actions all with the same intensity and amount of movement will quickly become tedious and predictable. It will have no punch. But if the overall pattern contains accents and surprises, contrasts of smooth-flowing actions with short, jerky moves, and unexpected timing, the whole thing becomes a delight to watch. Obviously, this is impossible to attain with Straight Ahead Action. Using Pose to Pose, the texture in the variety of the movements can be planned and the action designed to make this a part of the total statement.
The first animators to use Pose to Pose were interested in a quicker result and were not aware of its brilliant future. They were more concerned with the geographic locations of the characters than any potential for entertaining actions. "The guy is over here, then he gets his hat, then his cane; he looks to see if his wife is watching, he does a hop, then runs out the door. Six or seven drawings, a whole bunch of inbe-tweens, and I'm through with the scene!" When handled that way, with no attempt to relate one pose to another, the scenes were bound to be wooden and jerky. It was not until the development of stronger poses, improvements in timing, more skillful use of Secondary Action, and, finally, the Moving Hold, that Pose to Pose animation ultimately came into its own.
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