(From My Little WORLD production blog)
When approaching a new subject in My Little WORLD, and in this case- the Tibetan antelope or chiru, we began with research study, finding clips, images and books to learn its natures and habits.
When actual footages of the referenced animal is difficult to find such as the case with chiru, we then look for footages of animals that share similar attributes, like a gazelle or others within the antelope family. In this circumstance, a combination of observations from several different animals is utilized to arrive at the film’s specific needs.
Reference study is divided into 2 stages, (through observing freeze-frames, slow-motion and regular playback speed).
First, we begin with searches to understand the ‘feel’ of its make, learning to draw and visualized its structures from various angles and perspectives; much more critically- is to identify its spirit essence through distinct and unique mannerism, both in still-gesture and movement pattern.
Next is to be in touch with a general understanding to the 4-legged movement mechanics, avoiding direct referencing image-per-image to animating.
It is good to take note of the specific condition and emotional nature of the reference footages, which are most likely different from the emotional intent of the animated scene.
For example, (as in the very precious 3 min. footages of chiru we’ve recently found in a BBC documentary entitled ‘Wild China’), the manner of chiru galloping here are at mating season; its speed and gestures are war-like and aggressive; and in our film, the chiru are strolling around, brisk and playful.
For us, key to studying and translating reference is interpreting and not copying, with aims to reflect certain essence of ‘soul’.
Once we’ve found ‘just enough’ insights into a subject matter, then the animating process begins, often still with much apprehension in these first attempts…
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September 6, 2011 at 8:54 pm
Jonah Sidhom
This is awesome info, thank you for sharing.
When I read your posts on animation technique, I really feel like you get to the soul of animating. Thanks for being an inspiration!
September 6, 2011 at 9:40 pm
rainplace
Thank you Jonah
September 7, 2011 at 11:22 am
David McBride
Thank you for posting. This was very helpful.
September 7, 2011 at 1:42 pm
Shelley Whiting
Your line work is very dynamic and energetic. Beautiful and fun work.
September 7, 2011 at 2:19 pm
rainplace
Thank you David
And thank you to Shelley too 
September 8, 2011 at 6:06 am
Eimhin McNamara
Beautiful and very thorough as always! Thanks for sharing!
September 8, 2011 at 10:18 pm
rainplace
Thank you Eimhin! Nice to hear from you
September 9, 2011 at 3:09 am
BK
Those are some nice studies and informative notes.
September 9, 2011 at 3:46 am
Josh Wedlake
Your sketches are brilliant. I recently drew pages and pages of thumbs from a dog’s gallop going frame by frame through some reference I shot. My sketches are nowhere near as precise as yours though (I’m a 3D guy)! I find after the first few difficult poses I get into the bad habit of drawing the body in the same way each time, no matter what the pose is without really thinking about it. Its like I develop a sort of visual shorthand for the dog which my hand quickly scribbles out before I’ve really thought much about the pose or how it differs from the previous one.
September 9, 2011 at 5:46 pm
rainplace
Thank you BK
Thank you Josh
i went over to your site; GREAT to see your research and studies into bringing dog mechanics to life! i’m certain that your expression with sketches will get stronger as you’re keeping at it, aside from 3D or not 
October 9, 2011 at 10:40 pm
alex vaida
Hi Mike,
Thank you for sharing all these with us.
I am working my way through all your previous posts and I am noticing there’s always another post I missed. It’s a neverending well of knowledge… hehehe… oh how I love that. That’s because I’ve just started to follow your musings, as you already know.
I am sure webdesign is not on your list of priorities and I’d hate to sound ungrateful. Digging for info is just fine. I just wish I could subscribe to the feed though, I get an error. Something to do with the xml file. I am using Google Reader because it proved to be a convenient way to keep track of fresh posts from people whose work I am interested in.
Also, I have a few questions for you, but I don’t know where to post them. I wouldn’t dare to hog your time if you hadn’t encouraged the questions.
I’ll start with one here, although it has nothing to do with references. If you could suggest a better way for us to ask the questions, I’d immediately comply.
Q : When you start planning/staging a scene ( early stages ) - do you feel the presence of the soundtrack would help ? If not to help with the accents, then to establish a mood ( if it’s music ) for the poses.
If it’s a pantomime, I am of course referring to music or sound effects ( splashes in the water, footsteps etc. ) and not to a dialogue track. As you are animating on paper, I’m wondering how you go about it.
If you were using an application, I’d think you loaded the .wav file first. Maybe I’m wrong. I imagine some people get so comfortable drawing and get to ‘the zone’ at some point - not needing crutches of any kind. I assume you refer back to the animatic, as you are making a film. What about a simpler scene, with just a few shots in it ? I’d appreciate your thoughts on this.
Many thanks,
Alex
October 11, 2011 at 1:46 am
rainplace
Hello Alex,
(Web design is definitely not part of my expertise; wished I’d know more…)
In regard to your question- if it is a dialog scene, then I would have to take cue from the dialog delivery. If no dialog and the scene has a predetermined sound effect, then I will have to take that into consideration also while planning scene out.
Most often, final music and sound effects are added in afterward; the animator will have to study the scene, seek to understand its intent with relation to its placement in the animatic.
Hope that helped
October 11, 2011 at 11:39 pm
alex vaida
Yes, it helped, thank you very much.
December 22, 2011 at 11:31 am
Jacob
Thanks for showing us so much about your animation process.
When you were sketching out the animals I noticed the marker you used didn’t really bleed, but it left a very strong line.
What marker did you use for that sketch and does it smell? I know kind of an odd question but I draw around my kids and they hate all of my markers because they smell.
December 22, 2011 at 6:24 pm
rainplace
Thank you Jacob
The pen I used in this clip is called- Itoya DH-30 Doubleheader Permanent Ink Marker Pen, made in Japan. It does has a very slight smell if holding very close to nose, but very mild compares to something like ‘Sharpie’.
Hopefully you’ll fins one at your local art supplies store and try it out to see if fit your preference. Happy Holidays!