ShareThis
"Is CHILDHOOD always the best time ?”
13 years ago
Slow in and out deals with the spacing of the inbetween drawings between the extreme poses. Mathematically, the term refers to second- and third-order continuity of motion.
In early animation, the action was limited to mainly fast and slow moves, the spacing from one drawing to the next fairly even. But when the poses of pose-to-pose animation became more expressive, animators wanted the audience to see them. They found that by grouping the inbetweens closer to each extreme, with only one fleeting drawing halfway between, they could achieve a very spirited result, with the character zipping from one attitude to another. "Slowing out" of one pose, then "slowing in" to the next pose simply refers to the timing of the inbetweens.
The animator indicates the placement of the inbetweens, the slow in or slow out, with a "timing chart" drawn on the side of the drawing. This tells himself, or his assistant who will be doing the inbetweens later, how he wanted the timing to be and where he wanted the inbetween drawings placed.
Timing chart for ball bounce In most 3D keyframe computer animation systems, the inbetweening is done automatically using spline interpolation. Slow in and slow out is achieved by adjusting the tension, direction or bias, and continuity of the splines. This works well to give the affect of slow in and out, but a graphical representation of the spline is required to see the effect of tension, direction, and continuity have on its shape.
With this type of spline interpolation, a common problem is the spline overshooting at extremes when there is a large change in value between them, especially over a small number of frames. This also happens when the direction control of an extreme is adjusted. The danger is that, depending on the variable the spline controls (translate, rotate, or scale), the value will shoot in the wrong direction just before (or just after) the large change in value. Sometimes this effect works out well when it occurs just before a large movement it may appear to be an anticipation. However, more often than not, it gives an undesirable effect.
In Luxo Jr., there was an example of this problem of overshooting splines, Jr.'s base was very heavy and when he hopped, we wanted the base to start stationary, then pop up in the air from the momentum of his jump, arc over, then land with a thud, suddenly stationary again. For the up translation, there were three keyframes, the two stationary positions and the highest point of his jump. The spline software forced continuity, so that his base would move down under the surface of the floor just before and after the jump. The solution was to put two new extremes, equal to the two stationary extremes, on the frames just before and just after the extremes. This "locked" down the spline, so that the up translation stayed the same value, popped up in the air, landed and then stayed the same value again. This gave the desired feeling of weight to his little base.
In early animation, the action was limited to mainly fast and slow moves, the spacing from one drawing to the next fairly even. But when the poses of pose-to-pose animation became more expressive, animators wanted the audience to see them. They found that by grouping the inbetweens closer to each extreme, with only one fleeting drawing halfway between, they could achieve a very spirited result, with the character zipping from one attitude to another. "Slowing out" of one pose, then "slowing in" to the next pose simply refers to the timing of the inbetweens.
The animator indicates the placement of the inbetweens, the slow in or slow out, with a "timing chart" drawn on the side of the drawing. This tells himself, or his assistant who will be doing the inbetweens later, how he wanted the timing to be and where he wanted the inbetween drawings placed.
Timing chart for ball bounce In most 3D keyframe computer animation systems, the inbetweening is done automatically using spline interpolation. Slow in and slow out is achieved by adjusting the tension, direction or bias, and continuity of the splines. This works well to give the affect of slow in and out, but a graphical representation of the spline is required to see the effect of tension, direction, and continuity have on its shape.
With this type of spline interpolation, a common problem is the spline overshooting at extremes when there is a large change in value between them, especially over a small number of frames. This also happens when the direction control of an extreme is adjusted. The danger is that, depending on the variable the spline controls (translate, rotate, or scale), the value will shoot in the wrong direction just before (or just after) the large change in value. Sometimes this effect works out well when it occurs just before a large movement it may appear to be an anticipation. However, more often than not, it gives an undesirable effect.
In Luxo Jr., there was an example of this problem of overshooting splines, Jr.'s base was very heavy and when he hopped, we wanted the base to start stationary, then pop up in the air from the momentum of his jump, arc over, then land with a thud, suddenly stationary again. For the up translation, there were three keyframes, the two stationary positions and the highest point of his jump. The spline software forced continuity, so that his base would move down under the surface of the floor just before and after the jump. The solution was to put two new extremes, equal to the two stationary extremes, on the frames just before and just after the extremes. This "locked" down the spline, so that the up translation stayed the same value, popped up in the air, landed and then stayed the same value again. This gave the desired feeling of weight to his little base.
Subscribe to:
Post Comments (Atom)
0 comments:
Post a Comment