If there is a flaw, it is the animator's job
to fix it.
假如動畫上有瑕疵，那動畫師的責任就是修正它！
Sometimes
animators do animate just the upper body in frame thinking that they are saving
time and work by ignoring what isn’t seen. An animation supervisor with a
critical eye will immediately see that flaw.
有些時候，動畫師在做動畫時會為了節省時間，而陷入畫面框架(frame thinking)的思維，省略不做畫面上看不見的部份，而只做上半身(或是下半身)的動畫。但是一個擁有「鷹眼」(critical eye)的動畫指導，他可以馬上從中看出缺陷。
The body off screen has to motivate what we see on screen. This is more critical with computer animation because it doesn’t have the “cheat zone” of 2D. No matter what animation medium you work in, you have to create the illusion of feet moving to adjust balance or shift weight to initiate a move, even if it isn’t seen on screen.
電腦動畫之所以有別於2D動畫，其中重要的特性之一就是不再擁有『作弊區域』(cheat zone)，在螢幕上呈現的局部動態都必須靠著螢幕外的整體動態來驅動。不論你使用何種媒材來做動畫，你都還是必須藉著調整平衡和移動重心來達到人物做動作時應該擁有的重量感，接著人物才開始下一個動作，即使這部分不會出現在螢幕上。
This does not have to be polished animation, but it has to be analyzed and blocked in. It is dangerous to think that a camera angle will hide an animation flaw, because the people you are trying to impress will likely notice it right away and it could cost you that new job. Ultimately, it’s our responsibility as animators to animate the character properly.
This does not have to be polished animation, but it has to be analyzed and blocked in. It is dangerous to think that a camera angle will hide an animation flaw, because the people you are trying to impress will likely notice it right away and it could cost you that new job. Ultimately, it’s our responsibility as animators to animate the character properly.
這看不見的部分不需要做得很繁複精細，但至少要有所本地規劃並且繪製草圖。試圖用鏡頭去隱藏動畫上的瑕疵是非常危險的想法，而且會讓你多出更多的工作，因為你試著想打動的觀眾(動畫指導、導演)，很可能會馬上注意到這樣的瑕疵。說到底，動畫師的責任本來就是踏實地把動畫做好嘛。
(閣主負責任翻譯‧有疑義歡迎討論)
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