シャドーイング練習: Motion - 動画で英語スピーキングを学ぶ
レッスンを作成中...
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Movement is obviously a big part of films.
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However, since storyboards and concept paintings are still images, they have to suggest movement to help tell a story.
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In this video, we'll look how to create the illusion of movement in still images, focusing on two specific techniques, motion lines and line of action.
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Motion lines extend from an object along its pathway of motion to make it appear like it's moving.
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If I was drawing a car on a racetrack, I might add some lines like this.
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The line of action is a little bit different.
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Think of this as an imaginary line that runs down the spine of a character, which indicates the force and movement in that moment.
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We use this line to imply movement by guiding the pose of the character, or in some cases, other objects.
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Check this out.
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Notice we can feel movement even though the drawing is static?
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Now let's look at the UP storyboards and concept art with motion in mind.
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The previous panel we've been looking at from UP, where we see the house taking off for the first time through a city, there's a lot of things about this composition that really help us feel.
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Like even though these are static shapes that typically in our world wouldn't move on their own, suggest a sense of movement with this house.
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That directional of the balloons fanning up helps pull the house upwards.
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The shape of the house itself with a triangle pointing upwards helps move the house upwards.
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The framing devices that are happening in the background actually help move the house through the panel as well.
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As the trees go from medium to large size, they pull our eye forward.
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And then if you look at the house, it's not quite vertical.
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It's slightly askew, which shows that it's different than all the other surroundings.
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Because the fact that it's flying, but also it's like a character in itself.
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So there's like a slightly implied movement of going upwards and to the right.
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One of the fun things we are sort of experimenting with with Ellie is even though you see her here, she's drawn with hands on hips, firmly painted on the ground, we wanted her energy to just feel like it was pointing upwards.
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So we use these curves, which are sort of pointing you upwards.
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We wanted it to sort of play in contrast to Carl, who has become even more square and even more hunkered down.
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We wanted you to feel like age is just taking its toll on him.
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He's become this sort of grumpy old man who's now burdened and sort of locked in and just anchored to the floor.
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I really like the movement in this image because it's very simple.
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It's like a really easy thing to do, but sometimes it gets overcomplicated.
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If you look at McQueen here, you see how these tires are slightly diagonal, which makes him feel like he's leaning to the right,
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as well as like this bottom here.
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And then the overall line of action is a diagonal line going that way.
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And then this car is back here's line is going that way as well.
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And it just makes it feel like they're actually moving forward in space.
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As well as the speed lines, which are always like a really quick and easy way to indicate movement in storyboarding.
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And if you look at this guy back here, he's a little bit slower than these other two.
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He's not quite as competitive in this moment as they are.
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He's more examining about what's going on and admiring the competition between them.
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So if you check him out, his line of action is more of a vertical line.
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Like even the tires are very straight, which really contrasts what they're doing here.
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So this set of images from Brave are great.
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The character designer was exploring how Mom Bear would move as soon as she turns into Bear.
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And of course, she was a woman who doesn't know how big she is now.
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She's this gigantic bear.
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And this is something really important when we create characters, the line of action.
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It's this through line that goes from the top of the bottom of the character
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that kind of tells you what the gesture and implies the movement that the character might have.
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Mom Bear is not very graceful yet.
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She doesn't quite know what to do with her body.
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She doesn't know how to move, and she's a little bit off balance.
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Now, a little bit later, when Monbert finds her footing, she becomes really graceful.
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You look at these pictures, and you can just see this beautiful line of action through the body of Monbert.
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She seems like she moves in a very graceful way.
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And I really love that kind of simplicity of design that we see in these pictures.
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As we've just seen, we can create a sense of motion with motionless images by thinking about the direction
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and the quality of our lines, as well as the pose of the character and the objects within the frame.
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In the next exercise, you'll have a chance to explore motion in more depth.
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このレッスンの語彙とスピーキングのポイント
繰り返し出てくる語は次のとおりです：movement, character, upwards, motion, action。 この動画には、シャドーイング用の文が56文、単語が880語あります。 音声の長さは4:41です。 話す速さは速く、1分あたり約188語です。音のつながりや弱く発音される音が多くなります。 単語の87%は英語の頻出3,000語に含まれるため、語彙は分かりやすいです。
この動画の重要語彙
動画の中で特に難しい単語15語を、発音と意味つきで紹介します。
| 単語 | 発音 | 意味 |
|---|---|---|
| graceful 形容詞 | /ˈɡɹeɪsfʊl/ | 優雅, 淑やか |
| storyboard 名詞 | 絵コンテ | |
| imply 動詞 | /ɪmˈplaɪ/ | ほのめかす |
| diagonal 形容詞 | /daɪ̯ˈæɡ(ə)nəl/ | 筋交い, 対角 |
| tire 動詞 | /ˈtaɪ̯ɚ/ | 疲れる |
| static 形容詞 | /ˈstæt.ɪk/ | 静的 |
| vertical 形容詞 | /ˈvɝ.tɪ.kəl/ | 垂直の, 縦の |
| grumpy 形容詞 | /ˈɡɹʌmpi/ | 不機嫌な, 気難しい |
| hunker 動詞 | /ˈhʌŋkɚ/ | しゃがむ |
| motionless 形容詞 | /ˈmoʊʃənlɛs/ | 不動の |
| racetrack 名詞 | /ˈɹeɪsˌtɹæk/ | 競馬場, レーストラック |
| gigantic 形容詞 | /d͡ʒaɪˈɡæntɪk/ | 巨大な |
| surroundings 名詞 | /səˈɹaʊndɪŋz/ | 周囲 |
| imaginary 形容詞 | /ɪˈmæd͡ʒɪˌn(ɛ)ɹi/ | 架空の, 幻想的な |
| gesture 名詞 | /ˈd͡ʒɛs.t͡ʃɚ/ | ジェスチャー, 身振り |
この動画の文法
話し手がよく使っている文型を、動画の実際の表現とともに紹介します。
| 文型 | 動画での表現 |
|---|---|
| 関係詞節 who / which + 節 — 人や物について情報を加える | curves, which are · diagonal, which makes · lines, which are |
| 現在完了形 have/has + 過去分詞 — 過去の出来事が今も関係している | has become · we've just seen |
注意したい発音
話し手はdoesn't, they're, we'veなど、短縮形や弱形を10回使っています。聞こえたとおりの短い形で発音しましょう。
- 「sh」と「zh」の音: directional /dɪˈɹɛk.ʃə.nəl/, motionless /ˈmoʊʃənlɛs/, illusion /ɪˈl(j)uːʒ(ə)n/
- 長い単語（アクセントの位置に注意）: diagonal /daɪ̯ˈæɡ(ə)nəl/, directional /dɪˈɹɛk.ʃə.nəl/, simplicity /sɪmˈplɪsɪti/, imaginary /ɪˈmæd͡ʒɪˌn(ɛ)ɹi/
日本語話者が苦手な音：
- /r/ と /l/ の区別 — /l/ は舌先を歯茎につけ、/r/ はどこにもつけない: graceful /ˈɡɹeɪsfʊl/, directional /dɪˈɹɛk.ʃə.nəl/, triangle /ˈtɹaɪˌæŋɡəl/
- /v/ — /b/ にならないように、上の歯を下唇に当てる: vertical /ˈvɝ.tɪ.kəl/, curve /kɚv/
- /f/ — 「フ」ではなく、上の歯と下唇で出す: graceful /ˈɡɹeɪsfʊl/, firmly /ˈfɝmli/
この動画での練習方法
- まず声を出さずに動画を最後まで聞き、知らない単語をメモします。
- まず0.75倍速で一文ずつシャドーイングし、慣れてきたら通常の速度に戻します。
- 自分の声を録音して元の音声と比べます。graceful, storyboard, implyなどの単語に特に注意しましょう。
シャドーイングとは？英語上達に効果的な理由
シャドーイング（Shadowing）は、もともとプロの通訳者養成プログラムで開発された言語学習法で、多言語習得者として知られるDr. Alexander Arguelles によって広く普及されました。方法はシンプルですが非常に効果的：ネイティブスピーカーの英語を聞きながら、1〜2秒の遅延で声に出してすぐに繰り返す——まるで「影（shadow）」のように話者を追いかけます。文法ドリルや受動的なリスニングと異なり、シャドーイングは脳と口の筋肉が同時にリアルタイムで英語を処理・再現することを強制します。研究により、発音精度、抑揚、リズム、連音、リスニング力、そして会話の流暢さが大幅に向上することが確認されています。IELTSスピーキング対策や自然な英語コミュニケーションを目指す方に特におすすめです。