Awesome Inc. theme. The timing chart second from the right is the same but it has 3 inbetweens. The first chart has a single inbetween which means the movement will be faster. I'm not saying that some of this isn't still interesting and maybe even a little useful for the CG animators out there. He is making keys and sub-keys (to make up a new term) rather than breakdowns. On either of the Slo-in or Slo-out you can add more inbetweens to the ends to make the Slo-in or out action slower. Of course, it doesn't really matter how you do it, just the result you get when you shoot it. I held the job of rough inbetweener for Mark Henn and learned most everything I know about animation- and especially how he organized an animation scene- from that experience. I may have even photocopied these and handed them out, I'm not sure. Sorry, this is way too complex to explain without having visuals. ", All content and artwork is copyright 2012 Tom Bancroft. That usually meant you had the rough inbetweener or clean up assistant bring the scene back to you when it was completed so you could "roll through it" (that's like flipping it, but on the pegs)and check all the arcs, timing, drawings, etc. The notes I post today are from the latter, a talk I gave on the subject of "TIMING for Animation". ESPECIALLY for the hair! This is awesome stuff you're sharing with us right here and greatly appreciated. A(n) _____ chart is likely best to show a trend—such as annual sales—over time. Timing animation refers to how long an action takes from beginning to end. Weight Timing can also defines the weight of an object. The non-step keyword values (ease, linear, ease-in-out, etc.) You will of course be working incredibly slowly in comparison to the time your drawings, models, images, or whatever, will actually be seen. Timing Is Everything. The functions of timing are to create movement that obeys the laws of physics, and to add interest to your animations. The "Thirds" will move slower than the first timing chart , but faster than the one with the three inbetweens. you'd then inbetween it with two. Theme images by. His inbetweens (that he charts) then become mini-breakdown drawings also. To be honest, the notes below may do the same thing: raise more questions than answers. The third timing chart shows a "Slo-out of the action. These notes are on small, yellow, lined paper so I hope they are clear enough to read. Look at that one first. In doing this, he could make (in one drawing/inbetween) the head move out of the key faster, the left arm evenly, the right arm favor the key, and the hair REALLY favor the key. "Stuff I like, what's on my desk, or what's on my mind". Every animator hated handing off their scene for someone else to inbetween because as the animator, you really felt like you knew how each drawing should be drawn, felt, and move. They really put a lot into training us- especially during breaks between films. On page 3 you will see the more complex charting examples. Two similar objects can appear to be vastly different weights by manipulating timing … Now that I look at these notes, I think page 4 should be the FIRST page. I relied on throwing drawings onto "1s" (one frame of film shot per drawing, rather than 2s which is exposing a drawing for 2 frames of film) or getting very creative and complex in my charting so that I could get more time out of a pose and a crispness as the character was leaving that pose. Those are in his charts. His most important "animation drawings" (not poses- those are the key drawings) are his breakdowns. They really put a lot into training us- especially during breaks between films. I know it'll seem a bit inappropriate to say this, but is there any chance you can break that block of text up into smaller paragraphs? How I charted a scene is very close to how Mark charted. The final timing chart is a combination of the 2nd and 3rd timing charts with the slo-in and slo-out on either end of the action. In the end, I think I charted more like Ruben Aquino than like Mark Henn. Disney was a great time of learning for us all. This is an issue only if the action looks like it's moving to fast with only one inbetween but too slow with three. Believe it or not, as a rough inbetweener, you could get a scene on your desk that had 2,3, or even 5 charts per drawing on it! by series The______ option on the Animations tab and the Effect Options button will display a chart one data series at a time. I hope you get something out of them. Yes, its a smaller, traditional-animation-hungry crowd with a fair amount of knowledge about how animation is done, but nonetheless, there is interest. If they are all odd numbers (like in the first example) then they are on 2s. The numbering system that correlates with each drawing helps you know weather or not the drawing is on 1s or 2s. To be honest, had I not worked with Mark Henn, I would never have thought of charting as anything but where the "real" animation timing comes from. He could place the drawings (spacing-wise) so that most of the crisp timing was already in his keys and breakdowns. The odd looking one with just the single inbetween with the "F" beside it is called a "Favour" or a "Cushon" like the pillow you have on a couch. each represent cubic Bézier curve with fixed four point values, with the cubic-bezier() function value allowing for a non-predefined value. I think it was just a pet peeve of his,there was really no reason they had to be odd numbers.) Drawing #3 would be done first as a 1/2 way inbetween, between keys 1 and 5. Or as we would say when we were tired of a scene and just wanted it done- "IF ITS MOVIN' ITS GROOVIN'! The inbetween drawing is 1/2 way between the two keys. This was a necessity because of the sheer volume of drawings that needed to be completed for each scene, for each character, for each special effect, in each sequence in each film. This is used to make the action even paced. The timing function that corresponds to a given animation, as determined by animation-name. You can combine a favour with any of the other types of timing charts on either end of an action depending on the effect you want it to have. To be honest, charting is more of a "feeling" you are trying to express in a technical way. Remember, these were the traditional (hand drawn) days of animation. BUT, what has made me want to post this is because I've gotten asked about charts so many times through the years.

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