de diciembre de 20X8, la PYME A adquiere una participación adicional del 10 por ciento en la PYME B por 10 u.m.

The moving hold is one of those juicy moments most animators hope to get in their assigned shots. The moving hold is often used when a character is thinking, and the audience gets to pause and savor that beat, that moment. The character stops moving from pose to pose and rests to make a point. But the character cannot completely stop moving, or else the suspension of disbelief is lost and the characters are dead. The moving hold is one of those things that is so fleeting in CG. In some traditional animation, the moving hold can be created with simply a series of very tight tracings of a single drawing. The natural imperfections inherent in the drawn line lend a certain life to an image even though it is barely moving, so it doesn’t seem to die quite as quickly as CG does. In CG there needs to be a bit more texture; otherwise, the depth of the medium gives it away and makes everything seem dead and lifeless. CG animators have to add a few subtle changes to make that hold real and let the viewer savor the pose.

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THE JOURNAL OF VISUALIZATION AND COM- PUTER ANIMATION:John Wiley & Sons begins pub- lishingThe Journal of Visualization and Computer Animation. This journal aimed to publish research papers on the technological developments that would make animation tools more accessible to end users.

1990

OSCAR FOR MANIPULATION(DANIEL

GREAVES):Manipulationwon an Academy Award for Best Short Subject: Animated Films. Daniel Greaves’ film used a technique called pixilation, shooting the live action of hands frame by frame alongside the character animation, making them to appear to be interacting with one another.

1991

Moving holds also offer a place for more acting in the eyes and facial because once the body stops moving, the viewer looks right at the face to figure out what the character is thinking. Eric Goldberg explains more about how to create a successful moving hold:

In CG, what you would have is a moving hold when the character is drifting from one posi- tion to the next over the period of the hold. Then you would have the same thing as in hand- drawn, where subtle movement would overlap that moving hold, whether it’s overlap of a hat or ears catching up, or hair, or clothing, or a slight facial change, such as an eye dart or blink.

Eyes become very important during a moving hold. They transmit the character’s thoughts. When the rest of the body stops moving, the audience looks at the face to find out why. This is your chance to make the eyes tell the story. You can make the character blink a few times, as if he is astonished, startled, or thinking about the situation. You can have the character look around as if he is guilty, lost, or confused. Or you can have the character simply look at another character in the scene. Holding that look for a beat can create a wonderful moment that is both powerful and subtle.

Weight also plays a big role in making a moving hold successful. You cannot just stop the body from mov- ing, from translating. That is unnatural. As we said earlier, when people settle into a pose, different parts of the body will come to rest at different times. The computer will just stop moving everything abruptly, so you have to add that texture. The arms may dangle, the body may shift around; the hair, being lightest, will come to rest last. Let’s say you ran into a room, excited because your best friend is in town for the day and is com- ing to visit. You find your dog has eaten all of your shoes (God forbid!), relieved himself on the bed, and chewed up the cords to the PlayStation. You would stop and assess what you see for a beat, gauging how to react. This would be a great spot for a moving hold. Your weight would shift all over your body, recovering from running down the hall. Arms, head, and torso would all regain balance as you slide into the room. Finally, all the various elements would come to a rest, and the audience would look to your face to see your reaction.

The moment the audience looks at the face is the moment you have been waiting for, so make it good. You can even use the tool presented earlier, in the “Contrasts in Timing” section, to make the hold really stand out. If the aforementioned premise is an animated scene, make the next moment drastically different in energy than the moving hold. After you see what your dog has done and you are still in the moving hold, you can contrast that motion by going nuts, running wildly with your hands flailing to get the place ready for

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BEAUTY AND THE BEASTNOMINATED FOR BEST PICTURE:

Disney’sBeauty and the Beastwas the first animated feature to be nomi- nated for the Academy Award for Best Picture. Up against four other contenders it didn’t scoop the award, but went on to win a Golden Globe and Oscars for Best Original Score and Best Song, and it ushered in the latest Golden Age of Disney feature animation.

1991

REN & STIMPYPREMIERES:The Ren & Stimpy Showdebuted on Nickelodeon, instantly catching the attention of both children and adults. Within a couple of months, it was the most popular show, animated or not, on cable TV.

1991

your friend’s visit. The timing of the moving hold will give a comical release to the tension of the scene. The moving-hold moment is where you can also introduce the psychological gesture and subtext that we spoke of in Chapter 4.

As we discussed in Chapter 4, psychological gesture is an acting mechanism that reveals what the character is thinking without speaking. Because in a moving hold most of the body is at rest and the character is not speaking, this is the one of the best places to use psychological gestures effectively. Psychological gestures come into play for longer moving holds with a scratch or an eye dart. These can be some of the hardest moments, but rich in acting and performance. Scott Holmes talks about moving holds:

A moving hold seems like the simplest thing, but if a hold looks floaty or wrong or stiff, it blows your whole animation. A bad hold breaks believability in an instant and ruins the whole illusion of life. I try to add overlapping action to help break up a hold, but if every part has fallen into place and it still has to hold, I think about where the weight is and I try to animate the hips, taking the weight a bit more or settling into a pose. If I simply take a key and make it hold, it rarely works for me. Somewhere I have to break up the arc and pick a key to favor. There is a great moving hold in Monsters, Inc.in which Sully opens the door, stands there a second not moving as he looks around, and has that look in his eyes. Nothing else moves, and then he says, “Boo.”

When you are working on moving holds, ask yourself whether it feels right. Sometimes it’s hard to decipher because you’re doing it in a sub-beat of the main motions. Just remember that the moving hold is one of the greatest opportunities for acting and humor.