com

http://www.liamgoldenportfolio.com/

I picked BertMonroy.com. Monroy is a photo-realist painter. His work literally looks like a real photo image. Among his famous and largest works are "Damen", a painting of Chicago's blue line train stop. His other one is New York's Times Square. My other pick is Ignacio Bazan Lazcano. His work is found in 3dtotal.com and  cgsociety.org. Real world scenes like his piece "Paradise City" make his work entaertaining to look at as well as his futuristic looking characters and creatures. In evoleeq.com has an artist by the name Cornelius Dammich. His design of interior scenes like rooms and hallways have a good mixture of modern yet futuristic style to them. The detail is something to look at.
Last pick is http: simonweaner.daportfolio.com. Simon Weaner is a concept artist and matte painter. His illustrations on characters he uses many colors but still go well together. His concept art style is of exotic yet realistic environments usually in ruins or post-apocalyptic style is something I always been attracted to and hope to do some work like that sometime.

Presentation 1, Week 10

The first presentation for 3D Computer Animation class.
Had to pick a short clip of an animation and identify 3 examples of the 12 principles of animation.
The choice was Pixar Animation Studios' 2003 film "Finding Nemo", distributed by Walt Disney Pictures, and directed by Andrew Stanton.

First example was Squash and Stretch, the pufferfish, at 0:02.

The second example is Staging, Marlin (Nemo's dad) sees Nemo dead in the plastic bag, at 1:27.

The third example is Arcs, Gill gets shot out of the volcano, at 2:03.

Finding Nemo

Additional examples of the 12 principles of animation are:

Follow Through & Overlapping Action, Darlas' hair, at 0:16 and other various parts of the scene, and the dentist's clothes, at 0:33. As well as the water plants in the fishtank.

Other examples of Squash & Stretch are the plastic bag Nemo was in, at 0:42 and other various parts of the scene. And more pufferfish  at 1:57.

Week 9: Progress Report

I have progressed farther than this but once again I had trouble getting to open the recent saved file on my computer. 

Week 9: Arcs

One of the twelve principles of animation is Arcs. Arcs are created by movements that go from one point to another. In animation most movements done create arcs. It is mostly organic beings or things that created these arc movements. These arc movements are more evident in human and animal animation. Arc movements give the animation more realistic and fluid movement. Geometric forms such as robots and mechanical things tend to make linear and stiff movements. In real life humans also make body movements in arcs. We might not notice it but our arms move in arcs back and forth when walking. Our legs move this way as well. When we raise our arms. When we make a fist with our hand our fingers move in arcs. Even our heads. It is obvious when we move our heads up and down but when we turn our heads from one side to the other it moves in an arc form even though it looks like it turns in a linear path. In real life speed can affect arc movements. A slow car can make a sharp turn as opposed to a fast speeding car that will need more ground to make a turn. A plane naturally is always flying at high speeds therefore needs a lot of space to make a turn. In animation a plane can be animated flying fast and making abrupt arc maneuvers in little space and this will make the plane look erratic and cartoony because it is ignoring the laws of physics.


Wikipedia
Minyos: Animation Notes #5 - 12 Principles of Animation
Animation Toolworks

Week 8: Animation Principle of Anticipation

The animation principle of anticipation is exactly what the word means. It is expecting something.

This is the preparation to something that's about to happen in a scene. The prime examples of anticipation are when a pitcher winds his arm back to throw a ball or a golfer swinging back to hit the golf ball. But in fact, it is all over animation in almost every animated feature, TV show, etc. It is something so many people never notice unless you learn about animation. But it is everywhere. I myself did not notice this principle. I never noticed until now that I'm learning about the principles of animation. A few Anticipation examples that I can think of are when a bomb is about to go off and a character closes their eyes and covers their ears with their hands. The anticipation here is covering their ears and closing their eyes because this bomb is about to go off. One cartoon character that comes to mind that uses this principle a lot is the Coyote from Looney Tunes in his never-ending pursuit of the Road Runner. When he runs of the edge of something he stays suspended in the air for a second or two meanwhile his face turns all terrified because he knows what's about to happen. That's the anticipation to him eventually falling hundreds of feet down a canyon or something. Or when one of his traps backfire on him and a big boulder is falling about to crush him. He looks up and his face turns into a terrified face right before the boulder lands on him. I also learned that anticipation is cut out as a comic effect. The anticipation is not present so what's about to happen can be a surprise. Like a big boulder suddenly falling on top of the Coyote. It has happened. The Coyote never saw it coming. This can be referred to as a 'surprise gag'.

Week 8: Observe People Walking

In my observation of many people walking I have noticed the way people walk are based on or because of their weight mostly. A thin person looks to walk with a more straight posture it seems. Their steps are more fluid because of their lighter weight and also seems like their weight isn't shifting as much with each step. Their hip movement is not as noticeable as a heavier person walking but their up and down motion can still be noticed. A tall thin person walks about the same except looks like the taller person makes longer steps when walking. A thin female seems to walk making smaller steps and because of this sometimes they look like they walk fast. Their up and down hip movement is more noticeable than males' because of their wider hips. Also, males' back and forth arm swing movement look straight forward and backward. Females' back and forth arm swing movement move around their hips. A heavier person's walk is much different in that their weight distribution between steps is move evident. Their weight shifts towards the leg that is about to make the forward step. Also, heavier people's walk look like slower motion movement than a lighter person in weight. I've notice that athletic people look to be more lighter on their feet and sometimes their walking looks more fluid. A very short person's up and down movement is very visible when walking and obviously their steps are shorter, therefore, look like a slightly fast walk. I've noticed also people's walk are affected by the stuff they're wearing. One example is females wearing high heel shoes walk almost like with a jerky type of movement sometimes. Their feet moving inward with every forward step is very visible with females wearing high heel shoes in particular. Another example is youngsters wearing pants way below the belt line. Many of these people's walks look very stiff like they're walking without moving their knee joints and simply by only moving their hips and legs back and forth. Almost like the way Frankenstein walks. In my observation of people walking I noticed something that maybe it's obvious to many people but I never thought about. People walking in downtown Chicago walk at fast paces because most likely they have somewhere to get to, therefore, their walk doesn't look as natural or as normal as people who are taking a stroll in the park or someone who is simply walking to the store.

Week 8: Walking Cycle Video Reference

Here are a couple of video references. I chose a few.

Week 7: Storytelling Poses for Robot Arm Assignment

This is a drawing of the storytelling poses of my animation.

Week 7: Robot Arm Video Reference

Here's two reference videos of robot arms in action.

Week 7: Pose-to-Pose & Straight Ahead Action

One of the 12 Principles of animation is Straight Ahead Action and Pose-to-Pose animation. it almost seems like the two are similar to each other but contrast a bit.

Straight Ahead Action is when a scene is drawn out and animated from beginning to end with subsequent scenes drawn out as well. This creates a more fluid and fuller scene in terms of movement of what's being animated, therefore, creating more realistic action sequences. This Straight Ahead Action method is used for fast and wild action scenes. However, with this method the scenes tend to lose size, volume and proportions can look a little funny. But with computer animation these issues are of little to no problem.

Pose-to-Pose animation differs from Straight Ahead Action in while straight ahead action is drawn out from beginning to end of a scene pose-to-pose animation is done in inbetween sequences and poses. In a way it's kind of like storyboarding but not storyboarding. It's more thought out and carefully planned. This method is used a lot for dramatic and emotional sequences. Pose-to-pose is like a blueprint of what the secene is eventually going to look like when it is completed and the missing pieces are filled. Pose-to-pose is somewhat like connecting the dots. The animator draws the main poses and sequences (create the dots), and then fills in the intervals later to make it complete (connect the dots).

A conbination of these two methods are often used when creating animating.