Animating group movement begins with identifying the overall energy ‘feel’. And in this sequence, the chiru (Tibetan antelopes) are purposeful, springy, carefree and unconcerned to the children that are inadvertently blocking their path.

From here, a sense to general texture and pattern of group movement begin to emerge; though still inward and abstract in manner, it will subconsciously dictate how things will unfold.

Since there are 2 main interacting elements- the antelopes and the child, it is best to approach each component separately.

TINY, being the main focal point was animated first, followed by the chiru.

To arrive at an organic texture and not becoming overly busy to overall group movement, (based on scene criteria and length), 3 antelopes were animated each with own individual mindset and mechanic variations but within relation to the herd overall mindset.

They will then placed into scene like straight-ahead without knowing exactly how the whole will look-

- One chiru at a time with Tiny as anchor.

- Adjust placement and entrance points through real-time playback.

- Variations to pattern of repeating chirus.

- Keep in mind the back-and-forth subtle switching of focal point between Tiny and the chiru.

By reusing same chiru animation several times to building herd movement, the repeat pattern generates a calmer feel. But since they’re placed differently in relating to group pattern, they don’t appear as reused animation. (It saves time and still achieving an uncompromised result).

One thing to keep in mind while animating individual element in a group scene- it doesn’t need to be flawless in timing and mechanic to commanding solid attention on its own, long as it works within overall group. For example, chiru in variation 2 in above clip is a bit stiff and not quite right; (it would need to be further refine if it was the only element in scene).

Likewise in reverse, if all the separate chiru would command full attention on its own including perfect individual timing, the scene might appear overly active when all are combined together.

Here, color exploration of the Chiru sequence by Geefwee Boedoe. (For more images of his work on My Little WORLD, please click here.)

The hand-drawn process is a very time consuming one, but nothing quite like it when drawings begin to move, especially when they have attained a certain sense of life…

It is our hope to echo some of this elusive life’s energy through movements of the characters inhabited in our film.

When approaching a new subject in My Little WORLD, and in this case- the Tibetan antelope or chiru, we began with research study, finding clips, images and books to learn its natures and habits.

When actual footages of the referenced animal is difficult to find such as the case with chiru, we then look for footages of animals that share similar attributes, like a gazelle or others within the antelope family. In this circumstance, a combination of observations from several different animals is utilized to arrive at the film’s specific needs.

Reference study is divided into 2 stages, (through observing freeze-frames, slow-motion and regular playback speed).

First, we begin with searches to understand the ‘feel’ of its make, learning to draw and visualized its structures from various angles and perspectives; much more critically- is to identify its spirit essence through distinct and unique mannerism, both in still-gesture and movement pattern.

Next is to be in touch with a general understanding to the 4-legged movement mechanics, avoiding direct referencing image-per-image to animating.

It is good to take note of the specific condition and emotional nature of the reference footages, which are most likely different from the emotional intent of the animated scene.

For example, (as in the very precious 3 min. footages of chiru we’ve recently found in a BBC documentary entitled ‘Wild China’), the manner of chiru galloping here are at mating season; its speed and gestures are war-like and aggressive; and in our film, the chiru are strolling around, brisk and playful.

For us, key to studying and translating reference is interpreting and not copying, with aims to reflect certain essence of ‘soul’.

Once we’ve found ‘just enough’ insights into a subject matter, then the animating process begins, often still with much apprehension in these first attempts…

Our animation workflow begins with an in-depth understanding to intent of scene in relation to the approximate scene’s running time, established in the animatic.

Generally, we don’t precisely lock down scene length from the animatic, so to allow room for movements to organically breathe as needed.

To best stay within range, our next step is to find and define an appropriate phrase to flow of scene’s energy by acting out, aiming to be in touch with the right ‘feel’ of movement in accord with scene length.

At this point, the scene is still in abstract stage locked inside the animator’s inward sensibility. This abstraction becomes guide to begin our first pass to roughing out the scene (if needed, we would create thumbnails to further understand scene’s nature).

In this initial pass, the drawing lines are fainter, scratchy, loose and rough, (but stay within volume) as the hand searches for the right spacing and allow character’s structure to breathe accordingly, laying down foundation to movement, not yet taken into considerations for details and draftsmanship of the drawings.

This rough pass is then photographed and drawings are to be assign exposures to reflect intended speed of movement based on visual real-time playback. The rough pass is then analyzed, looking into ways to further define and strengthen scene.

In tie-down stage, movement foundation is further strengthening by definite commitment to outline of drawings and defined details to all parts of character design.

This new scene in our film was originally inspired by Marta, the wonderful Brazilian soccer player (whom we first learned from this passed FIFA Women World Cup in Germany a few months back). Her on-field presence, dance-like and graceful footwork is most mesmerized and inspiring. (Below, a link from womensprosoccer’s Channel on Youtube)-