Module 4 - Analysis and Redrawing For Digital Clean-Up

ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600

Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: email@uc-bcf.edu.ph; Website: www.uc-bcf.edu.ph
MODULE 4 – Ani12b Subject Teacher: Lovely Jenn A. Reformado
Analysis and redrawing for digital clean-up
Objectives: At the end of this lesson, students shall be able to:

1) Identify the areas that need to be assessed in a rough keyframe drawing;
2) Correct the areas necessary in a rough keyframe drawing through the process of redrawing;
3) Observe the principles when doing redrawing of a rough keyframe drawing;
4) Understand how to utilize animation software features and tools to aid with the analysis and
redrawing processes; and
5) Apply the concepts and principles of producing digital cleaned-up drawings by analyzing
and redrawing a messy rough keyframe drawing.
Introduction
 Clean Rough Keyframe
o An ideal style of rough keyframe drawing is something that seems cleaner
o Characteristics
 There is very little to redraw before doing the actual clean-up
 Sometimes clean-up can be done immediately based from it
 Action and facial expression is properly portrayed
 Rough attitude is present
 Number of lines are minimal and unnecessary line strokes are removed or minimized
 Lines are clean and crisp, almost akin to a messy clean-up
 Modeling is correctly done, and almost all details are included in the drawing
o This type of style is very rare to be seen in the industry, possibly under a combination of the
following circumstances:
 There are a too many / too few people in the animation studio
 There is more than enough time given for the production stage
 Keyframe / senior animator’s skill allows them to draw with higher attention to detail and
cleaner lines despite time pressure
 Keyframe / senior animator was formerly a clean-up artist, so is aware of the current clean-
up artist’s plight
Sample clean rough keyframe drawing – rarely seen in the industry

 Messy Rough Keyframe
o Most common type of rough keyframe drawing seen in the industry
o Resulted by a fast-paced drawing / sketch of the senior / keyframe animator
 Keyframing is one of the earliest steps in the production stage
 Keyframing is one of the predecessors of the other steps
 Keyframe / senior animator may also be a department head, so would have more
responsibilities other than creating keyframes
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o Meant to emulate what is supposed to happen in the frame with little focus on the details
o The essence / appeal that the character is giving off in the frame must be preserved
o There is a need to correct them before moving on to the actual clean-up:
 Incomplete drawing of the character
 Action and/or facial expression does not follow proper body / facial movement
 Off-model drawing
 Lack of details
 Multiple lines that ultimately confuse the viewer
Sample messy rough keyframe drawing – more commonly seen

 Changes v. Traditional Animation
o Tools to be used
 In paperless animation, the computer device and animation software is to be used for all
of the preparations needed before clean-up
 The rough keyframe drawing, all corrections done during the analysis and redrawing
stages, and the actual clean-up are all placed in one raw file
- The rough keyframe drawing, and analysis and redrawing layers can be revealed or
hidden as needed
- No need for erasing the layer after the entire clean-up process, which makes it easier to
refer if revision calls are done
- As a safety net, do version control so that it is possible to go back to the other versions in
case of revision calls
 A drawing tablet or stylus is best used when doing the analysis and redrawing stages
- If the student does not have either of those, it is recommended that analysis and
redrawing be done on traditional paper, then scanned for digital clean-up
- The student can also use the mouse for analysis and redrawing, but would take time
and practice to be efficient, so it is not recommended
o Addition of layer in raw file
 A clean-up artist can utilize as many layers as needed for the analysis and redrawing
stages
 But, these layers must be separate from the layer with the rough keyframe drawing
 Makes the work more efficient as erasing the entire drawing before clean-up is not
necessary
 New layers can be revealed or hidden as needed in case of corrections and revision calls
o More efficient line-testing
 Some software (particularly animation software) has a play preview feature that allows to
see the actual animation in motion in real-time
 No need to utilize rolling / flipping techniques or a scanner to check the output, thus
making this step more efficient
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 Also increases the accuracy of the animation since it is viewed as it should be compared
to some lapses that may occur when using more traditional techniques
Preparation
 Understand the Storyboard
o All scenes in the storyboard must work as one animation, and not just as separate scenes
 If not, the audience would notice a disconnect
 This can break the immersion necessary to create an impact
o Helps the animator understand the entire animation, and how their part of the work
contributes to it
o Gives the animator an idea on the limitations on how to modify their scenes
o If the animator modify parts, they are aware of how it could affect the rest of the animation
o Things to know about the storyboard:
 The entire scene that the animator shall animate
 Scenes before and after the scene assigned to them
o Can be either:
 Included in the digital animation folder as a video and/or the board itself
- May or may not occur
- Can be a set of images or a video (animatic)
- Not usually done as to prevent any leaking from the production staff
 Shown in a meeting before the production stage
- What would usually happen
- Also allows for question and answer from the team which can be answered directly by
higher-up positions in the pre-production and production stages
 Posted in a place within the studio
- Applicable if animators are placed in-house
 Character Modeling
o All animators must know how to draw the characters assigned to them according to the
model sheet
o It is important to maintain the drawing style of a character throughout the animation process
 It is normal for a character (relevant characters) to be drawn by a small team of animators
 The character must look exactly the same even when changing into different scenes, and
thus, different animators
 Having an off-model character breaks the immersion of the animation
o In practicing modeling, one must take note of the following:
 Proportions and basic shapes
 Detailing and rendering
 Clean-up process and style
 Shading / highlights (with clean-up)
 Step-by-step process
 Range of motion
 Facial expressions
 Character quirks
 Exaggeration (limitations of character’s squash and stretch)
 Perspective drawing and foreshortening
o Each animator is given a set of model sheets that would help them in creating the character
 Utilized both when learning how to draw the character and during the production stage
 Type and number of model sheets depend on the relevancy of the character
 Background characters may not have model sheets
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o Time during the pre-production stage is given for the animators to learn how to draw the
character assigned to them
 The time given to them depends on the animation studio and the timeline
 An animator may learn how to draw them on their own accord
- Not recommended, since it can open different approaches, thus the possibility of
having different styles
 It is also possible for them to have a separate class
- This makes it faster to learn and allows for higher chance of better consistency
- Allows for the animators to ask questions and get immediate feedback from the trainer
and/or the concept artist
Important: An animator is expected to draw characters in different animation styles and optimize
how to learn to draw them. An animation studio typically has multiple projects done at the same
time – all with different drawing styles and processes. It is also possible for an animator to learn
the drawing style during the production stage itself. As such, learning to switch between different
styles flawlessly is a key skill.
Analysis of Rough Key Drawings

 Introduction – Analysis
o Process of checking of the frames for any corrections necessary before redrawing
o Includes the action and timing, pose and facial expression, and modeling
o Done to help ascertain the steps and items to be done in redrawing
o Must be done before doing the redrawing to:
 Prevent any back-and-forth towards the two steps (analysis and redrawing, and even
clean-up)
 Lessen mistakes and revision calls
 Optimize the clean-up process
o Not all steps are applicable to every single rough keyframe drawing
o Other steps
 Consultation with the senior / keyframe animator and other members of the studio
 Modeling practice
 Steps – Analysis
o Addition of new layer
o Change brush settings
o Main action
o Time chart and exposure sheet
o Special instructions
o Secondary action
o Pose and facial expressions
o Path of action
o Range of motion
o Modeling
o Reporting
 Addition of New Layer
o As a safety net, add a new layer on top of the original layer
 This layer can be used to draw over any corrections that can be seen, and also to catch
any accidental markings that would be made
 Markings can be added here if necessary
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o Usually, only one layer is needed; more may be added if too many markings are in the layer
o Name the layer appropriately in order to prevent any confusion when there are multiple layers
 Follow any naming convention instructed
 If there is none, it is recommended to keep it simple (i.e. analysis) to eliminate confusion
when handing it over to other members of the production staff
o Lock the rough keyframe drawing layer to prevent any markings done (applicable to some
animation / drawing / illustration software only)
o It is also possible to make the opacity of the original rough keyframe drawing lower to see the
markings during the redrawing process
 Change Brush Settings

o If adding markings, it is also recommended to change the brush settings
o The following settings may be changed with the following recommendations:
 Size – similar to the clean-up brush; bigger size than the rough keyframe drawings
 Color – preferably a neon color to see above the rough keyframe drawing; opposite color
to the rough keyframe drawing (i.e. if the rough keyframe drawing is blue, then it is
recommended to use a red-orange color)
 Texture – no texture; similar to ink
 Opacity – lower opacity to see over during the redrawing process
 Flow – lower flow to draw over corrections in the analysis process; eliminates eraser use
 Pressure sensitivity – turned on
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 Main Action
o Used to check the idea of the action, how it moves, and how it relates to the entire scene
o Use the play preview button to get an idea of the main action that is done for the scene
o Redo the play preview button as much as possible to get the idea of the main action
o Countercheck as well with the layout and field camera to see if the sizing of the character is in
line with what is stated
o Countercheck the alignment of the frames as well with the background and the other frames;
take note of readjustment if necessary
 Time Chart and Exposure Sheet
o Check the time chart vis-à-vis with the main action
o Understand what are the aspects that the time chart is used for
o Use the exposure sheet to get a more detailed breakdown of the main action, some examples
are:
 Secondary action
 Camera movement
 Mouth codes / lip-sync
 Eye movements
o Countercheck with the animation scene file and storyboard to countercheck the action
 Special Instructions
o The special instructions can either be integrated in the frame or placed in a separate text file
(in the example, it is placed together with the rough keyframe drawing)
o Read and understand what is pertained to the special instructions
o Identify what parts of the animation is being pertained to the special instructions and how it
would be included in the entire frame
o Visualize with how it would be included in the overall animation
o Some common examples of special instructions:

 Separation parts – indicates what are the non-moving (mostly) and moving elements; can
also showcase how the moving parts would move
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 Mouth / lip-sync – specifications on parts of the lip-sync that might be exaggerated; must
be used in line with the exposure sheet
 Breakdown instructions – focuses more on the pose-to-pose animation process; usually
done when the action is a bit more complex
 Cycles in timing – indicates whether or not the action or parts of it is a cycle (repeating
over and over again); hinted if the two keyframes are exactly the same
 Shadow/ highlight indications – indicates the light source and placements of the shadows
and/or highlights, including their levels (i.e. core shadow, midtones, etc.)
 Shading / highlighting instructions – indicates the intensity of the light, movement of the
shadows and/or highlights, amongst other things
 Drawing registration instructions – emphasizes parts of the animation / drawing that needs
to be taken care of or emphasized; usually with the intervention of the animation director
 Line quality and stroke – indicates the specifications of the line quality and stroke; parts that
are tapered / feathered may be further indicated
 Special effects – indicates any effects that needs to be drawn with the character; possible
to have its own time chart or can be detailed further in the exposure sheet
 Eye blinks / eye movement – indicates any changes within the eye movement; done when
the character is closer towards the camera; seen when the character is mostly still
 Timing specifications – done when specific parts of the animation needs to have their own
time chart; done vis-à-vis with the exposure sheet
 Secondary Actions
o Use the play preview button to play the keyframes and breakdowns once more
o This time, focus on the secondary actions
o Understand how the secondary actions would blend into the main action and how it
complements it
o If the secondary action has special instructions, instructions on the exposure sheet, or a
separate time chart, then those have to be considered as well
 It is also possible for the secondary action to have its own time chart around the keyframe,
on a separate file, or on the exposure sheet
 Pose and Facial Expressions

o Check if the pose reflects the action properly according to the animation
o Check the clarity and integrity of the pose
 There is a clear line of action and silhouette for the keyframe
 Prevent use of tangent lines
 For in-between frames, appropriate animation smears are applied
o Check the overall impact of the pose
 The pose should clearly exhibit the action that is needed to create
 The pose should also coincide with the other poses on the frames before and after it
 The secondary actions should complement the main action
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o Check the facial expressions

 See if the proper facial expression is used for the scene
 Check if the proper facial elements are manipulated
 Countercheck with the model sheet if the facial expression used coincides or is similar with
the standard facial expression (if present)
 Countercheck with the model sheet for facial expressions to see on how different parts of
the face are manipulated
o Check the overall impact of the facial expression
 The facial expression should clearly exhibit the emotion that is aims to do
 It should also coincide with the action and pose within the frame
 Path of Action
o Check all of the actions that are moving between the two keyframes, and see how it moves
from one keyframe to another
o Draw the paths of actions for each of the moving parts (primary and secondary actions)
o Based from those, draw the overall path of action
o Check with the special instructions if there are instructions with the movements of the different
body and face parts
o Prevent any motions that are overtly distorted and sticks out from the other motions of the
action and the storyboard
o For the secondary action, check if the path of action complements the primary action
 Range of Motion
o Understand the intensity of the action that is being done, and understand if there is any
exaggeration (squash / stretch) that must be done
o Check the extent of the different body parts for the action
o Refer to the model sheet and the paths of action to see the extremes of the range of motion
o Check kinematics and inverse kinematics involved in the pose
o Also check if there are parts of the action that may not move as much as it should be (i.e. not
stretched out or squashed enough)
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 Modeling
o Check proportions based from the layouting
o Check if the proper basic shapes are used
o See if variations of the basic shapes are used when the character is facing another direction
o Check if all details are included
 Reporting
o Make sure that all of the analysis is done before moving onto the reporting
o Before reporting, construct any more questions that is necessary going forward (redrawing,
clean-up)
o Discuss the changes that needs to be done to see if it is in line with the intention of the
keyframe / senior animator
o It is important to only do the reporting once and as less as possible (i.e. one reporting for all of
the keyframes received; once a week) to prevent distracting the work that needs to be done
by the keyframe animator
o Be concise with explaining the changes you wish to do, and then move on to questions that
one is uncertain of
o If the senior / keyframe animator is unavailable, one can refer to:
 Department head
 Animation director
 Production assistant
 Other animators with more experience
About Reporting: As time passes by and with more experience, an animator is able to detect the
aspects that needs to be changed before redrawing without consultation. In fact, greenhorn
animators would come to you for aid.
Redrawing
 Introduction – Redrawing
o Process of correcting the action, timing, and design of the character in the keyframes before
the actual clean-up
o Redraws are based off the analysis and consultations conducted
o Counterchecks and corrects any mistakes done in rough keyframing before doing clean-up
o Helps facilitate the clean-up process to make it easier to see what needs to be cleaned-up
o Not all steps are applicable to every single rough keyframe drawing
 Steps – Redrawing
o Addition of layer
o Rechecking brush settings
o Main action
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o Secondary actions
o Pose and facial expressions
o Modeling
o Rough attitude
o Cleaning
 Addition of Layer
o Make sure that there are no additional markings in the original rough keyframe drawing layer;
if there are, ensure that those ones are removed precisely and carefully
o Add another layer that is separate from the layer for the analysis stage (unless it is unused)
o Multiple layers may be used for the redrawing process before actually moving on with the
actual clean-up
o Make both the rough keyframe drawings and analysis layers lower in terms of opacity to see
the output done during the redrawing process
 Rechecking Brush Settings

o Change the brush settings to be different than the one used in the analysis process, and
something that is more similar to the clean-up line to be used
o The following settings may be changed with the following recommendations:
 Size – similar to the clean-up brush
 Color – preferably a neon color to see above both the rough keyframe drawing and the
lines created from the analysis stage; must be different in terms of hue compared to the
last two stages (i.e. rough keyframe – blue; analysis – red-orange; redrawing – green)
 Texture – no texture; similar to ink
 Opacity – higher opacity than the one used in the analysis stages; just under 100%
 Flow – preferably 100% flow
 Pressure sensitivity – turned on
 Main Action
o Write the frame label and time chart first
 Take note of the proper placement and writing conventions
 Include production information (on the bottom left corner) if it is present as well
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o Redraw corrections in accordance to the timing and layouting

 Not usually done, unless there are discrepancies on the layouting
o Focus more on the changes in the special instructions before anything else
 Usually secondary actions; ones that were not tackled may be done on the next steps
 Secondary Actions
o Redraw corrections in accordance to the exposure sheet
 Take note of separate timing methods and time charts if necessary
o Redraw corrections that were not specified in the special instructions
 Pose and Facial Expressions

o Change foundations of the pose
 Focus on the silhouette and line of action
o Maintain integrity of the overall pose
o Take note of the range of motion and the path of action
o Change facial expressions and facial elements if necessary
o Maintain integrity of the facial expression
o Ensure that the main action does not suffer from the changes in the pose and facial expression
 Can be rechecked later for the rough attitude
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 Modeling
o Resize the character according to the layouting and field camera
o Take note of character proportions
 Start off with the overall height
 Focus as well on the facial expressions
 Take note of changes due to exaggeration (squash / stretch)
o Use three-dimensional basic shapes
 Include foreshortening and perspective drawing if necessary
 Draw with layouting, field camera, and/or background if provided in the animation folder
o Render basic shapes
o Add details
 Would usually take the longest amount of time
o Include shading / highlighting instructions if possible
 Rough Attitude
o Ensure that there were no changes in the feel and integrity of the action caused by the
changes in the construction of the character
 Usually, changes in the rough attitude is mainly derived from the modeling process
o Change if the action becomes too limited or less dynamic due to the modeling stage
 Ensure that the modeling aspects are still placed intact
o Erase any unnecessary lines that may distract towards the next stage
 Cleaning
o Create another layer; lower the opacity of the previous layer
o Use another brush color if necessary (in this example, a red-purple color is used)
o Tighten the design of the character by doing a messy clean-up
o Do this step multiple times until one is confident with moving on with the actual clean-up
 This helps with the final clean-up and properly establishes the lines that needs to be
created
 Take note of making the lines more organic / curved to make it look more natural
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o When finally finished, add the other special instructions and remove other unnecessary layers
o If using a drawing tablet:
 Use as less lines as possible
 Overshoot lines if necessary
 Make sure that all of the lines are curved
 Only use straight lines if it is meant to be a straight line (i.e. inorganic objects)
 The clean-up line doesn’t have to be perfect on the first pass
Important: When doing analysis and redrawing, each individual may have different yet valid
output. As animators, there are different aspects of the animation / drawing that we value over
the other, and that focus is reflected on the output. As such, there is no single correct output for
a given keyframe. What is mostly important is for the clean-up artist to present what they think is
important while still maintaining the primary intent of the keyframe / senior animator.
Common Mistakes in Redrawing

 Notes
o These common mistakes are based on the outputs from Modules 4 and 5 of Animation 12a
held last trimester (1st trimester, SY 2020-2021)
o The following mistakes are based from traditional redrawing, so common mistakes in digital
redrawing may surface but will not appear in this list
 Not Following Instructions
o Some Examples
 Missing production information
 Incorrect naming convention
 Incorrect line quality style
 Incorrect tool used (i.e. a 3H pencil was used instead of a 2B)
 Incorrect file format submission (i.e. Microsoft Word Document)
 Incorrect aspect ratio (portrait or square dimension instead of landscape)
 Dark / blurry / grainy photo taken (if done traditionally)
o Possible Solutions
 Read and understand the contents of the current module and the other previous modules
that are related to it
 Try to look into other physical or online resources to see how it is implemented by others,
particularly those with experience in the industry
 Ask questions / clarifications to the subject teacher if it is not clear from the discussion
 Read and understand the instructions placed in the module before doing the activity
 Focus on the contents of the rubric of the activity, as that is how the activity will be graded
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 Modeling
o Common Mistakes
 Incorrect volume (i.e. character’s face is too thin / thick)
 Incorrect placement of elements (i.e. eyes are too high up)
 Character’s torso is too thin / thick
 Character’s head is too high / low
 Character’s arm is too long / short or wide / thin
 Incorrect basic shapes used (particularly on the face)
 Asymmetry on the rendering of details (jacket lapels, arms, etc.)
 Lack of details (i.e. turtleneck can be ignored)
 Incorrect clean-up line style
o Caused By
 Tendency to simply trace the character without proper analysis and redrawing
 Lack of practicing the modeling before doing the activity
 Lack of understanding how to create the character (i.e. basic shapes and proportions)
 Conduct analysis and redrawing stages properly
 Practice some modeling before going on with the activity
 Break down the model sheet according to proportions and basic shapes
 Counter-check with the model sheet while doing the redrawing process
 Missing Information
o Examples
 No special instructions
 No frame label
 No time chart
 Incorrect copying of the time chart
 Incorrect placement of the production information
 Not Aligned Keyframes
o Examples
 Frame shifts movement from the other frame
 Frame is rotated incorrectly
 Frame is smaller / bigger compared to the other frame
 Ensure that the two frames are aligned by adjusting the opacity then line-testing
 Countercheck with the rotation and size before submission
 Stiffness of the Action and/or Facial Expression
o Rough attitude that is emanated from the rough keyframe drawing is gone from the redrawn
or cleaned-up frame
o The frame does not look as appealing and enticing compared to the rough keyframe drawing
o Caused By
 Focus on the modeling and rendering, which can remove the rough attitude
 Ignored / removed line of action
 Lacking facial expression
 Too flat lines
 Take note of the line of action and silhouette
 Exaggerate facial expressions (according to the model sheet)
 Take note of perspective drawing
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References:
 Blair, P. (1994). Animation. Walter Foster Publishing: California.
 George. (n.d.). Job 1 – Clean-Up Artist, TAFE NSW Sydney eLearning Moodle. Retrieved from
https://sielearning.tafensw.edu.au/toolboxes/Animation/jobs/job1/ca/j1_ca_pr.pdf
 George. (n.d.). Studio Tour – Clean-Up Artist, TAFE NSW Sydney eLearning Moodle. Retrieved
from https://sielearning.tafensw.edu.au/toolboxes/Animation/tour/ca/s_ca_pr.pdf
 Technical Education and Skills Development Authority (2018 February 27). Training Regulations
for Animation NCII – Version 02. Quezon City
 Williams, R. (2001). Animator’s Survival Kit. Faber and Faber: United States.
ACTIVITY 4: Analysis and Redrawing of Keyframe 3

Instructions: Attached is a rough keyframe drawing A13 (in orange). Do the necessary analysis and
redrawing based on the guidelines indicated in this module.
 Included in this module is two model sheets (full-body turnaround and facial expressions) and
the cleaned-up keyframe A10 for reference.
 Student can also use the keyframes from Modules 4 and 5 (A4 and A10 respectively) from last
trimester as reference.
 You can use either traditional or digital means for this activity. No difference in scoring shall be
done.
 Specifications of the keyframe are as follows:
o Size (printed): ½ short bond paper (without margin
o Dimensions and resolution (digital): 2550px x 1625px; 96 dpi
 The size, dimension, and/or resolution may be changed, but the aspect ratio must stay the
same.
 The final line must be a rendered version of the keyframe – the lines almost the same as a
messy clean-up.
 Please follow the procedures in record keeping and quality control.
 Guidelines for those who will do the activity digitally:
o Use a basic brush for this activity:
 There should be no texture or it should be simple (pencil)
 100% hardness, opacity, and flow
 Pressure sensitivity is allowed
o Student is able to decide on the size and color of the brush to be used
o Submit a final image format (.jpeg, .png, .gif) and NOT a raw file format (.kra, .psd. etc.).
 Guidelines for those who will do the activity traditionally:
o Use a pencil for this activity. Do not use ink, charcoal, paint, or any other material.
o Student is able to decide on the pencil thickness, darkness, and even color.
o It is recommended to print the page where the keyframe is for the actual size (print the last
page either on long or short bond paper).
o Student is free to choose whether to do the analysis and redrawing on the same paper
where the rough keyframe drawing is done or on a separate paper.
o Take a clear photo of the activity. Crop out white space if necessary. Make sure that it is
properly rotated.
How to Submit:
 For those who will do the activity traditionally, take a photo or scan the finalized photo.
 File extension type must be .jpg, .png, or .gif.
 File name: LastName, FirstName – ICT Ani 12_ - Module 4 Activity
Submission Channels:
 Canvas K-12 LMS (Assignments)
Page 15 of 18
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
Rubric:
Record Keeping Procedures
Analysis and Redrawing Keyframe Appeal
and Quality Control
20 (excellent) – Rough 20 (excellent) – Output was 10 (excellent) – All production
keyframe was analyzed able to maintain the integrity information necessary are
properly and accurately in and rough attitude of the pose present; naming convention of
accordance to the steps and facial expression; the file name and proper file
discussed; rough keyframe was character modeling was type were followed
masterfully revised and maintained and applied
redrawn according to the towards the character
analysis and steps
16 (above average) – Rough 16 (above average) – Output 8 (above average) –
keyframe was analyzed mostly was mostly able maintain the Production information are
properly and accurately in integrity and rough attitude of mostly present and
accordance to the steps the pose and facial expression; unnecessary information may
discussed; rough keyframe was character modeling was mostly be present; naming convention
revised and redrawn maintained and applied of the file name and proper file
according to the analysis and towards the character type were followed
steps with above average
standards
12 (satisfactory) – Rough 12 (satisfactory) – Output was 6 (satisfactory) – Production
keyframe was analyzed somewhat able maintain the information are mostly present,
properly and accurately in integrity and rough attitude of and some unnecessary
accordance to the steps the pose and facial expression; information is present; naming
discussed but there are some character modeling was convention of the file name
significant mishaps; rough somewhat maintained and and proper file type may have
keyframe was somewhat applied towards the character been followed
revised and redrawn
according to the analysis and
steps with average standards
8 (fair) – Rough keyframe was 8 (fair) – Output was not able 4 (fair) – Some production
not mostly analyzed properly maintain the integrity and information are present and
and accurately in accordance rough attitude of the pose and unnecessary information is
to the steps discussed; there facial expression; character present; naming convention of
were little revisions and modeling was not maintained the file name or proper file type
redrawing and the ones and applied towards the were not followed
present showcase a below character
average skill
4 (needs improvement) – 4 (needs improvement) – There 2 (needs improvement) – No
Rough keyframe did not go is a need of understanding on production information is
through any analysis and maintaining the integrity of the present; naming convention of
redrawing; any type of analysis pose and facial expression, as the file name and proper file
or redrawing had little to no well as the modeling of the type were not followed
effect on the improvement of character
the keyframe
Page 16 of 18
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
References: (Link: https://imgur.com/a/pUuJwAm)
Page 17 of 18
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
Page 18 of 18

Module 4 - Analysis and Redrawing For Digital Clean-Up

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Module 4 - Analysis and Redrawing For Digital Clean-Up

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ANIMATION NCII – Animation 12b

Governor Pack Road, Baguio City, Philippines 2600

MODULE 4 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

Analysis and redrawing for digital clean-up

Objectives: At the end of this lesson, students shall be able to:

Sample clean rough keyframe drawing – rarely seen in the industry

MODULE 4 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

Sample messy rough keyframe drawing – more commonly seen

MODULE 4 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

MODULE 4 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

Analysis of Rough Key Drawings

MODULE 4 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 Change Brush Settings

MODULE 4 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

o Some common examples of special instructions:

MODULE 4 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 Pose and Facial Expressions

MODULE 4 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

o Check the facial expressions

MODULE 4 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

MODULE 4 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 Rechecking Brush Settings

MODULE 4 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

o Redraw corrections in accordance to the timing and layouting

 Pose and Facial Expressions

MODULE 4 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

MODULE 4 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

Common Mistakes in Redrawing

MODULE 4 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

MODULE 4 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

ACTIVITY 4: Analysis and Redrawing of Keyframe 3

MODULE 4 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

MODULE 4 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

References: (Link: https://imgur.com/a/pUuJwAm)

MODULE 4 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

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