SLOW IN & SLOW OUT
This makes the animation of a character motion or moving object more life-like. Slow-ins and slow-outs help soften the action. The fewer the drawings the faster the action, and the more drawings, the slower the action.
Disney was interested in this type of realistic movement as it is a fundamental part of natural motion.
This makes the animation of a character motion or moving object more life-like. Slow-ins and slow-outs help soften the action. The fewer the drawings the faster the action, and the more drawings, the slower the action.
Disney was interested in this type of realistic movement as it is a fundamental part of natural motion.
http://www.evl.uic.edu/ralph/508S99/eases.html
This website above teaches you about interpolation, speed and tangency to deal with types of slow in slow outs.
This website above teaches you about interpolation, speed and tangency to deal with types of slow in slow outs.
STRAIGHT AHEAD
The Animation method employed when the priority is the way in which something animates rather than hitting specific key positions (or dialogue accents), used often in fx such as smoke and water splashes.
POSE TO POSE
'Key poses', ‘key drawings’ or just 'keys' are terms used to describe those critical positions of an animated character or an object which depict the extreme points in its path of motion, or accents in its expression or mood. For this reason they are also called 'extremes'.This method of animating from one pose to the next, hence the term 'pose to pose' animation, allows the animator to map out the action in advance with ‘sign posts’ by charting up these key poses onto ‘exposure sheets’, or indeed into the timeline of computer software.
It is a particularly useful animation method when a character must perform certain tasks within a predetermined time or where a series of actions must synchronise accurately with a recorded sound track. The technique helps ensure that characters arrive at a particular place on screen at a precise point in time.
The ‘key pose’ technique is still the most widely used method of animating. It is also the method of choice within most 2D and 3D digital animation packages these days. Sequences can be tested and individual poses can be re-worked and the animation progressively improved. The exposure sheet or timeline is continually revised to provide an accurate record of how the animation is to be photographed or rendered. This production method also provides a logical way of breaking down work so that it can be handed on to other people in the production chain
The Animation method employed when the priority is the way in which something animates rather than hitting specific key positions (or dialogue accents), used often in fx such as smoke and water splashes.
POSE TO POSE
'Key poses', ‘key drawings’ or just 'keys' are terms used to describe those critical positions of an animated character or an object which depict the extreme points in its path of motion, or accents in its expression or mood. For this reason they are also called 'extremes'.This method of animating from one pose to the next, hence the term 'pose to pose' animation, allows the animator to map out the action in advance with ‘sign posts’ by charting up these key poses onto ‘exposure sheets’, or indeed into the timeline of computer software.
It is a particularly useful animation method when a character must perform certain tasks within a predetermined time or where a series of actions must synchronise accurately with a recorded sound track. The technique helps ensure that characters arrive at a particular place on screen at a precise point in time.
The ‘key pose’ technique is still the most widely used method of animating. It is also the method of choice within most 2D and 3D digital animation packages these days. Sequences can be tested and individual poses can be re-worked and the animation progressively improved. The exposure sheet or timeline is continually revised to provide an accurate record of how the animation is to be photographed or rendered. This production method also provides a logical way of breaking down work so that it can be handed on to other people in the production chain
FOLLOW THROUGH
While anticipation is the preparation of an action, follow through is the termination of an action. Actions rarely come to a sudden and complete stop, but are generally carried past their termination point. Hands, belly, ears etc. (Loose flesh)
OVERLAPPING ACTION
Slight variations in the timing and speed of loose parts makes objects seem more natural. This overlapping action makes the objects and movement more interesting.
An action should never be brought to a complete stop before starting another action. Overlapping maintains a continual flow between whole phrases of actions
While anticipation is the preparation of an action, follow through is the termination of an action. Actions rarely come to a sudden and complete stop, but are generally carried past their termination point. Hands, belly, ears etc. (Loose flesh)
OVERLAPPING ACTION
Slight variations in the timing and speed of loose parts makes objects seem more natural. This overlapping action makes the objects and movement more interesting.
An action should never be brought to a complete stop before starting another action. Overlapping maintains a continual flow between whole phrases of actions