(1/11) Hi. I want to try to explain a somewhat complicated thing about animating singing characters, in large part to help myself understand it better. I'm not sure I will succeed in explaining this correctly, but here is something that I think is true.
(2/11) Once a character has inhaled, accents will progressively introduce more tension until the character exhales/inhales again.
I think most singing characters are animated without enough tension in their bodies and I think it's because we haven't understood this properly.
I think most singing characters are animated without enough tension in their bodies and I think it's because we haven't understood this properly.
(3/11) By way of example, I want to analyze this clip of @benSPLATT singing Somewhere at the Grammys. The whole thing is phenomenal, but I want to focus on the section from 1:08-1:22.
(4/11) Inhale:
-This whole section is done on one breath. Physicality changes as we get further away from the breath.
-A proper singing breath starts low and expands the stomach. If we start low, we can transition to a shoulder breath by the end of the song to show change.
-This whole section is done on one breath. Physicality changes as we get further away from the breath.
-A proper singing breath starts low and expands the stomach. If we start low, we can transition to a shoulder breath by the end of the song to show change.
(5/11) Push & Torque
Push: the neck pushes forward and the head lifts. Usually the chest is rotating back slightly and the hips are rotating forward.
Torque: tilt + twist. Look at head rotating against shoulders. Like tightening a spring where the release is the exhale/inhale.
Push: the neck pushes forward and the head lifts. Usually the chest is rotating back slightly and the hips are rotating forward.
Torque: tilt + twist. Look at head rotating against shoulders. Like tightening a spring where the release is the exhale/inhale.
(6/11) The torque may change direction while holding a vowel sound, but singers pretty much always push and ease through a whole vowel. Stop pushing, stop moving, or cut this off too soon and you show the audience that you're faking it.
(7/11) Then, a relax/anticipation on the consonant to start.
This section also adds a squeeze, where we see the shoulders come up to support the torque. This is another way of adding tension and showing that a character is WORKING to sing.
Again, easing through the vowel.
This section also adds a squeeze, where we see the shoulders come up to support the torque. This is another way of adding tension and showing that a character is WORKING to sing.
Again, easing through the vowel.
(8/11) To my original point, as we progress away from the breath, we see more tension:
-Antics start to get smaller
-Working harder to get push/torque (see neck/face tension)
-Parts of the body move more as a unit and there is less offset drifting of parts against one another
-Antics start to get smaller
-Working harder to get push/torque (see neck/face tension)
-Parts of the body move more as a unit and there is less offset drifting of parts against one another
(9/11) As with the last section, everything is becoming tighter. Antics are smaller, pushes and torques are effortful and holistic.
Because the relaxes are getting smaller, the pushes are compounding without being reset and there is an overall progression forward.
Because the relaxes are getting smaller, the pushes are compounding without being reset and there is an overall progression forward.
(10/11) These last two accents are the tightest of all, with barely any anticipation or drift of parts against one another. We have made meaningful progress forward and next will come a new breath.
(11/11) Keeping this physicality in mind lets you use the physicality of singing to heighten the emotion. The choice to do this all in one breath is a CHOICE and has a different emotional impact than breathing elsewhere.
Thank you for coming to my TED talk.
Thank you for coming to my TED talk.
