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-Carefully choose gestures. 小心、仔细地选择姿势。
-Gestures should hit on vowels. 手势应该与元音位置相吻合。
-Choose 1 or 2 of the most important poses and make sure they carry emotion and read.
选择一两个最重要的姿势，让他们具有可读性并携带感情
-Avoid clichés at all costs. (i.e. using the first pose that comes to mind.)
无论怎样，要避免死气沉沉。（也就是说，利用最能带来情绪的姿势）
-Watch out for “showing” in your animations instead of “doing”.
重要的是你要向观众“展示什么”而不是你要“做什么”
-Use gestures from NOW, not 1950.
使用现在流行的肢体语言（肢体语言的时间差异），而不是1950的。
Shoulders:肩部
-Essential but commonly overlooked in animation. 肩部动作很重要但一般都没有注意到。
-They have a wide range of motion and “emotion” in them. 肩部包含很大的动作幅度与“情感表达”
-The shoulders often lead many actions. 肩部通常带动其他许多动作
-When your arm is completely extended your shoulders touch your ears. Their range is very wide.
当升起手时，肩部可以触及到耳朵，这个范围很广。
Inbetweening:中间画
-Computers inbetween with math, not with the principals of animation.
计算机的inbetweens基于数学，而不是基于动画法则、及视觉经验。
-Specify exactly what the pose needs. 正确的详述这个pose需要什么
-You must define the timing from ears to toes in your animation.
在你的动画中你必须动用耳朵到脚趾（更多体验）规划时间
-“The computer is the dumbest inbetweener there is”. 计算机只相当于一个无声的中间画家。
-Watch for twinning in your poses. 在你的pose中间注意相似现象。
-Try working with curves other than the default splines to develop your inbetweening.
除了默认的splines，试着调整曲线以完善你的inbetweening中间画。
-Spend the most time on the first post. It is the most telling in your whole animation.
把最多的时间用在主要的pose上，是整个动画中最生动和最有效传达的东西
-Use all of the controllers provided. There should be animation on every possible curve.
给所有控制器同时做动画
-Nothing truly is ever at rest. 在静止时永远没有真实。
Facial:脸
-The ocular muscles usually move before anything else. Brows lead the action and the mouth typically comes last.
眼睛先行，眉毛带动作，嘴巴通常稍后。
-Avoid changing facial expressions in the middle of big movements. Do it before or after.
避免在大动作（肢体语言）中间改变脸部表情，在大动作之后再改变表情。
-There shouldn’t be any expression changes at all in t
he first or last 6 frames of an animation.
在一个动作完成的前后6帧，不要改变任何脸部表情。
Arcs:弧线
-Start with the core of the motion and move outward from there. 根据运动的中心作弧线运动。
-Arms and often legs move in figure 8 patterns. 手臂和腿常常以8字形摆动。
-When in FK, do the arms last. The motion of the arms is almost always dictated by the torso.
如果使用FK，、最后做手臂。手臂的摆动通常依附于驱赶。
-Be aware of the orientation of the wrist to the elbow.
注意手腕到肘的旋转方向。
-Apply the waves principal (add overlap to all joints.) 给所有关节添加交迭动作。
Eyes:眼睛
-Plan when and why your characters eyes dart. 计划好你的角色的眼睛什么时候、为什么动。
-Too many eye darts = spastic characters. 太多的眼睛动作 = 痉挛的角色
-Allow the eyes time to focus on the objects they’re pointing at. 将眼睛的时间集中在他注意的物体上
-Unanimated eyes = doll eyes. 不动的眼睛=无生命的眼睛。
-The eyes always convey the emotion and truth of a character’s performance.
眼睛总是传达情感及角色表演的真实性。
Blinks:眨眼
-Blinks are never random. 眨睛不是随意的
-Plan when and why your character is blinking. 规划好你的角色为什么眨眼
-Blinks:
Convey a shift in thought. 想法转变，变化
Sell the emotional state of a character.
We blink to change a shift in thought or emotion. 我们转变想法或情感时眨眼
When we blink we are “cutting the film of life”. Our eyes are the cameras.
眨眼就像剪辑
Blinks always occur on quick head turns. 眨眼常发生在转头时
Jaw:
-The jaw doesn’t always open on every syllable or word. 下颌骨并不是在发每一个音节或词时都打开
-Get a mirror and keep it by your desk.
Place your hand in a stationary position under your jaw and feel how many times it opens and closes per line of dialogue.
在桌上放一面镜子，将手放在在下颌骨下方，看看一句话，嘴巴开合几次
Feature Animation Demo Reel Tips:
1. Keep it under 2.5 minutes.
2. LABELS!
3. Always use a NEW VHS tape. (Always label the spine!)
4. Include a log sheet (breakdown sheet).
Show thumbnails of the shot on the log and mention what you contributed to each shot.
5. Include a resume and cover letter. Always spell check these two docs.
6. Only use your best stuff.
7. Short film? Show your best shots first. Include the full film at the end.
8. Tailor your reel to the studio and position your applying for.
9. No offensive content.
10. Avoid cycles in your reel.
11. Reel Order:
-Second best shot – FIRST.
-Weakest
shot (but still good work) – MIDDLE
-Best shot – LAST
-Full short film (if applicable) – at the end.
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