The inbetween drawing is 1/2 way between the two keys. In the end, I think I charted more like Ruben Aquino than like Mark Henn. This is an issue only if the action looks like it's moving to fast with only one inbetween but too slow with three. BUT, what has made me want to post this is because I've gotten asked about charts so many times through the years. Timing, or the speed of an action, is an important principle because it gives meaning to movement.The speed of an action defines how well the idea will be read to the audience. You had to go onto the next scene while that one was being finished up. each represent cubic Bézier curve with fixed four point values, with the cubic-bezier() function value allowing for a non-predefined value. Drawing #3 would be done first as a 1/2 way inbetween, between keys 1 and 5. That usually meant you had the rough inbetweener or clean up assistant bring the scene back to you when it was completed so you could "roll through it" (that's like flipping it, but on the pegs)and check all the arcs, timing, drawings, etc. Disney was a great time of learning for us all. At any rate, they do help describe what the charts were for and what they were describing. This type of inbetween is used if you want the action to soften into the key but not be at the 1/2 way point as this would slow the action down. This is an awesome article, thank you for sharing.Regards,Animation Studio, I was digging through one of my boxes from my traditional animation days at Disney Feature animation and found tons of notes I either took or gave out depending on the class. On page 3 you will see the more complex charting examples. I relied on throwing drawings onto "1s" (one frame of film shot per drawing, rather than 2s which is exposing a drawing for 2 frames of film) or getting very creative and complex in my charting so that I could get more time out of a pose and a crispness as the character was leaving that pose. You were then giving the half completed (though 100% thought out) stack of drawings to an assistant to finish up. ", All content and artwork is copyright 2012 Tom Bancroft. Or as we would say when we were tired of a scene and just wanted it done- "IF ITS MOVIN' ITS GROOVIN'! You will of course be working incredibly slowly in comparison to the time your drawings, models, images, or whatever, will actually be seen. The first chart has a single inbetween which means the movement will be faster. Awesome Inc. theme. The timing chart second from the right is the same but it has 3 inbetweens. Weight Timing can also defines the weight of an object. This is used to make the action even paced. But, through working with him, I discovered that the timing isn't in the inbetweens, its in the breakdowns. He is making keys and sub-keys (to make up a new term) rather than breakdowns. you'd then inbetween it with two. ESPECIALLY for the hair! I may have even photocopied these and handed them out, I'm not sure. Corrections could be made by you are by made into a "teaching moment" for your assistant if there was time in the production. Most of us animators relied on those "tricks". The second from the right with the three inbetweens will move slower. The second timing chart from the left is also a "Half Inbetween" with a "Slo-in" to the action. It helps to give a visual of what a chart is if you haven't seen them before. Theme images by. (Ruben is excellent at overlap animation and ALWAYS has the hair moving at a different timing than the body that is leading it.) I'm not saying that some of this isn't still interesting and maybe even a little useful for the CG animators out there. Eric Goldberg is a good example of that. Ruben Aquino was a master at the multiple chart keys. The whole thing about making animated movies is to somehow find a way to always keep in your mind the amount of time any action is going to play on the screen. I think it was just a pet peeve of his,there was really no reason they had to be odd numbers.) Of course, it doesn't really matter how you do it, just the result you get when you shoot it. Timing Is Everything. The timing charts are drawn in the same format by all animators. His most important "animation drawings" (not poses- those are the key drawings) are his breakdowns. Believe it or not, as a rough inbetweener, you could get a scene on your desk that had 2,3, or even 5 charts per drawing on it! The numbering system that correlates with each drawing helps you know weather or not the drawing is on 1s or 2s. This was a necessity because of the sheer volume of drawings that needed to be completed for each scene, for each character, for each special effect, in each sequence in each film. The final timing chart is a combination of the 2nd and 3rd timing charts with the slo-in and slo-out on either end of the action. The notes I post today are from the latter, a talk I gave on the subject of "TIMING for Animation". Timing can be implemented by applying weight, scaling properties, and emotion. "Stuff I like, what's on my desk, or what's on my mind". This made most of his charts, even "halves"- since he just needed a drawing there to evenly keep the pace of the animation. The middle timing chart shows "Thirds". The timing function that corresponds to a given animation, as determined by animation-name. This is awesome stuff you're sharing with us right here and greatly appreciated. Timing animation refers to how long an action takes from beginning to end. These notes are on small, yellow, lined paper so I hope they are clear enough to read. They really put a lot into training us- especially during breaks between films. by series The______ option on the Animations tab and the Effect Options button will display a chart one data series at a time. I hope you get something out of them. I know it'll seem a bit inappropriate to say this, but is there any chance you can break that block of text up into smaller paragraphs? If they are all odd numbers (like in the first example) then they are on 2s. Remember, these were the traditional (hand drawn) days of animation. His inbetweens (that he charts) then become mini-breakdown drawings also. Sometimes I would be attending a great lunchtime talk by a visiting artist and other times, I was the one giving the talk on a certain subject of animation. Timing Charts for Traditional Animation I was digging through one of my boxes from my traditional animation days at Disney Feature animation and found tons of notes I either took or gave out depending on the class. Every animator hated handing off their scene for someone else to inbetween because as the animator, you really felt like you knew how each drawing should be drawn, felt, and move. These are the basic types of timing charts: The first one on the left is a "Half Inbetween". What this meant was that if it was (for example) a human character turning from right to left, he would have a seperate chart for the head, one for the right arm, one for the left arm, and another for the hair overlap. The third timing chart shows a "Slo-out of the action. In doing this, he could make (in one drawing/inbetween) the head move out of the key faster, the left arm evenly, the right arm favor the key, and the hair REALLY favor the key. A(n) _____ chart is likely best to show a trend—such as annual sales—over time. Those are in his charts. It's similar to the first chart and the second from the right. You can combine a favour with any of the other types of timing charts on either end of an action depending on the effect you want it to have. How I charted a scene is very close to how Mark charted. On either of the Slo-in or Slo-out you can add more inbetweens to the ends to make the Slo-in or out action slower. The non-step keyword values (ease, linear, ease-in-out, etc.) To be honest, the notes below may do the same thing: raise more questions than answers. (Mark always had a way of getting his animation that was on 2s on odd numbers- no matter how many times he would switch to 1s inbetween animation sections. The "Thirds" will move slower than the first timing chart , but faster than the one with the three inbetweens. Now that I look at these notes, I think page 4 should be the FIRST page. These are dinosaur notes about the way we worked back then. All you really need to know is that every horizontal line on the chart (or "graph" for math people) represents a drawing. They really put a lot into training us- especially during breaks between films. The functions of timing are to create movement that obeys the laws of physics, and to add interest to your animations. I held the job of rough inbetweener for Mark Henn and learned most everything I know about animation- and especially how he organized an animation scene- from that experience.