Thursday, January 31, 2008
Wednesday, January 30, 2008
Sunday, January 20, 2008
Even so, I found it a little mechanical, so I did one of my own up. I'm not trying to compete with him or any such nonsense. Just telling him what I know about a little something that's evaded a lot of us college guys: inbetweening.
This rat isn't nearly as adorable, nor as well fed. But it's motion is stronger, and took about the same number of drawings as Jono's did. The key is...well, not the keys, but the drawing that drag them from one key to another. If you pause and play the animation, you'll see that I put the keys in blue, breakdowns in green and inbetweens in red.
The keys are all about the posing, information, and all that other crap I was talking about two posts back. In this, I used the breakdowns to set where my animation was moving the fastest. In other words, my breakdown drawings should be the hardest ones to see, because they're the most seperated in motion.
Now the inbetweens are what make the animation seem longer than it actually is (13 drawings looped, basically). each red drawing is leaning more towards the blue drawing, the key. that way, the main pose becomes the most noticeable. That's why keys are important. They should have the strongest pose, because normally the inbetweens bend into them. This is the system that gives animation its fluency.
Televised animation normally has less of this to save time and money, but to an individual animator, it's not that hard to do. After a while, it doesn't even require that much time and effort. Suffice to say is that because of that, schools tend to teach very little about inbetweening, as though it weren't important at all. I struggled all through my second year to try and put fluency into my animation because no one really told me about it. It's all over Richard Williams' book and I didn't even really see it. I had to figure it out by tweening symbols in flash cartoons and taking a second to wonder what the slow-in/slow-out options of tweening might have to do with traditional animation. Well now I know, and anyone who doesn't, I hope you find this helpful in some way.
I might want to point out that this is the usual inbetween system for Disney, and feature stuff. Inbetweens have different uses in other types of cartoons, many of which are out of my own grasp, but I'm always studying to find out. Anyone out there who knows other methods of inbetween, pleeease educate me.
Saturday, January 19, 2008
Thursday, January 17, 2008
Tuesday, January 15, 2008
Keys carry a lot of information with them. The posing, natch. The motion and arcs, the antic, action, and rest. All the real knowledge of animation should be in them. When I was at school, I knew this, but I still thought there was a lot about actions in animation that keys didn't have to worry about. Sometimes I'd just leave huge gaps in my stuff and figure the inbetweens will fix how choppy this looks. -_- We all have to learn sometime, I guess.
Inbetweens carry the keys along and, done right, smooths out the animation and gives it fluidity. They have knowledge, but normally only a fraction of it compared to what keys have to carry. I'd done a lot of animations only a few months ago that didn't have enough information in its keys, and had even less in its inbetweens. Most of those you can still find on my website. Seems I've a way to go yet.
While I also have to work on my timing, a lot of the choppiness on those videos are Youtube's fault. Honest.
Thursday, January 10, 2008
Tuesday, January 08, 2008
Third one from the bottom is Adam Arsenault, former college buddy turned Fatkat animator turned former Fatkat animator turned Ontario resident and employee to an animation studio I can't remember the name of. Dang.
Beneath him is the reason he went there in the first place, his wonderful fiance and animation student at Sheridan, Melanie Daigle. There's a little accent above the first 'e' in her name, and I don't know the keyboard alt numpad thingamajigger for it, so please try to imagine it.
The third I only added today. Nuclear Raptor is a joint venture between three ridiculously talented individuals. Derek Murphy, Justin Lee, and Tyler Noiles make up the band, each one with his own diverse approach to the pencil and each one equally commited and amazing at what they do.
All three of these links are worth visiting, so if you haven't done so already, check these people out, or as God as my witness, I shall never Hyperlink again. Maybe.
Monday, January 07, 2008
You might have noticed Lucy's looking a tad redesigned. New horns and much rounder features. Let me know how you feel about this new Lucy. This Newcy, if you will.