Here's an older post that still gets a lot of views - thought it was time to polish it a bit and put it on top of the pile.

The agency likes what you do - that's why they've called you in to take a brief, but they need to be confident your vision for their TV commercial is aligned with what they want. They might ask you to write a Treatment. A Treatment is a pitch - a selling document to win across the agency and client to your vision for their ad. It's your opportunity to show that you totally understand the advertiser's requirement and that you are able to deliver it in the most compelling way.

1. Listen up
Ask a lot of questions so that the brief is crystal clear. Try to gauge how flexible the agency is about the story and visual style. This is important - the amount of creative freedom you have on a TVC can vary. Some briefs will be very specific, with little room for additional creative input. While at the other extreme the agency will have one of those "no idea" briefs that's gonna rely on your creative chops to flesh it out and make them look awesome. Understand who your audience is. Find out what the client likes - and doesn't. Find out if it's gonna roll out on social media as well - this may influence your storytelling.

2. Is the ad Story or Spectacle?
If it's story then it should have a beginning, middle and end, with at least one character. The objective of story is to engage the audience with a plot that resolves at the end with the advertiser's message embedded. If it's spectacle there is no story - the ad is eye candy that relies on attracting the audience's attention with appealing visuals and sounds. In a spectacle the audience is a spectator, unlike story where the audience is a participant. Story doesn't need visual extravagance to engage the audience - but if you're not telling a story then each shot has to be more interesting than the previous one to keep your audience on board.
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3. Get your story essentials in place
All stories must have a CHARACTER that the audience can identify with. The character should have a GOAL - he/she/it wants something. Finally there should be CONFLICT - an obstacle to the character getting what she wants, which must be overcome. STRUCTURE is equally important. The beginning is where the character is introduced and the setting is established. Then a problem or incident moves the story to the middle part, where obstacles are overcome. Finally the story resolves and the character is much happier now that (thanks to the product) the problem is solved. Cue the logo and park it for the last second. If your TV commercial has these basic story elements in place, you're in good shape.

Here’s a handy list I put together originally for the Malaysian artists on the Saladin TV series, then later expanded and updated for the animation teams on the Sherazade TV series - who were spread across India. With so many animators of different backgrounds and skill levels spread across the country - we had to get them on the same page when it came to facial animation.

STAGE  EXPRESSIONS  CLEARLY
1. Make strong poses (expressions) - animated character expressions are more exaggerated than human expressions.
2. Hold the pose - allow it to change in intensity if the dialog or situation calls for it, but don't change the pose until it is time to go to the next pose.
3. Don't overdo movement on the face - keep the expressions clear and simple. Once you have created an expression hold it while the mouth moves for the dialog.
4. Make sure the poses are different enough to notice the change of expression - the poses should contrast to show the character's thought process at work.
5. Make sure the audience notices the change of expression - don't change an expression during a fast body movement, change it just before or just after the movement.
6. Be careful not to hide expressions behind a big nose, moustache or unfavourable orientation to the camera.
7. Do not let the expression conflict with the dialog. The expression must reflect the emotion in the dialog.
8. Have you created the optimum expression - are all parts of the face working together to relate this one thought - the brows, eyes, eyelids and mouth?
9. Generally avoid symmetrical expressions. A character's personality will come across better with asymmetrical expression quirks such as a curled lip or a raised eyebrow.
10. Remember the face is only one part of the whole - the expression must be captured throughout the whole body.

HEAD  TILT
11. Tilting the head is powerful way to make a pose stronger. Tilting to one side will improve a questioning or curious expression. Tilting forward will improve a stern or serious expression. Tilting back will improve a surprised expression.
12. Tilting the head the wrong way will weaken a pose. For example avoid looking up for a frown. A slight tilt down will make a frown more powerful. A head that tilts down during a smile will change the meaning from a friendly smile to a sinister smile.

TIMING
13. The duration of an expression change is important - an excitable fast-talking character will change expressions quickly. A sinister devious character might change expressions slowly.
14. The duration of an eye blink is an indicator of emotion. An excited character will blink quickly, a tired or sinister character will blink slower.
15. The thought is slightly ahead of the dialog. So actions (manifestation of thought) will generally precede dialog by a few frames. For example a head-turn will precede accompanying dialog…
16. …and eyeballs move as fast as thoughts - so an eyeball turn will precede the accompanying head turn by a few frames. Eyeballs always lead any change in expression.
 
THE  EYES  ARE  THE  WINDOW  TO  THE  SOUL
17. Use eye blinks on the expression changes, eye direction changes and head turns.
18. Ensure eye direction is accurate. In 3D animation, constraining the eyeballs to the target with a locator may not necessarily give the best result. Use what looks right rather than what is geometrically correct.
19. Eye direction can indicate the thought process: Eyes looking up and to the left or right indicate remembering an event or trying to recall an image or incident.
20. Eyes looking to the left or right indicate recalling something that was said or trying to think of something to say.
21. Eyes looking down to the left or right indicate some internal dialog where an emotion is being held inside, such as embarrassment, sadness or shyness.
22. Eyeball scanning is another way to indicate thinking (life!). When eyeballs look in a direction they seldom stay still for long. Eyeballs will subconsciously scan their subject with a quick small movement to a new position, stop for a while then move again, and so on. Some animators call these 'eye darts'.
23. An exception to the scanning eyeball is for a character who is focussed, driven or in concentration. It is better to hold a stare for this character to create more intensity.
 
THE  MOUTH
24. The mouth, as well as performing dialog is also an indicator of emotion. Anger, disgust, fear, joy, sadness and surprise can all be expressed with the mouth. Avoid symmetrical timing and poses - let one side of the mouth lead the other to resolve to an asymmetrical pose for a more natural look.
 
THE  BROWS
25. The position of the brows probably convey more information about an emotion than any other part of the face. Utilise them fully to extract the most emotion out of your character. Avoid symmetry in timing and posing.
 
EVERYONE  IS  AN  EXPRESSION  EXPERT

We humans naturally understand and communicate with expressions. Since we were children we learned to associate certain emotions with certain expressions. In our daily lives as adults we are engaged in a continual dialog of communications of which expressions form an integral part. We are all experts in interpreting expressions. For this reason, even the slightest discrepancy in your facial animation will be noticed by your intuitively expert audience, diminishing the performance. Your own face is the very best resource for experimenting with expressions before committing them into key poses in an animation. Use a mirror to rehearse and try different expressions when working with your dialog track.

By Steve Bristow

Image from Sherazade The Untold Stories, initially developed by Hahn Film.
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