Why Animators Should Hold on the Final Vowel

"O" shape by Cliff Nordberg

When animating Lipsync, animators should never forget to hold a few frames longer on the final vowel shape, and not snap back into the default mouth position too quickly.

This is because when we say a word, like "ooh", our lips stay in the "oo" shape for a while, even after we have stopped making any "oo" sounds.  Junior animators will often snap back to a default mouth position, just a couple of frames after the sound stops, instead of holding the pose for longer, and staying in the mouth shape. 

Try it yourself. Say the word "shoo" and see how long your lips hold the "oo" shape. It's probably about 6-8 frames longer than the sound itself lasts. 

The Making of "Marmaduke"

Lately I've been working on a new animated feature film, and going over some material from past movies to refresh my memory of the animation pipeline.  In the short video above (12 minutes long) I describe my experience working on the Fox Studios' live action feature film "Marmaduke", animated at Cinesite in London back in 2009.  As part of the development process I did a large number of expression sheets, a few of which I have uploaded below.  

The Making of "Beverly Hills Chihuahua"

In the short video above (just 5 minutes long) I describe my experience working on the Disney live action feature film "Beverly Hills Chihuahua", animated at Cinesite in London back in 2007 and early 2008.  As part of the development process I did a large number of expression sheets, a few of which I have uploaded below.  

Animating Zebras for "Racing Stripes"

 

Way back in 2004 I got my first job as animation supervisor, on Frederic Du Chau's live action VFX movie "Racing Stripes", about a zebra that wants to be a racehorse.  It was filmed mainly in South Africa - where zebras are plentiful; while the VFX work was done at Digiscope in Santa Monica, with other studios such as Hybride in Montreal animating the two horseflies "Buzz and Scuzz". About 30 VFX shots were completed in London at the Peerless Camera Co.  Part of the animation process was to create expression sheets for the characters in the film, to inform the CG modelling process and to make sure the animation would be as realistic and expressive as possible. 

Animating Lipsync for "Underdog"

In the short video above (15 minutes) I describe my experience working on the Disney live action feature film "Underdog", animated at Cinesite (and also Framestore) in London back in 2006.  As part of the development process I did a large number of expression sheets, a few of which I have uploaded below.  The purpose of the expression sheets was to help the modelling department create blend shapes for the character rigs, showing a range of expressions and moods, which could then be captured in the animation.  Underdog was a great project, directed by veteran director Frederic Du Chau, with whom I had worked previously on "Quest for Camelot" and "Racing Stripes". 

Animate a Sneeze with Monty

Animate a sneeze with Monty

In this beginner animation tutorial, we show how to animate a sneeze with Monty, the green pea.

A sneeze is an explosion of air, so we want a big anticipation, and then a big sneeze. 

If you have time, attach a hat to Monty's head, and animate it flying up in the air, spinning and landing again (you will need the Parentmaster plugin for this).

Animate Dialogue with Monty: "I'm Outta Here!"

Monty: "I'm Outta Here!" 

In the simple animation tutorial below we show how to animate a character with no mouth saying a line of dialogue.  

But how can you animate dialogue and lipsync - with no lips?  The answer is - it's all in the performance.  If the body language is working, then the audience will believe that the character is speaking - even if it has no mouth. 

Animate Willy "I'm Outta Here"

Willy: "I'm Outta Here!"

In this three part dialogue tutorial we show how to animate a cartoony character ("Willy") saying a line of dialogue.  The line is "I'm Outta Here!", taken from Iago in Disney's Aladdin. 

In the first part of the tutorial we block out the animation with Willy. In the second part, we add a "Smear Drawing" to simulate motion blur. 

In the third part we animate Willy's hat flying up in the air and landing. 

Animate Dialogue with "Monty" - "Smokin!"

Monty: "Smokin!"

In the simple animation tutorial below we show how to animate a character with no mouth ("Monty") speaking a line of dialogue.  

But how can you animate dialogue and lipsync - with no lips?  The answer is - it's all in the acting and the performance. 

 

If the body language is working, then the audience will believe that the character is speaking - even if the character itself has no mouth. 

Animate "Monty" Singing "Oh Yeah"

"Monty" sings "Ohhh Yeahhh". 

In the simple animation tutorial we show how to animate a character with no mouth ("Monty") singing a line of dialogue.  

But how can you animate dialogue and lipsync - with no lips?  The answer is - it's all in the performance.  If the body language is working, then the audience will believe that the character is speaking - even if the character itself has no mouth.  

In this tutorial we animate "Monty" saying (well, singing) a line of dialogue - "Ohhh Yeahhh". 

Is it Good? Animation by Lee Caller

"Is it good?" from Lee Caller on Vimeo.

Above is a fine acting shot animated by Animation Apprentice graduate Lee Caller, one of a number of pieces of animation that Lee has started lately, but - as he puts it - "rarely gets to finish".  In this case, the purpose of the demo was to show that great animation it not always all about over-the-top super-exaggeration, but more about subtle facial expressions and believable acting choices. The acting reference was taken from the TV series Killing Eve - you can see the original shot here: youtu.be/HDdhotN0Dnw?t=223

How to Animate Lipsync - with No Lips

"Monty" dialogue by Rich Jeffrey

The first dialogue exercise tackled by students at Animation Apprentice is how to animate a character speaking a line of dialogue - with no mouth.  Students almost always look skeptical at this idea - how can you animate Lipsync with no lips? 

The answer, of course, is that it's all in the acting and the performance.  If the body language is working, then the audience will believe that the character is speaking - even if the character itself has no mouth.

Hold Ms Bs and Ps for Two Frames

Hold Ms Bs and Ps for 2 frames minimum

One of the rules of animating lipsync is that you should always hold Ms Bs and Ps for at least two frames if you want them to "read" clearly.

The reason for this is that we need to compress our lips together to make these shapes, after which there is a little expulsion of air. 

For Ms Bs and Ps to read clearly, they need to be making the shape on the screen for at least two frames, even if the dialogue is rapid.

Why Lipsync Should Be "Two Frames Ahead"

Cliff Nordberg

Why should your lipsync always be at least two frames ahead of the audio? Because there is a very slight time delay between our mouths making a shape, and the sound being expelled from our lips.

For your audience to be able to read the lip sync clearly you'll want to offset the jaw opening at least two frames before the audio is actually heard. 

If you have the jaw opening and closing exactly on the frame that the audio is heard, your lip sync will feel slightly "off sync", ie a little late. 

Why Lipsync Needs Wide and Narrow Shapes

Mouth shapes by Cliff Nordberg

When animating dialogue and Lipsync, it's important to remember that animators need a contrast between the wide and narrow mouth shapes, otherwise the Lipsync tends to feel a bit like a dustbin lid opening and shutting.

The key is to find flexibility, especially between the wide shapes, such as "ee" shapes, and narrow shapes, such as "oo" or "w" shapes. 

Lipsync: Open Wide on the Big Vowels

Wide on the big vowels

When animating Lipsync, animators should never forget to open the mouth wide on the main vowels, especially "A", "EE", and "O" shapes.

The trick with animating good dialogue is to avoid the timing of the mouth shapes feeling soft and mushy. 

By opening wide on the big vowels, animators can get more texture into a dialogue shot, more "light and shade", so that the animation "hits the accents", and makes a more positive statement.

The timing of the open and shut of the jaw should be nice and snappy, with only a single frame ease-in to the wide mouth position.

Sesame Street Sounds Archive

For animators looking for inspiration for some cartoony animation with dialogue, one great place to search is the Sesame Street Sound Archive, which you can find here. 

The Sesame Street Sound Archive is full of cartoony audio clips, which work well with cartoony characters such as Mr Buttons and also the Willy rig.  

To get started, try picking a very short line of dialogue, download it and then drag and drop it into your timeline in Maya. To see more about how to use audio files in Maya, follow this link.  To see more about how to use the "Willy" rig, see this blog post.

Speed Lipsync - How to Animate Dialogue Fast

In this short video (less than five minutes long) I set out the basic principles for animating dialogue and lipsync swiftly and cleanly. The trick is to avoid over-complicating the process.  Start by animating the jaw open and closed - open on the vowels, closed on the consonants (make sure you close the mouth for at least two frames on Ms Bs and Ps, or they won't "read"). Then, layer in the wide and narrow mouth shapes (narrow for "oo" and "w" shapes, wide for "a" and "ee" shapes). Tidy it all up, and you're done.  

The Secret of Animating Lipsync

Above is a short video on how to animate lipsync, showing how to keep the process as simple as possible.  The idea is to break things down into easy sections so as to make sure that your work starts off simple and gradually grows in complexity as you layer in the detail. At its simplest, good lipsync is just about opening and closing the mouth on the vowels, and closing it on the consonants. But, developing a system to keep it simple and at the same time get a sophisticated result, is all part of mastering the art and craft of animation.

Dialogue & Lipsync Tutorial

Dialogue by Joris Van Laar

We've uploaded a new tutorial on animating Dialogue & Lipsync to our Vimeo channel.

In this 8-part video, we explain how to approach the challenge of animating dialogue and lipsync, breaking the process down into a simple, dependable workflow.