Principles of Animation – Frozen (Sven and Olaf Scene)
Here we have a great example of follow through on the carrot, which flies through the air. As it lands, it has a slight springy quality as its momentum is transferred into the snow.Here is an example of exaggeration being used on Sven’s tongue, as it is stuck to the ice. Sven tries to pull himself up but the tongue instead stretches and extends whilst stuck on the ice. This evokes a comical yet uncomfortable feeling as it is an extreme depiction of a relatable sensation.As Olaf is carried along by Sven there is some squash and stretch on his body, however since he is made of snow/ice he is not especially flexible, and this shows by restrained use of squash and stretch. As such, here we see how the principles of animation are used to reinforce depictions of solidity and structure.As Olaf is dragged along, every part of his body tumbles in an arc. Sven’s movements on the ice are greatly exaggerated as he slips and slides.As Olaf rebuilds his body and attaches his head, he drops his head onto his body in a careful, deliberate way. There is good use of slow in/slow out here, which really contributes a great deal to the subtle realism of the motion of his animation, and helps add personality.As Olaf bows his head, the twigs on top follow through as they sway. The expression that Olaf makes here is one of exaggerated cartoon disappointment and sadness, with the furrowed eyebrows and long sad mouth.Here as Sven reinserts Olaf’s nose, we are taken by surprise. This is a great example of staging. The sequence appeared to have concluded, but our expectations are subverted when Sven gives the carrot to Olaf instead of eating it. He comes in sharply from the left as we are still zoomed in on Olaf’s sad face.The force in which Sven pushes the nose onto Olaf forces his head back, with follow through used to maintain the momentum between Sven and OlafSven jumps up and down, his upper body rising and falling first whilst the lower half trails behind. This is an example of secondary action, as his body contains many joints which are affected by each other. When Sven moves a part of his body, every joint must also move in relation to this.Sven’s body moves in arcs as he jumps up and down. The jumps themselves are greatly exaggerated, as well as the facial expressions, with his tongue hanging loosely outside the mouth and eyes rolling around in his head.As Sven lands, his entire body flattens to help depict the weight and force of his bodyOlaf holds in a sneeze, and so sets us up for the punchline of the sequence’s conclusion. This is again a good example of staging. The frame and motion is set up in such a way that we expect a certain outcome…And so are given the opposite outcome. The use of staging subverts our expectations, and this is why this is such a satisfying conclusion to the sequence.
In short, this scene is a small masterclass in execution of the 12 principles of animation. Shot by shot analysis reveals that at every moment at least one principle is being used to great effect.
