Week 6 - Extreme Poses

The following videos are playblasts of the significant extreme poses within the final scene. Within these gestures line of action, composition and readability are important factors in communicating the characters' actions and emotions to the audience.



This playblast displays a couple of the extreme poses the character, Surly Bob, will goe through within the final scene. First, he goes from a slouched position, sitting on a bar stool to standing upright, sticking his chest out to look intimidating. To make this transition from one extreme pose to the other I made sure to make use of line of action properly, with the two extremes being opposing shapes to one another. Hopefully, this will allow the audience to read the change in character from dosile to intimidating within this small time frame.
The other extremes happen when Surly Bob hits the table. His poses go from standing upright with this fist in the air to being hunched over the table with his fist slammed down on the table. I made sure to give this movement anticipation with his back being arched over backwards as he raises his fist just before he slams it down. Using proper line of action within this movement was important to making it look angry and menacing as to communicate these emotions to the audience effectively.



This playblast displays the character, Happy Gary, throwing his head back to swig a shot of whiskey, an important piece of the final scene. To give this movement maximum impact to what is happening and communicate across Happy Gary's over the top personality, giving it the right extreme poses was important. I may have stretched the line of action a bit as he tilts back to swig the shot, but I really needed to exaggerate the movement to make it as over the top as I think it needs to be for this character.



This playblast involves Surly Bob knocking happy Gary down with a bar stool, another of the more important parts of the final scene. The extreme poses for this movement go from Surly Bob swinging back and lifting the stool, arching his back in anticipation to leaning forward and swinging the stool downward to hit Happy Gary over the head with it. To get the anticipation right for this movement I had to make sure that the two extremes had an opposing line of action. This helped with creating the impact of the hit when the stool makes contact with Happy Gary's face. The only problem is the timing of the downswing. It's not fast enough and so it doesn't look like the hardest hit.