Traditional animation for beginners: timing, spacing and working methods

1. Introduction: Grim network, once set, animation is all in the timing and spacing. That means the timing and spacing are the most important things in animation. And you should learn these principles first, if we want to start to learn animation. That's why today we're going to talk about timing and spacing. Also will analyze the basic working methods and learn how to play all the principles that I will describe a day in practice. And we will talk a little bit about tanning tax. My name is scale. This is my first class on traditional animation, and I hope it will be useful for you. 2. Timing and Spacing: Let us repeat once again, the most important true timing and spacing are the most important things in animation. Timing. The calculation of the amount of time it takes to perform an action without being original. Let's take a look at this principle with the example of a bouncing ball. You can say that timing in this case is the time it takes for the ball to jump from the beginning to the end of the screen. But it's much more convenient to break down a complex section into simple components. Let's bring the action down into the ball hitting the ground and see what we have. It goes like bam, bam, bam, bam. So this is timing. Timing is the head's going, going, going don't, don't don't do it. Whatever. Naturally, the time from the first blow to the second is longer than from the second to the third. With each strike, more and more energy is released from the bone. In the real-world, it depends on different characteristics of the object. For example, its mass and rigidity. Look at how differently these two balls bounce. One of them is clearly much heavier and stiffer. We use the principle of timing to express this feeling on the screen. But there is something else we need to achieve this goal. Of course, now we're going to talk about spacing. Spacing is the calculation of distances between phases of motor. Spacing is a technique that allows you to make the movement faster by decreasing the number of frames or slower by increasing it. And that's a law that the more frames, the slower the movement, generally, the faster the movement, The more space between the drones and the slower the movement, the last space between them. Here are two coins. The time in which they travel the same distance is the same. But nevertheless, It's obvious that they must find differently. The first coin moves both lonely here and here and quickly here, the spaces between drawings in the middle are more than at the beginning and at the end. The second one, however, moves even because the spaces between all the drawings are the same. Let's go back to the ball. Look at how close the drawings are to each other as the ball approaches its maximum flight height, they overlap each other. And look what happens when the ball falls down. The number of drawings decreases and the distances between them now are crater. It means that the ball accelerates when it falls. Naturally. There can be no deceleration before hitting. It must be sharp. On the contrary, the ball slows down as it slides up. This is what usually happens in the real world. And it's timing and spacing that help us express it on the screen. Of course, the timing and spacing of a bowling ball will be different from the timing and spacing of a small rubber bouncy ball. These two examples fill completely different, but they were animated using only the principles of timing and spacing. Well, I hope it's no longer necessary to convince you of the incredible power of these two principles. Let's move on. 3. Working methods: Now we're going to talk about two basic methods of working on an imagined something. And the first is called straight ahead, and the second is called pose to pose. The first method involves animating in order from the first frame to the last is just animate what you got frame by frame. It is the most intuitive method. Working the second method, you first draw the main positions, then the secondary position, and finally the in-betweens. The first method is suitable for animating anything unpredictable like water or fire, something you can't calculate it once. It also may be different kinds of explosions, a or hair and so on. The second method works well for strictly defined actions. For example, for character animation. Working this way, you have complete control over your character. The first method is not good for animating characters. It's complicated. Your work isn't structured. You can easily get confused with timing and spacing and mess up the proportions and scientists of your character. The second method is unsuitable for animating. For example, fire. You draw the first frame, then the last one. What, what is going to be in-between these drones? Actually, that's not clear and don't do this. When you work as a second way, you are dealing with a kind of hierarchy of frames and the Hello each other keyframes which are usually circle. These are the frames that tell us the story in the full scene. They are the poses that shows what a character does in general. And then the extreme positions that they are often circled two and there the frames that begin and end the little movement into which we've broken up one big action. Naturally a character doesn't move directly from one key to the other. There are, shall we say, the keys of the second order of importance that describe the action more subtle, then breakdowns. These positions are the middle position. Breakdown is a transition between two extremes, all sometimes keys. Finally, there are in-betweens which exist to make your animation more smooth and beautiful. Once again, there is no room for randomness and uncertainty if you work with this method. However, animators combine these two methods really offer. For instance, you can animate your character pose to pose, and then add his hair and making it straight ahead. And that's really convenient. 4. Timing charts: Now let's talk a little bit about timing charts. Maybe I'm going to create a complete class about timing charts in the near future. But now only some basic stuff, okay? The chart contains information about what happens between two keys or exchange. Animators have come up with the following message to make it easy to calculate timing and spacing. It involves drawing timing charts on the edges of the sheet and helps to give the dimension from getting confused. As we mentioned before, are usually so-called. Breakdowns are usually underline to the single line. These arcs that the distance from here to here is the same. If we connect these two house with two arcs, it means that the distance from the first frame to the third in-between is the same as the distance from this in-between breakdown. And here is another in-between. We add arcs here and see how the distances between frames from the first one to the fourth are getting bigger and bigger. In other words, there is an acceleration going on here. We can see the same stuff here. It means that an object starts to move slowly, then accelerates, and then slows down. That's about how things move in the real world. This is a classic scheme, is called easy out, easy in. Again, maybe I will create a glass about 10 and jazz later. But now let's move on to the small practical parts of this class. 5. Animating Straight ahead: Now we're going to animate a bouncing ball using two methods that I've mentioned in one of the previous part of this class. In this part I'm going to show you how to animate a bouncing ball straight ahead. I'm going to be using Toon Boom Harmony, but you can use any program that you want. These are the Sin City. You can see that the FBS is equal to 24. It means that there are 24 frames in 1 second of our animation. Okay, Let's start. I will anyway this BLM tooth. And that means that each frame actually contains two frames. In other words, the drawings change every two frames and it's going to make the invention process faster. Well, again, and you might've drawn ones, but that's a little bit longer. Usually animator cinematic fast and slow things onto. First of all, let's draw the floor line. And now I will draw the arcs. I want the ball to follow these arcs. These arcs are the trajectory of the ball, of its movement. By the way, here's an important note. Do you know that it's objective of a bouncing ball is a parabola. It can be semicircle. It doesn't work that way. And now let's just start to animate the ball keeping in mind that it moves slower when it flies up and faster when it falls down. Also, we should remember that the time from one hit to another gets shorter and shorter at the ball reaches the end of the screen. The next lecture. So here is the result. Now if you try hard, you can animate a bouncing ball or another not very complicated objects straight ahead. It will be difficult to make good character animation with this method. 6. Animating Pose to pose: In this part, we are making the bolt pose to pose the same sequence are the same. So I chose a flow line source and they also draw the arcs like I did in the previous part. First, we need to calculate the timing. Let's do it at random. We'll mark the frames where the ball will hit the ground on the timeline and draw the main positions in the places of impact. When the object to animate is very simple, it's not necessary to worry about which frames out the keys and which are the extreme. We can call these frames just a domain positions. So let's draw the main positions. Now. Looks good to me, but it's a little tweaking. Now to fill. So k of course, the time from the first chapter, the second is longer than from the second to the third. This is also took into account when calculating with the timing. Now let's start spacing. I mark the in-betweens right on the arcs. At the dope, I draw the timing charts corresponding to each arc. I start with breakdowns. As the first breakdown divides the arc and the charge in house, because there are a number of in-betweens, including breakdowns between the first two main positions. The other in-betweens, as you can see, are close to break down. This means, let's bow slows down as it gets closer to the breakdown position. In the second case, the number of in-betweens is even. Which means that the number of in-betweens to the left of the breakdown cannot be equal to the number of improvements to the right of the breakdown. These may not be right, but I decided to make two breakdowns at once here to make it perfect. The rest of the in-betweens are close to break down just like last time. The last dark and chart are similar to the first dark and chat, except on the folds, the number of in-betweens. Now I draw breakdowns and in-betweens according to the calculation, I start with breakdowns, then gradually add the in-betweens. Now it's done.