4: Eases, Arcs, and Timing
Q&A on ASK reading to page 128.
What makes something feel heavy? What makes something feel light? It's all about momentum. Heavy objects take a lot of force to get them going, but once they do the take a lot of force to come to a stop. Light objects are the reverse. It's easy to get them going and easy to stop.
"As action starts, we have more drawings near the starting pose, one or two in the middle, and more drawings near the next pose. Fewer drawings make the action faster and more drawings make the action slower. Slow-ins and slow-outs soften the action, making it more life-like. For a gag action, we may omit some slow-out or slow-ins for shock appeal or the surprise element. This will give more snap to the scene." -Frank Thomas and Ollie Johnston.
Leading the eye through arcing motions:
"All actions, with few exceptions (such as the animation of a mechanical device), follow an arc or slightly circular path. This is especially true of the human figure and the action of animals. Arcs give animation a more natural action and better flow. Think of natural movements in the terms of a pendulum swinging. All arm movement, head turns and even eye movements are executed on an arcs." -Frank Thomas and Ollie Johnston. Pick points such as the hands, head, nose, chin, etc. and track and make sure your creating nice arcing motions in you scenes. See Keith Lango's "Arc D'Triumph!" tutorial for further info.
"Expertise in timing comes best with experience and personal experimentation, using the trial and error method in refining technique. The basics are: more drawings between poses slow and smooth the action. Fewer drawings make the action faster and crisper. A variety of slow and fast timing within a scene adds texture and interest to the movement. Most animation is done on twos (one drawing photographed on two frames of film) or on ones (one drawing photographed on each frame of film). Twos are used most of the time, and ones are used during camera moves such as trucks, pans and occasionally for subtle and quick dialogue animation. Also, there is timing in the acting of a character to establish mood, emotion, and reaction to another character or to a situation. Studying movement of actors and performers on stage and in films is useful when animating human or animal characters. This frame by frame examination of film footage will aid you in understanding timing for animation. This is a great way to learn from the others." -Frank Thomas and Ollie Johnston. Video Tutorial "Moving Holds" by Keith Lango. See Victor Navone's post "3 speeds" (this link will supplement the video that is not gone from his site). Aslo see Keith Lango's "Tricks for Cartoon Snappy Motion" tutorial. Check out this new post from Francis Jasmin as well as this animation mentor webinar on timing.
The 3d equivilant of the X-Sheet. See this Tutorial for more info
Middle mouse button dragging in the timeline will create a selection area in which you can adjust keys. Outter arrows will scale the contents of the selected area while inner arrows will move the contents of the selected area.
Slightly nudging curves in either the graph editor or the dope sheet will snap keys on subframes to the nearest full frame.
Obstacle Course Excersize:
Building a template half pipe tip
Bouncing Ball: The Obstacle Course. 150-200 frames in an orthographic side view. Must start and end in a rest position. See this example. check out this post by Francis Jasmin on planning. Deliver quicktime movie and planning sketch as a .jpg
Thumbnail and Block a walk cycle in place. 150-200 frame loopable turntable animation. Some references include Walk Cycle Depot, andSpline Doctors 2010 Walk Challenge, as well as real life. DELIVER QUICKTIME MOVIE AND thumbnails AS A .JPG
3 more poses delivered in a 3 frame quicktime movie
Read to page 167 in ASK.