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Hello, everyone.
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Havtza here.
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So now that we're done, with the pre-production stages
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and the preparations for understanding
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how much work we're going to do
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in the rest of the course,
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it's finally time
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to start learning animation,
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which is what most of you came here for.
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In this section,
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I'm going to teach you
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everything about animation
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from the most basic concept
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to more and more complicated ideas.
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We're going to start with the most basic
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rules and techniques of animations in this lesson,
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and gradually cover
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more and more advanced topics
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such as complex
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movement effects,
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animating objects, animating in 3D space,
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and even some camera movements and tricks.
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This lesson is going to cover
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the most basic parts of animation
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and might not be very informative
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for experienced animators.
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But I'm going to teach you how I view
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and think about my animations
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and what the techniques I'm going to use
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for the rest of this video.
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And since we're going to use
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somewhat unusual software
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for the entirety of the course,
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you might want to see how
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I animate things
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and which feature I'm going to use
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in order to make the entire process easier to you.
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If you're using the same software.
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Also, since I'm a self-taught animator,
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I might be using some unique
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ideas and concepts
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that you might not have seen
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in any other course or formal training.
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I'm not sure
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since I didn't actually do
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any formal training,
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but it can be a good exercise
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to compare how you're doing animation
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to the way I do it.
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And again, if you're a beginner,
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then there is absolutely no problem.
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You can just follow along
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and apply the concepts to the way
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that you're drawing your own things.
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Also, in this section, you don't have to draw any characters
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because we are only going to focus on the movement itself
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and how we're going to space
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things to create that movement.
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So if you are a new artist in general,
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this action is going to be very
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easy for you to follow.
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With that out of the way let us begin.
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First, let's talk about animation
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and what is it exactly?
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So as you've probably already know
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and might have guessed,
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animation is basically just drawing
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a whole bunch of pictures.
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We follow movement one after the other,
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that creates the illusion of action
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with drawings.
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It works similarly
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to the way that the camera
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is capturing pictures and then projecting the
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quickly in order to create a movie.
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And in the same manner,
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we are going to draw our frames
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to create the illusion of movement.
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And even use certain techniques
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that replicates the way that the camera capture the movement
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instead of the way that our eyes
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capture the movement in real life.
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In today's industry, the standard for animation
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is to draw 24 frames per second.
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This is called animation on 1s
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and it's what you're going to see
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in most movies in high value productions.
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But since most productions
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or teams or projects
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don't actually have the time or budget
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to draw 24 frames per second
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and because we want to be efficient
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with our project
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as well as create certain effects
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that are only doable with lower frame rate,
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we can duplicate the frames
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that we're going to use once or twice
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and basically create lower frame rates.
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Usually this is going to be animation on 2s,
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which is 12 frames per second
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or animation on 3s,
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which is eight frames per second.
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I don't recommend on
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going higher than 3s
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because at that point
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the animation is going to be very stiff and static.
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That being said though,
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I myself usually use animation on 3s
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with a combination of certain movements
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in 2s and effects on 1s.
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This is both to create
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more efficient animation
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as well as to help
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keep consistency in action,
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which are slow and more impact
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in fast actions.
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You're going to see how I'm duplicating
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and changing the frame rate
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between individual movements
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in the entirety of the course.
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In animation, we want to be as efficient as possible
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when creating our drawings and movement
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because we are going to draw
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a large amount of drawings
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and we want to make sure
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that we're making them quickly
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and on time to keep up
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without project schedules.
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To do that,
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there are two main animation techniques
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which are widely used between animators,
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which are called the straightahead
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and pose-to-pose.
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We've talked about them a little bit
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when we explored the animation principles
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and each one of them
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has their own unique strengths
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and weaknesses.
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The straight-ahead method means
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that you're going to draw each
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new frame immediately
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after the one before it,
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from the start to the finish of the movement.
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You will need to understand
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the movement in advance
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and have a clear idea
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of what you want to draw,
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as well as a good understanding on where
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and how to space and shift poses.
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You basically need
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to have a good understanding
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and some experience in animation
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before you try and tackle
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a straight-ahead animation technique.
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This is actually a pretty common mistake,
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which I see a lot of beginner animators do
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because they just intuitively
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want to draw each frame
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individually, one after the other,
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and then they don't know
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how to space their animation correctly.
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They get stuck, they get frustrated.
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They don't know
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how to actually create the movement
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without the guideline,
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but they also don't know how to create that guideline.
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For that we're actually going to move
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to the other animation technique,
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which is the pose-to-pose.
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This technique basically divides
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the frames that you're going to use
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for your movement
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in accordance to importance
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to the overall movement.
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Basically, you will start to from the key frames,
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which are the most important
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and essential for your movement.
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They are the ones that decide your timing
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and the overall pose
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and the range of the entire action.
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And then you will slowly fill in the gaps
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using break down frames
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which are slightly less important,
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but still giving nuance to your movement
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and the in-betweens which just move the entire movement over.
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I will be using both techniques to create
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different animations in this lesson
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and in the next lesson
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and basically you don't have to stick
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to one of them all the time
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there certain objects
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or certain movements which will look better
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with straight-ahead
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and some action or movements
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that will look better with pose-to-pose.
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You need to figure out
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which way works best for you,
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and the ultimate goal
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is to make both consistent
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and easy to understand animations.
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So
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let's see how we're actually going to
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time space and draw our animation objects.
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The way that we show movement in animation
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is by actually changing the position
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of your object of animation
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between frames.
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In real life, we understand that the speed of an object
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by seeing and measuring
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how much time it takes
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for it to change locations.
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But in animation,
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because we actually have constant frame rate,
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you can't make the frame move faster
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unless you are working at the
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high frame rate and duplicating
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your frame for 1s, 2s and 3s,
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but even in that case,
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you cannot make your frames move
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faster than your frame rate at once.
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So the way that we actually show
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how fast an object moves in animation
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is by controlling and changing the spacing
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and the distance
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it moves between each frame.
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To put it simply,
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the faster an object moves,
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the larger the spacing between each
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frame is going to be
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and the smaller the spacing,
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the slower the movement is going to be.
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We can see in this example
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that even though
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we have the same frame rate
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and the same ball,
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because the spacing is different,
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one ball is seemed to be moving
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faster than the other,
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just because it covers
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more distance.
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In addition to showing speed by changing the distance
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your object travels between each frames.
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We also want to take advantage
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of the artistic medium that is animation.
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In real life, our eyes can pick up
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movement in what we can call
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a “high frame rate” of around 60 frame per second.
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But even then, if an object moves
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too fast for us to perceive it well,
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we still see it is a blur
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In live action cinema or when taking a photo
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you will see the same effect
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in the form of a motion blur.
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This is because most camera have a lower frame
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rate and lower shutter
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speed when taking pictures, making it so
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multiple movements are blending together in the action.
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We can actually take advantage
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of this phenomenon
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when animating to create better
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looking animation,
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which are replicated
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in two different techniques.
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The first is squash and stretch principle,
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which we covered a little bit
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in a previous lesson.
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This is the idea that we slightly change
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the shape of the object
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in the direction of the movement,
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to give it an impression
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of additional speed.
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This is basically
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how we're going to combine
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multiple movement into the same frame,
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which help us control the speed,
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energy and direction of the movement
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more easily than by drawing
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additional unnecessary frames,
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which can also mess with the timing.
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This squashing stretch is also effective
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when you want to show
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other attributes of the object,
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00:11:21,280 --> 00:11:22,615
such as the force
285
00:11:22,615 --> 00:11:24,950
and impact behind the movement
286
00:11:24,950 --> 00:11:27,053
and object elasticity
287
00:11:27,053 --> 00:11:30,322
or any other additional characteristics,
288
00:11:30,322 --> 00:11:34,493
which are easy to convey with deformation.
289
00:11:35,995 --> 00:11:37,329
We will expand upon this
290
00:11:37,329 --> 00:11:38,564
in our next lessons,
291
00:11:38,564 --> 00:11:39,765
but the important thing
292
00:11:39,765 --> 00:11:41,333
to remember for now
293
00:11:41,333 --> 00:11:43,903
is that by using squash and stretch,
294
00:11:43,903 --> 00:11:45,871
you don't actually change
295
00:11:45,871 --> 00:11:47,239
the overall size
296
00:11:47,239 --> 00:11:49,108
and volume of the object,
297
00:11:49,108 --> 00:11:51,010
only its proportions.
298
00:11:55,414 --> 00:11:56,749
When you are adding
299
00:11:56,749 --> 00:11:58,050
the squash and stretch,
300
00:11:58,050 --> 00:11:59,251
you need to make sure that you're
301
00:11:59,251 --> 00:12:00,786
not accidentally shrinking
302
00:12:00,786 --> 00:12:03,089
or enlarging your object.
303
00:12:27,780 --> 00:12:28,714
The second way
304
00:12:28,714 --> 00:12:30,182
that we take advantage
305
00:12:30,182 --> 00:12:32,318
of the blur effect in animation
306
00:12:32,318 --> 00:12:34,620
is by using smear frames.
307
00:12:35,121 --> 00:12:37,089
These are frames that actually meant
308
00:12:37,089 --> 00:12:39,225
to replicate the motion blur
309
00:12:39,225 --> 00:12:41,594
exactly as seen on camera
310
00:12:41,594 --> 00:12:42,695
and they are done
311
00:12:42,695 --> 00:12:44,730
by intentionally deforming
312
00:12:44,730 --> 00:12:46,932
the object of your animation
313
00:12:46,932 --> 00:12:49,135
when it's moving quickly.
314
00:12:49,969 --> 00:12:51,871
This, unike the squash and stretch,
315
00:12:51,871 --> 00:12:53,105
does not have to keep
316
00:12:53,105 --> 00:12:56,108
the same proportion for your object
317
00:12:56,108 --> 00:12:59,211
and will often result in details
318
00:12:59,211 --> 00:13:02,248
and line out, which looks really weird.
319
00:13:02,248 --> 00:13:04,383
A lot of the funny frames that you see
320
00:13:04,383 --> 00:13:07,153
on the internet of weird animations
321
00:13:07,153 --> 00:13:10,356
and actually just smear frames which are done
322
00:13:10,356 --> 00:13:11,824
in the middle of the movement
323
00:13:11,824 --> 00:13:13,325
and make the overall thing
324
00:13:13,325 --> 00:13:14,760
look much better than
325
00:13:14,760 --> 00:13:16,762
it would have looked otherwise.
326
00:13:17,396 --> 00:13:19,532
The way that we're actually going to edit
327
00:13:19,532 --> 00:13:23,469
this smear frames is dependent on your art style
328
00:13:23,469 --> 00:13:25,237
and the type of movement
329
00:13:25,237 --> 00:13:26,672
that you want to create,
330
00:13:26,672 --> 00:13:29,809
as well as the actual action
331
00:13:29,809 --> 00:13:31,510
that we're going to perform.
332
00:13:31,510 --> 00:13:34,747
Each one of them needs to be tailored to the movement
333
00:13:34,747 --> 00:13:36,482
that you're actually drawing.
334
00:13:36,949 --> 00:13:39,752
Still, there are some pretty common types
335
00:13:39,752 --> 00:13:40,953
of smear frames
336
00:13:40,953 --> 00:13:43,589
that you will see a lot in animation.
337
00:13:44,590 --> 00:13:46,492
In classical cartoons, which
338
00:13:46,492 --> 00:13:49,028
usually have a higher frame rate,
339
00:13:49,028 --> 00:13:51,530
you will see a lot of duplication
340
00:13:51,530 --> 00:13:54,633
of certain parts of the character
341
00:13:54,633 --> 00:14:00,406
that create long curve according to the actual movement
342
00:14:00,406 --> 00:14:02,474
trajectory of your character.
343
00:14:02,842 --> 00:14:05,010
This works in classical cartoons
344
00:14:05,010 --> 00:14:07,046
because the details themselves
345
00:14:07,046 --> 00:14:08,647
are pretty simple
346
00:14:08,647 --> 00:14:11,150
and the frames move very quickly.
347
00:14:12,051 --> 00:14:14,420
In anime, you will see
348
00:14:14,420 --> 00:14:18,190
and two different versions of smear frames.
349
00:14:18,190 --> 00:14:21,060
One is physically smudging
350
00:14:21,060 --> 00:14:24,496
and having ridges in the actual coloring
351
00:14:24,496 --> 00:14:26,732
and line out of your character.
352
00:14:26,732 --> 00:14:27,633
And the other
353
00:14:27,633 --> 00:14:30,402
is completely sketching the line out
354
00:14:30,402 --> 00:14:33,072
in the trajectory of the movement
355
00:14:33,072 --> 00:14:35,441
to make it seem more like
356
00:14:35,441 --> 00:14:39,144
a technical blur instead of a drawn one.
357
00:14:40,045 --> 00:14:42,781
When making either one of these approaches,
358
00:14:42,781 --> 00:14:44,083
you need to make sure
359
00:14:44,083 --> 00:14:48,520
that deformation of the character is following
360
00:14:48,520 --> 00:14:50,823
the trajectory of the movement.
361
00:14:50,823 --> 00:14:52,725
So if you're making
362
00:14:52,725 --> 00:14:53,959
a movement in a curve,
363
00:14:53,959 --> 00:14:55,194
the actual deformation
364
00:14:55,194 --> 00:14:57,229
is going to follow that curve,
365
00:14:57,229 --> 00:14:58,397
and you need to deform
366
00:14:58,397 --> 00:15:00,900
the object or add additional lines
367
00:15:01,233 --> 00:15:03,535
in the same direction of the curve
368
00:15:03,535 --> 00:15:05,938
and add more lines at the places
369
00:15:05,938 --> 00:15:08,474
where the character moves quickly
370
00:15:08,474 --> 00:15:09,708
and smaller lines
371
00:15:09,708 --> 00:15:12,211
where the characters move slowly.
372
00:15:12,211 --> 00:15:13,612
So for example,
373
00:15:13,612 --> 00:15:16,282
if you're making a curve, as we're seeing here,
374
00:15:16,282 --> 00:15:17,883
you will have longer lines
375
00:15:17,883 --> 00:15:20,252
at the edge of the hand or object
376
00:15:20,252 --> 00:15:23,088
that you animating, because at that point
377
00:15:23,088 --> 00:15:25,224
the hand is going to move quicker,
378
00:15:25,224 --> 00:15:27,526
than closer to the center of the body.
379
00:15:28,928 --> 00:15:30,629
With these types of animation,
380
00:15:30,629 --> 00:15:33,299
you can also add additional small details
381
00:15:33,299 --> 00:15:36,568
at the other edges of your movement range,
382
00:15:36,902 --> 00:15:38,637
to basically create the illusion
383
00:15:38,637 --> 00:15:40,339
of having multiple poses
384
00:15:40,339 --> 00:15:41,774
in the same frame,
385
00:15:41,774 --> 00:15:43,475
which make it seems like
386
00:15:43,475 --> 00:15:46,211
the movement itself is quicker,
387
00:15:47,146 --> 00:15:48,847
the less type of smear frames
388
00:15:48,847 --> 00:15:50,349
that you're going to see
389
00:15:50,349 --> 00:15:51,684
are more artistic
390
00:15:51,684 --> 00:15:54,920
and actually depend on the software that you're using.
391
00:15:54,920 --> 00:15:58,424
If your software has an actual motion blur feature,
392
00:15:58,424 --> 00:15:59,725
or special brushes
393
00:15:59,725 --> 00:16:01,894
with interesting textures,
394
00:16:01,894 --> 00:16:04,163
you might want to try and experiment
395
00:16:04,163 --> 00:16:06,131
with your software and create
396
00:16:06,131 --> 00:16:07,900
interesting visuals
397
00:16:07,900 --> 00:16:10,569
within your animation art style.
398
00:16:10,569 --> 00:16:12,171
This, of course, does not apply
399
00:16:12,171 --> 00:16:15,474
if your animation art style itself
400
00:16:15,474 --> 00:16:18,444
will look weird when using this type of motion
401
00:16:18,444 --> 00:16:20,946
blur or special brushes.
402
00:16:21,747 --> 00:16:25,551
This is usually seen in more artistic project
403
00:16:25,551 --> 00:16:28,420
where you have unconventional art style
404
00:16:28,420 --> 00:16:29,989
and overall animation
405
00:16:29,989 --> 00:16:31,690
and background techniques.
406
00:18:04,483 --> 00:18:05,784
Now that we understand
407
00:18:05,784 --> 00:18:07,219
how we're going to use
408
00:18:07,219 --> 00:18:11,790
certain artistic techniques in certain spacing
409
00:18:12,157 --> 00:18:16,261
in order to create the illusion of speed in movement,
410
00:18:16,261 --> 00:18:18,230
we want to understand
411
00:18:18,230 --> 00:18:21,033
how to actually space our movement
412
00:18:21,033 --> 00:18:24,069
and create variation in animation.
413
00:18:24,069 --> 00:18:25,471
So in real life,
414
00:18:25,471 --> 00:18:27,372
almost nothing moves in a
415
00:18:27,372 --> 00:18:29,808
constant and changing speed.
416
00:18:30,409 --> 00:18:32,311
Every movement has to start
417
00:18:32,311 --> 00:18:33,145
from a stop
418
00:18:33,145 --> 00:18:35,447
and reach to a stop at the end,
419
00:18:35,447 --> 00:18:37,149
as well as every time
420
00:18:37,149 --> 00:18:38,817
that your object changes
421
00:18:38,817 --> 00:18:40,352
or switches directions.
422
00:18:40,352 --> 00:18:44,089
In real life, this change in the amount of speed
423
00:18:44,089 --> 00:18:47,226
an object has, it's called acceleration,
424
00:18:47,226 --> 00:18:49,128
when the object speeds up
425
00:18:49,128 --> 00:18:50,529
and deacceleration
426
00:18:50,529 --> 00:18:53,365
when the object decreases its speed.
427
00:18:53,732 --> 00:18:57,436
In animation, we visualize this change in speed
428
00:18:57,436 --> 00:18:58,937
by changing the size
429
00:18:58,937 --> 00:19:02,307
of the spacing of your object between frames.
430
00:19:02,307 --> 00:19:04,243
In the previous example,
431
00:19:04,243 --> 00:19:05,677
even though each ball
432
00:19:05,677 --> 00:19:07,546
moved in a different speed,
433
00:19:07,546 --> 00:19:10,048
the actual speed that the ball had
434
00:19:10,048 --> 00:19:12,584
does not change throughout the movement
435
00:19:12,584 --> 00:19:16,221
because the spacing between each frame is even.
436
00:19:16,722 --> 00:19:20,959
So in order to create acceleration and deacceleration
437
00:19:20,959 --> 00:19:24,363
we actually want to have a variation in the spacing
438
00:19:24,363 --> 00:19:26,198
to create different acceleration
439
00:19:26,198 --> 00:19:28,066
and deacceleration effects
440
00:19:28,066 --> 00:19:31,003
which make the movement more natural
441
00:19:31,003 --> 00:19:32,704
and easy to understand.
442
00:19:33,739 --> 00:19:37,576
For each movement, and animation that we're going to make,
443
00:19:37,576 --> 00:19:40,345
we're going to have a unique trajectory
444
00:19:40,345 --> 00:19:43,549
and unique acceleration and deacceleration,
445
00:19:43,549 --> 00:19:47,653
that being said, there are common patterns that we're going to use
446
00:19:47,653 --> 00:19:48,854
and modify
447
00:19:48,854 --> 00:19:50,822
when creating and planning
448
00:19:50,822 --> 00:19:52,824
our moving trajectories.
449
00:19:53,659 --> 00:19:57,663
These patterns also have pretty clear names and labels,
450
00:19:57,663 --> 00:19:59,598
so when you're working with a team
451
00:19:59,598 --> 00:20:01,200
or with directors,
452
00:20:01,200 --> 00:20:04,169
they will often refers to these labels
453
00:20:04,169 --> 00:20:07,105
and tell you which parts you need to change,
454
00:20:07,105 --> 00:20:08,941
which is very useful.
455
00:20:09,975 --> 00:20:11,610
The first pattern we have
456
00:20:11,610 --> 00:20:13,445
and the most basic pattern
457
00:20:13,445 --> 00:20:15,714
is having even spacing
458
00:20:15,714 --> 00:20:17,616
between each frames.
459
00:20:17,616 --> 00:20:20,919
This is actually pretty unnatural movement
460
00:20:20,919 --> 00:20:24,189
and is mostly used with UI animation,
461
00:20:24,189 --> 00:20:25,924
or when you want to have
462
00:20:25,924 --> 00:20:29,027
some comedic effects within your scene.
463
00:20:29,428 --> 00:20:34,700
This is pretty technical and not very common,
464
00:20:34,700 --> 00:20:36,735
with hand-drawn animation
465
00:20:36,735 --> 00:20:38,670
because it is quite difficult
466
00:20:38,670 --> 00:20:40,739
to keep even spacing,
467
00:20:40,739 --> 00:20:42,474
especially when your movement
468
00:20:42,474 --> 00:20:45,077
has to be in a straight line
469
00:20:45,077 --> 00:20:48,780
and you don't have any automatic
470
00:20:48,780 --> 00:20:50,616
features to do that.
471
00:20:51,483 --> 00:20:53,151
The second pattern that you're going
472
00:20:53,151 --> 00:20:56,622
to encounter is called the ease in
473
00:20:56,622 --> 00:20:58,457
and which is part of
474
00:20:58,457 --> 00:20:59,958
the ease in and ease out
475
00:20:59,958 --> 00:21:02,394
principle that we've talked about before.
476
00:21:02,394 --> 00:21:04,396
The ease in is a movement
477
00:21:04,396 --> 00:21:06,665
that shows acceleration of an object
478
00:21:06,665 --> 00:21:09,534
from a rest to its final speed.
479
00:21:10,469 --> 00:21:12,104
This is done by making the
480
00:21:12,104 --> 00:21:15,974
initial spacing between each frame small
481
00:21:15,974 --> 00:21:19,278
and then slowly increasing the spacing
482
00:21:19,278 --> 00:21:22,881
to create acceleration in the final speed.
483
00:21:22,881 --> 00:21:27,486
this increase can be both in even the amount by which
484
00:21:27,486 --> 00:21:31,123
I mean you increase it to the same amount each time,
485
00:21:31,123 --> 00:21:33,025
or it can be uneven
486
00:21:33,025 --> 00:21:34,293
if you want to create
487
00:21:34,293 --> 00:21:36,795
more varied movement
488
00:21:36,795 --> 00:21:39,998
within your character or object action.
489
00:21:41,066 --> 00:21:42,834
This is where we're actually going
490
00:21:42,834 --> 00:21:45,137
to have multiple variations
491
00:21:45,137 --> 00:21:46,672
and when we want to have
492
00:21:46,672 --> 00:21:48,874
more artistic understanding
493
00:21:48,874 --> 00:21:51,109
and adjust the movement
494
00:21:51,109 --> 00:21:52,277
to the way that you want it
495
00:21:52,277 --> 00:21:53,745
to look later on.
496
00:21:54,813 --> 00:21:57,716
The next pattern is the ease out.
497
00:21:58,417 --> 00:22:00,552
This is the opposite of the ease in
498
00:22:00,552 --> 00:22:02,854
and this is where you deaccelerate
499
00:22:02,854 --> 00:22:05,490
your character or object action.
500
00:22:06,091 --> 00:22:11,163
In this case, you start with big spacing of your final speed
501
00:22:11,163 --> 00:22:12,731
and then slowly decrease
502
00:22:12,731 --> 00:22:15,500
the distances between each frame,
503
00:22:15,500 --> 00:22:17,803
making your movements slower.
504
00:22:18,503 --> 00:22:24,076
Again, you can either shorten the distance with constant intervals
505
00:22:24,076 --> 00:22:26,878
to have smoothed deacceleration,
506
00:22:26,878 --> 00:22:30,749
or you can have a variation in the deacceleration
507
00:22:30,749 --> 00:22:33,118
to create more interesting movements
508
00:22:33,118 --> 00:22:34,586
depending on the action
509
00:22:34,586 --> 00:22:36,655
that you're trying to perform.
510
00:23:08,120 --> 00:23:14,526
Next pattern is actually a combination of both ease in and ease out.
511
00:23:14,526 --> 00:23:16,461
The most important pattern
512
00:23:16,461 --> 00:23:18,964
that you need to understand and get right
513
00:23:18,964 --> 00:23:20,232
because most action
514
00:23:20,232 --> 00:23:21,867
that we're going to perform
515
00:23:21,867 --> 00:23:25,170
is going to start from a stop accelerate
516
00:23:25,170 --> 00:23:28,306
and then reach to a stop by the end of it.
517
00:23:28,306 --> 00:23:31,510
Basically, every action can be broken
518
00:23:31,510 --> 00:23:35,747
down into ease in and ease out.
519
00:23:37,516 --> 00:23:38,917
We can basically create
520
00:23:38,917 --> 00:23:41,253
any action that we want,
521
00:23:41,253 --> 00:23:43,922
even very complex animations,
522
00:23:43,922 --> 00:23:45,390
because when you understand,
523
00:23:45,390 --> 00:23:46,691
when you slow in
524
00:23:46,691 --> 00:23:49,428
and slow out to increase
525
00:23:49,428 --> 00:23:50,629
and decrease the speed
526
00:23:50,629 --> 00:23:52,697
or when you change directions,
527
00:23:52,697 --> 00:23:54,166
you can basically break
528
00:23:54,166 --> 00:23:55,667
every complex movement
529
00:23:55,667 --> 00:23:58,170
that you're going to make into multiple
530
00:23:58,170 --> 00:23:59,604
smaller movements,
531
00:23:59,604 --> 00:24:03,241
each one, we've own ease in and ease out pattern.
532
00:24:04,443 --> 00:24:06,878
As you can see in this example,
533
00:24:06,878 --> 00:24:08,747
you can use this slow in
534
00:24:08,747 --> 00:24:12,083
and slow out in one big movement
535
00:24:12,083 --> 00:24:15,387
to achieve a smooth start and finish.
536
00:24:18,557 --> 00:24:20,959
You can actually break your movement
537
00:24:20,959 --> 00:24:23,094
into multiple stages
538
00:24:23,094 --> 00:24:25,630
using slow in and slow out
539
00:24:25,630 --> 00:24:26,832
to create pauses
540
00:24:26,832 --> 00:24:31,102
and emphasize certain timings in your animation.
541
00:25:12,010 --> 00:25:13,979
The last pattern is having
542
00:25:13,979 --> 00:25:16,882
just really random spacing.
543
00:25:16,882 --> 00:25:19,084
This is usually used
544
00:25:19,084 --> 00:25:21,253
when doing comedic animation
545
00:25:21,253 --> 00:25:22,554
or when trying to create
546
00:25:22,554 --> 00:25:24,456
a jittering effect,
547
00:25:24,456 --> 00:25:26,591
and it's not something
548
00:25:26,591 --> 00:25:28,693
that needs a lot of explanation
549
00:25:28,693 --> 00:25:30,629
and it's pretty intuitive.
550
00:25:30,629 --> 00:25:32,964
You basically just stop and start
551
00:25:32,964 --> 00:25:35,667
your character movement at random,
552
00:25:36,334 --> 00:25:38,270
and use your own judgment
553
00:25:38,270 --> 00:25:41,172
to create an aesthetically pleasing animation.
554
00:25:41,172 --> 00:25:43,708
Again, this is not something that is very common
555
00:25:43,708 --> 00:25:46,244
and we're not going to use it
556
00:25:46,244 --> 00:25:47,445
in this course
557
00:25:47,445 --> 00:25:49,447
because we want to focus more
558
00:25:49,447 --> 00:25:51,216
on the realistic movement.
559
00:25:51,816 --> 00:25:54,019
Still, I want to make sure that you know
560
00:25:54,019 --> 00:25:55,487
that it is possible
561
00:25:55,487 --> 00:25:57,455
to have random spacing,
562
00:25:57,455 --> 00:25:59,391
but it's not something
563
00:25:59,391 --> 00:26:03,528
that you want to focus on at the beginning.
564
00:26:29,187 --> 00:26:31,489
Now that we understand how to recognize
565
00:26:31,489 --> 00:26:34,192
and create the different spacing patterns
566
00:26:34,192 --> 00:26:38,997
to create multiple types of movements and different timings
567
00:26:38,997 --> 00:26:42,300
with simple objects and straight lines,
568
00:26:42,300 --> 00:26:43,702
we want to understand
569
00:26:43,702 --> 00:26:45,670
how to use this concept
570
00:26:45,670 --> 00:26:49,441
and plan more complicated movement trajectories.
571
00:26:49,941 --> 00:26:54,479
The first step for this is to actually sketch the movement trajectory
572
00:26:54,479 --> 00:26:56,147
that we're going to use.
573
00:26:56,681 --> 00:26:59,217
This gives you every possible position
574
00:26:59,217 --> 00:27:01,286
for your object to be in
575
00:27:01,286 --> 00:27:02,988
and make sure that your movement
576
00:27:02,988 --> 00:27:05,056
will follow a clear path
577
00:27:05,056 --> 00:27:07,926
so you don't get stray movement
578
00:27:07,926 --> 00:27:09,427
and jittering effect.
579
00:27:09,661 --> 00:27:12,030
Once you are more confident in your skill,
580
00:27:12,030 --> 00:27:14,532
you can omit this step or modify
581
00:27:14,532 --> 00:27:18,603
it as by making a smaller trajectory at the side
582
00:27:18,603 --> 00:27:20,305
of your character action,
583
00:27:20,839 --> 00:27:22,007
which is only going to
584
00:27:22,007 --> 00:27:23,375
be used as reference,
585
00:27:24,409 --> 00:27:26,344
but it is still completely valid
586
00:27:26,344 --> 00:27:28,513
to actually draw the trajectory
587
00:27:28,513 --> 00:27:29,581
that your character
588
00:27:29,581 --> 00:27:31,683
or object are going to move in
589
00:27:31,683 --> 00:27:33,985
when creating your animations.
590
00:27:33,985 --> 00:27:37,188
If it makes you have better understanding
591
00:27:37,188 --> 00:27:39,357
and greater efficiency in your project.
592
00:27:40,025 --> 00:27:43,061
Once you have your overall trajectory,
593
00:27:43,061 --> 00:27:46,131
you want to actually plan the spacing
594
00:27:46,131 --> 00:27:47,232
and the movement
595
00:27:47,232 --> 00:27:48,967
that you're going to make.
596
00:27:50,435 --> 00:27:53,538
The first step to that is actually analyzing
597
00:27:53,538 --> 00:27:54,472
the type of movement
598
00:27:54,472 --> 00:27:55,940
that you want to make.
599
00:27:55,940 --> 00:27:57,676
What causes your objects
600
00:27:57,676 --> 00:28:00,378
to accelerate across the trajectory?
601
00:28:00,378 --> 00:28:02,681
Where is it going to stop on the way?
602
00:28:02,681 --> 00:28:05,116
Where will it be moving the fastest?
603
00:28:05,116 --> 00:28:06,384
The slowest?
604
00:28:06,384 --> 00:28:08,453
Where is it going to go back
605
00:28:08,453 --> 00:28:10,889
or try a different direction?
606
00:28:11,923 --> 00:28:14,793
There are many reasons for where
607
00:28:14,793 --> 00:28:15,694
or when it's
608
00:28:15,694 --> 00:28:18,029
going to accelerate and deaccelerate,
609
00:28:18,029 --> 00:28:19,564
and they can either be
610
00:28:19,564 --> 00:28:22,300
beacuse of the action itself
611
00:28:22,300 --> 00:28:23,301
and the aesthetics that
612
00:28:23,301 --> 00:28:25,670
you want to create, or it can be
613
00:28:25,670 --> 00:28:29,140
because of actual physical related reasons,
614
00:28:29,140 --> 00:28:33,878
such as having forces like gravity or spin
615
00:28:33,878 --> 00:28:35,380
that act on the object
616
00:28:35,380 --> 00:28:36,581
and make it accelerate
617
00:28:36,581 --> 00:28:38,316
in a certain direction.
618
00:28:39,250 --> 00:28:41,052
This is where actual
619
00:28:41,052 --> 00:28:42,520
understanding of physics
620
00:28:42,520 --> 00:28:45,123
is going to come in handy
621
00:28:45,123 --> 00:28:47,225
because in real life
622
00:28:47,225 --> 00:28:50,929
an object is going to accelerate in the direction
623
00:28:50,929 --> 00:28:53,431
that a force is acting on it.
624
00:28:53,431 --> 00:28:55,333
Now, this sounds kind of vague,
625
00:28:55,333 --> 00:29:00,105
but basically if there is a force acting on an object,
626
00:29:00,105 --> 00:29:03,241
it will move or change in that direction.
627
00:29:03,842 --> 00:29:06,678
In real life, we see that with gravity,
628
00:29:06,678 --> 00:29:10,448
when you flow something, it's going to start from a stop
629
00:29:10,448 --> 00:29:13,251
and then move quicker and quicker
630
00:29:13,251 --> 00:29:15,553
until it reaches the final speed
631
00:29:15,553 --> 00:29:17,288
or when it hits the ground.
632
00:29:17,789 --> 00:29:20,391
This is also true for deacceleration
633
00:29:20,391 --> 00:29:23,595
because if your object already has a
634
00:29:23,595 --> 00:29:24,996
speed to it
635
00:29:24,996 --> 00:29:26,831
and the force is acting on it
636
00:29:26,831 --> 00:29:28,099
in the opposite direction,
637
00:29:28,099 --> 00:29:30,735
it is going to deacceleration.
638
00:29:30,735 --> 00:29:35,874
So, by seeing which forces act on your object
639
00:29:36,474 --> 00:29:40,245
and understanding where it's going to logically accelerate
640
00:29:40,245 --> 00:29:41,613
and deaccelerate,
641
00:29:41,613 --> 00:29:43,515
we can create a trajectory
642
00:29:43,515 --> 00:29:46,518
which looks very natural and pleasing.
643
00:29:47,252 --> 00:29:52,257
By combining our understanding of the physics behind the movement
644
00:29:52,257 --> 00:29:55,527
and the aestethic look that we're aiming for
645
00:29:56,227 --> 00:29:59,697
and deciding whether your object is going to accelerate
646
00:29:59,697 --> 00:30:02,934
deaccelerate stop and start,
647
00:30:03,301 --> 00:30:06,771
we can use the right techniques
648
00:30:06,771 --> 00:30:08,339
and the right spacing
649
00:30:08,339 --> 00:30:11,409
with the ease in and ease out pattern
650
00:30:11,409 --> 00:30:13,745
to plan the overall trajectory.
651
00:30:15,079 --> 00:30:19,250
And where we're going to add squash and stretch and smear frames.
652
00:30:19,784 --> 00:30:21,085
The thing to keep in mind
653
00:30:21,085 --> 00:30:22,453
when planning your movement
654
00:30:22,453 --> 00:30:23,688
is that the shorter
655
00:30:23,688 --> 00:30:26,324
the distance between each frame,
656
00:30:26,324 --> 00:30:27,091
the slower
657
00:30:27,091 --> 00:30:29,027
your object is going to move,
658
00:30:29,027 --> 00:30:32,163
and the bigger the distance, the faster it will move.
659
00:30:32,163 --> 00:30:34,966
So when you have a bigger spacing
660
00:30:34,966 --> 00:30:36,835
on your trajectory
661
00:30:36,835 --> 00:30:40,038
your object is going to be deformed with either
662
00:30:40,038 --> 00:30:42,507
squash and stretch or smear frames.
663
00:30:43,575 --> 00:30:44,809
In this example,
664
00:30:44,809 --> 00:30:46,077
I'm going to make the ball
665
00:30:46,077 --> 00:30:48,479
move at a certain trajectory.
666
00:30:48,479 --> 00:30:50,248
The ball is going to move up
667
00:30:50,248 --> 00:30:52,517
by its own force,
668
00:30:52,517 --> 00:30:54,719
but it's going to move down
669
00:30:54,719 --> 00:30:57,422
with deacceleration of gravity.
670
00:30:57,422 --> 00:30:59,657
I'm also going to make the ball stop
671
00:30:59,657 --> 00:31:02,360
at the highest point of each loop
672
00:31:02,360 --> 00:31:04,128
before falling down
673
00:31:04,128 --> 00:31:06,831
with a constant acceleration.
674
00:31:07,532 --> 00:31:10,134
I want to complete each loop
675
00:31:10,134 --> 00:31:12,670
in a different amount of time,
676
00:31:12,670 --> 00:31:15,440
so the amount of spacing in frames
677
00:31:15,440 --> 00:31:17,642
that I'm going to dedicate for each loop
678
00:31:17,642 --> 00:31:19,410
is going to be different.
679
00:31:20,011 --> 00:31:22,313
And since gravity is constantly
680
00:31:22,313 --> 00:31:23,748
going to affect the ball,
681
00:31:23,748 --> 00:31:25,516
even when it moves up.
682
00:31:25,850 --> 00:31:28,686
It's going to deaccelerate on the way
683
00:31:28,686 --> 00:31:31,956
up and accelerate on the way down.
684
00:31:33,091 --> 00:31:37,896
With these conditions in mind, I add indicators of where
685
00:31:37,896 --> 00:31:40,732
the ball is going to be at each frame
686
00:31:40,732 --> 00:31:43,234
and change to size in accordance
687
00:31:43,234 --> 00:31:46,271
to where I want it to stop and start.
688
00:31:46,271 --> 00:31:47,805
You can either do that
689
00:31:47,805 --> 00:31:50,174
by having keyframes
690
00:31:50,174 --> 00:31:52,176
and then adding breakdowns
691
00:31:52,176 --> 00:31:53,611
and in-betweens
692
00:31:53,611 --> 00:31:55,680
or by going straight ahead
693
00:31:55,680 --> 00:31:58,816
and just adding each spacing
694
00:31:58,816 --> 00:32:00,151
one after the other
695
00:32:00,151 --> 00:32:02,086
with the straight-ahead method.
696
00:32:02,520 --> 00:32:05,056
Again, I use a combination of the two
697
00:32:05,056 --> 00:32:07,191
because this usually gives you
698
00:32:07,191 --> 00:32:09,527
the most natural looking movement
699
00:32:09,527 --> 00:32:13,131
with the highest amount of control onset movement.
700
00:32:13,831 --> 00:32:16,234
Now you just need to edit the ball
701
00:32:16,234 --> 00:32:17,969
with the right size
702
00:32:17,969 --> 00:32:19,470
and the right smear frames
703
00:32:19,470 --> 00:32:21,472
and squash and stretch frames
704
00:32:21,472 --> 00:32:22,707
to create the illusion
705
00:32:22,707 --> 00:32:25,710
along the entire trajectory.
706
00:32:26,544 --> 00:32:29,580
For this exercise actually try and limit
707
00:32:29,580 --> 00:32:30,581
the amount of frames
708
00:32:30,581 --> 00:32:33,051
that you're going to dedicate to it
709
00:32:33,051 --> 00:32:35,687
and play around with the timing and spacing
710
00:32:35,687 --> 00:32:36,888
along the trajectory
711
00:32:36,888 --> 00:32:39,357
to create the right effect that you want.
712
00:32:40,258 --> 00:32:42,327
It's important to understand
713
00:32:42,327 --> 00:32:46,197
how to space and time your movement correctly
714
00:32:46,197 --> 00:32:48,633
and not just add random
715
00:32:48,633 --> 00:32:51,402
frames to your animation.
716
00:32:51,869 --> 00:32:53,237
This is a common mistake
717
00:32:53,237 --> 00:32:56,074
that a lot of beginner animators do
718
00:32:56,074 --> 00:32:58,609
when instead of respacing
719
00:32:58,609 --> 00:33:01,145
and adjusting the moving trajectory,
720
00:33:01,145 --> 00:33:03,681
just adding additional frames
721
00:33:04,115 --> 00:33:07,585
to try and make the overall movement look better,
722
00:33:07,585 --> 00:33:10,922
and then later on play around with the frame rate.
723
00:33:10,922 --> 00:33:12,757
Basically, as an animator,
724
00:33:12,757 --> 00:33:14,225
your goal is to draw
725
00:33:14,225 --> 00:33:16,527
the smallest amount of frames possible
726
00:33:16,527 --> 00:33:18,596
to create your movement.
727
00:33:18,596 --> 00:33:20,865
You will have a small amount of frames
728
00:33:20,865 --> 00:33:22,400
for quick movements
729
00:33:22,400 --> 00:33:23,968
and a larger amount of frames
730
00:33:23,968 --> 00:33:25,603
for slower movement.
731
00:33:25,603 --> 00:33:27,705
So instead of just adding
732
00:33:27,705 --> 00:33:30,641
additional frames to your planned trajectory
733
00:33:30,641 --> 00:33:32,477
in this exercise,
734
00:33:32,477 --> 00:33:34,278
move your spacing around
735
00:33:34,278 --> 00:33:36,447
to create the right amount of frames
736
00:33:36,447 --> 00:33:38,816
for each part of your movement.
737
00:33:38,816 --> 00:33:42,020
At first try and make a very simple trajectory,
738
00:33:42,020 --> 00:33:45,590
even simpler than the one that I used for this example,
739
00:33:45,590 --> 00:33:48,893
and later on try and increase the number of frames
740
00:33:48,893 --> 00:33:50,862
and the complexity of the trajectory
741
00:33:50,862 --> 00:33:52,764
that you're working with.
742
00:33:52,764 --> 00:33:55,199
Again, decide on the number of frames
743
00:33:55,199 --> 00:33:57,468
that you're going to make in advance
744
00:33:57,468 --> 00:34:00,004
before adding additional frames.
745
00:34:00,671 --> 00:34:02,807
If you are a more experienced animators,
746
00:34:02,807 --> 00:34:04,175
you can just play around
747
00:34:04,175 --> 00:34:05,276
with very complex
748
00:34:05,276 --> 00:34:07,912
trajectories at this point.
749
00:34:13,017 --> 00:34:15,853
Up until now we've seen examples
750
00:34:15,853 --> 00:34:17,755
and talked about movements
751
00:34:17,755 --> 00:34:19,590
where your object is starting
752
00:34:19,590 --> 00:34:21,526
and ending with a stop
753
00:34:21,526 --> 00:34:25,063
with gradual acceleration and deacceleration.
754
00:34:25,063 --> 00:34:28,566
But in animation and in real life,
755
00:34:28,566 --> 00:34:30,368
not every change of speed
756
00:34:30,368 --> 00:34:32,904
is going to be gradual.
757
00:34:32,904 --> 00:34:34,806
Sometimes your object
758
00:34:34,806 --> 00:34:36,441
is going to just stop
759
00:34:36,441 --> 00:34:38,743
or change direction suddenly.
760
00:34:39,544 --> 00:34:41,379
You can see this type of movement
761
00:34:41,379 --> 00:34:44,582
in very simple and common situation,
762
00:34:44,582 --> 00:34:49,353
such as when things fall, hit walls,
763
00:34:49,353 --> 00:34:52,023
get some impact or collisions,
764
00:34:52,023 --> 00:34:54,125
or even when you reach
765
00:34:54,125 --> 00:34:56,761
the range of movement of your object,
766
00:34:56,761 --> 00:34:59,597
suddenly at high speeds,
767
00:34:59,597 --> 00:35:01,766
this is very common in the action
768
00:35:01,766 --> 00:35:03,935
or acting scenes as well.
769
00:35:04,635 --> 00:35:07,672
And object will not change direction or speed
770
00:35:07,672 --> 00:35:11,309
unless an another force is acting on it
771
00:35:11,309 --> 00:35:12,677
in the opposite direction,
772
00:35:12,677 --> 00:35:15,546
which causes it to deacceleration.
773
00:35:15,913 --> 00:35:17,682
In the case of an impact,
774
00:35:17,682 --> 00:35:19,750
a large amount of opposing force
775
00:35:19,750 --> 00:35:21,886
hit the object all at once,
776
00:35:21,886 --> 00:35:25,590
making it change the trajectory abruptly.
777
00:35:26,557 --> 00:35:28,726
With character action and acting,
778
00:35:28,726 --> 00:35:30,495
this comes from the character
779
00:35:30,495 --> 00:35:32,930
actively trying to stop the movement,
780
00:35:33,297 --> 00:35:34,665
or by the character
781
00:35:34,665 --> 00:35:39,470
reaching the end of their limbs' range of movement.
782
00:35:40,037 --> 00:35:42,373
As you can see with these examples,
783
00:35:42,373 --> 00:35:44,775
I've been using some unusual frames
784
00:35:44,775 --> 00:35:47,411
to support the movement and impacts
785
00:35:47,411 --> 00:35:49,247
and make them look better.
786
00:35:49,247 --> 00:35:51,649
These specialized frames are meant
787
00:35:51,649 --> 00:35:54,185
to show the energy in the movement
788
00:35:54,185 --> 00:35:58,189
and they're called impact frames and overshoot frames.
789
00:35:58,189 --> 00:36:00,791
This is a technique where we will either
790
00:36:00,791 --> 00:36:03,694
have an extra frame which goes over
791
00:36:03,694 --> 00:36:06,264
the initially planned trajectory
792
00:36:06,264 --> 00:36:09,200
and gives us the illusion of extra force
793
00:36:09,200 --> 00:36:10,902
in the trajectory.
794
00:36:10,902 --> 00:36:13,271
This is also known as overshoot
795
00:36:13,704 --> 00:36:15,573
or we can have a frame,
796
00:36:15,573 --> 00:36:19,043
with extreme deformation of the animation object
797
00:36:19,043 --> 00:36:21,646
which gives more personality
798
00:36:21,646 --> 00:36:24,148
to the change in direction,
799
00:36:24,148 --> 00:36:26,617
which is also called an impact frame.
800
00:36:26,951 --> 00:36:28,653
This is actually more common
801
00:36:28,653 --> 00:36:30,721
when you have inherent
802
00:36:30,721 --> 00:36:33,324
characteristics to your object,
803
00:36:33,324 --> 00:36:34,792
as such as elasticity
804
00:36:34,792 --> 00:36:38,162
and when you're having an impact
805
00:36:38,162 --> 00:36:39,997
within the trajectory
806
00:36:39,997 --> 00:36:42,667
which gives it the name of impact frames.
807
00:36:43,467 --> 00:36:47,038
Overshoot and impact frames are actually very useful
808
00:36:47,038 --> 00:36:49,373
in almost any type of movement.
809
00:36:49,607 --> 00:36:52,043
You don't actually need to have
810
00:36:52,043 --> 00:36:54,779
too much deformation or go
811
00:36:54,779 --> 00:36:57,848
well over the movement trajectory
812
00:36:58,216 --> 00:37:02,753
to have an impact frame or overshoot effect.
813
00:37:02,753 --> 00:37:05,189
Just by having small adjustments
814
00:37:05,189 --> 00:37:07,458
to the end of your trajectory,
815
00:37:08,292 --> 00:37:09,827
you can give your the movement
816
00:37:09,827 --> 00:37:12,363
a more natural and energetic look.
817
00:37:13,664 --> 00:37:15,900
While overshoot and impact frames
818
00:37:15,900 --> 00:37:17,668
are used to bring more energy
819
00:37:17,668 --> 00:37:20,004
and force to your movement,
820
00:37:20,004 --> 00:37:24,775
we also want to give more weight and different
821
00:37:24,775 --> 00:37:29,547
characteristics to your movement and objects.
822
00:37:30,047 --> 00:37:32,116
Even when trying to animate movements
823
00:37:32,116 --> 00:37:34,151
which are less energetic,
824
00:37:34,151 --> 00:37:36,187
or show certain characteristics
825
00:37:36,187 --> 00:37:40,358
which are unrelated to elasticity in a situation
826
00:37:40,358 --> 00:37:42,493
where you do not have impact.
827
00:37:42,994 --> 00:37:47,365
For this, we want take advantage of the actual timing
828
00:37:47,365 --> 00:37:49,333
feature in animation
829
00:37:49,333 --> 00:37:52,870
and have a delay to help us understand
830
00:37:52,870 --> 00:37:56,574
slow changes in force and acceleration.
831
00:37:57,074 --> 00:38:01,078
These instances are not as obvious as a clear impact,
832
00:38:01,078 --> 00:38:02,880
but they are still very important
833
00:38:02,880 --> 00:38:04,315
when trying to animate
834
00:38:04,315 --> 00:38:06,083
natural looking movements.
835
00:38:07,251 --> 00:38:11,322
Delay is usually used to express balance, friction
836
00:38:11,322 --> 00:38:14,158
or weight in the certain object.
837
00:38:14,158 --> 00:38:17,295
As you can see here with this brick example,
838
00:38:17,295 --> 00:38:19,563
I can show the amount of force
839
00:38:19,563 --> 00:38:21,899
behind the initial push
840
00:38:21,899 --> 00:38:24,302
and the weight of the brick
841
00:38:24,302 --> 00:38:26,804
just by changing the timing
842
00:38:26,804 --> 00:38:29,340
and giving us delay
843
00:38:29,340 --> 00:38:32,910
in the movement of the brick before it falls.
844
00:38:33,244 --> 00:38:36,714
You can also see how a brick experienced
845
00:38:36,714 --> 00:38:39,150
the impact when it falls,
846
00:38:39,150 --> 00:38:41,352
even though it is not elastic,
847
00:38:41,352 --> 00:38:43,854
just by the time it takes the brick
848
00:38:43,854 --> 00:38:46,657
to get over the force of the impact
849
00:38:46,657 --> 00:38:47,992
before it falls down
850
00:38:47,992 --> 00:38:50,027
and settles completely.
851
00:38:50,695 --> 00:38:54,498
This alternation of delay for slow actions,
852
00:38:54,498 --> 00:38:58,069
overshoot and impact frames for energetic actions
853
00:38:58,069 --> 00:39:00,871
and using ease in and ease out to connect
854
00:39:00,871 --> 00:39:02,773
these types of actions
855
00:39:02,773 --> 00:39:05,543
is what is going to make the animation
856
00:39:05,543 --> 00:39:07,111
more natural looking
857
00:39:07,111 --> 00:39:10,047
and more interesting to look at.
858
00:39:10,614 --> 00:39:11,782
We're going to create
859
00:39:11,782 --> 00:39:14,785
every type of animation in this course
860
00:39:14,785 --> 00:39:17,488
by combining these three concepts
861
00:39:17,488 --> 00:39:19,190
and supporting them
862
00:39:19,190 --> 00:39:22,393
with using squash and stretch and smear frames.
863
00:39:58,496 --> 00:40:00,865
Now that we know the rules and techniques
864
00:40:00,865 --> 00:40:02,800
that we're going to use
865
00:40:02,800 --> 00:40:04,835
to create the animations,
866
00:40:04,835 --> 00:40:07,471
it's time to understand how to apply them.
867
00:40:08,239 --> 00:40:11,675
To demonstrate how we're going to apply these concepts
868
00:40:11,675 --> 00:40:13,644
to an actual animation,
869
00:40:13,644 --> 00:40:15,880
I'm going to give you the example
870
00:40:15,880 --> 00:40:18,682
of the classic bouncing ball.
871
00:40:18,682 --> 00:40:21,252
Starting from a rest position,
872
00:40:21,252 --> 00:40:22,453
the ball will first
873
00:40:22,453 --> 00:40:24,288
accelerate due to gravity
874
00:40:24,288 --> 00:40:26,090
and it will speed down
875
00:40:26,090 --> 00:40:27,158
as it goes
876
00:40:28,125 --> 00:40:31,695
meaning that we're going to have uneven spacing,
877
00:40:31,695 --> 00:40:36,233
which slowly increase between each frame
878
00:40:36,233 --> 00:40:38,536
and we're going to slightly deform
879
00:40:38,536 --> 00:40:40,237
the shape of the ball
880
00:40:40,237 --> 00:40:42,540
to create a squash and stretch effect,
881
00:40:42,540 --> 00:40:43,808
which help us
882
00:40:43,808 --> 00:40:47,511
show the speed of the ball as it accelerates downward.
883
00:40:47,945 --> 00:40:50,448
Next, the ball is going to hit the ground
884
00:40:50,448 --> 00:40:52,149
and change direction.
885
00:40:52,383 --> 00:40:55,486
For this, we're going to use an impact frame
886
00:40:55,486 --> 00:40:58,489
again, with the squash and stretch principle
887
00:40:58,489 --> 00:41:01,725
before the ball is going to shoot back up.
888
00:41:02,092 --> 00:41:03,594
The amount of deformation
889
00:41:03,594 --> 00:41:07,798
that we're going to add to the impact frame is dependent
890
00:41:07,798 --> 00:41:11,802
both on the amount of force behind the ball.
891
00:41:11,802 --> 00:41:15,639
In this case, we’re going to have quite a big jump,
892
00:41:15,639 --> 00:41:18,008
so I'm going to add a lot of deformation,
893
00:41:18,409 --> 00:41:20,478
but it also depends on the actual
894
00:41:20,478 --> 00:41:22,146
properties of the ball.
895
00:41:22,947 --> 00:41:26,016
If this ball was not elastic at all,
896
00:41:26,016 --> 00:41:27,918
we would not add the deformation
897
00:41:27,918 --> 00:41:29,787
and instead we’re just going
898
00:41:29,787 --> 00:41:33,424
to have the ball's effects on the environment,
899
00:41:34,525 --> 00:41:38,429
as well as use the timing to show the impact
900
00:41:38,429 --> 00:41:40,831
the same way that we did with the brick.
901
00:41:41,665 --> 00:41:43,868
Because the ball had quite a lot of
902
00:41:43,868 --> 00:41:44,735
falls behind it
903
00:41:44,735 --> 00:41:46,637
when it impacted the ground,
904
00:41:46,637 --> 00:41:48,005
the ball is going to bounce
905
00:41:48,005 --> 00:41:50,474
straight up because of the impact.
906
00:41:51,342 --> 00:41:53,544
This means that it's going to first
907
00:41:53,544 --> 00:41:55,946
accelerate up really quickly
908
00:41:55,946 --> 00:41:59,049
because the initial speed is quite high,
909
00:41:59,049 --> 00:42:03,220
but because gravity is going to act on it,
910
00:42:03,587 --> 00:42:06,257
it's going to deaccelerate on its way up.
911
00:42:06,790 --> 00:42:09,093
So we will be using the ease out
912
00:42:09,093 --> 00:42:11,328
pattern and slowly decrease
913
00:42:11,328 --> 00:42:14,665
the spacing between each frame until
914
00:42:14,665 --> 00:42:16,600
the ball reaches to a stop
915
00:42:16,600 --> 00:42:17,701
slightly below
916
00:42:17,701 --> 00:42:19,603
the initial starting
917
00:42:19,603 --> 00:42:21,405
point of the movement.
918
00:42:21,405 --> 00:42:24,108
This is because the ball is going to lose
919
00:42:24,108 --> 00:42:26,143
some of the energy it had
920
00:42:26,143 --> 00:42:27,811
when it impacts the ground
921
00:42:29,046 --> 00:42:30,447
making it so it can't
922
00:42:30,447 --> 00:42:32,816
bounce quite as high
923
00:42:32,816 --> 00:42:34,652
when the ball reaches the top,
924
00:42:34,652 --> 00:42:36,954
it actually changes directions.
925
00:42:37,054 --> 00:42:39,523
So it has to come to a complete stop.
926
00:42:40,257 --> 00:42:41,091
At this point,
927
00:42:41,091 --> 00:42:43,027
we can actually have
928
00:42:43,027 --> 00:42:45,496
the additional benefits of animation
929
00:42:45,896 --> 00:42:48,799
which don't completely adhere
930
00:42:48,799 --> 00:42:50,601
to the rules of reality.
931
00:42:50,601 --> 00:42:53,270
So we can emphasize this point
932
00:42:53,437 --> 00:42:55,539
by creating a slight delay
933
00:42:55,539 --> 00:42:58,309
at the highest point of the movement.
934
00:42:59,143 --> 00:43:01,645
This helps the audience understand
935
00:43:01,645 --> 00:43:03,047
what is going on
936
00:43:03,047 --> 00:43:06,550
slightly better, and it is very useful
937
00:43:06,550 --> 00:43:08,352
when creating movement
938
00:43:08,352 --> 00:43:10,387
with more complex animation,
939
00:43:10,387 --> 00:43:11,889
where you want to make sure
940
00:43:11,889 --> 00:43:14,525
that the entire movement is readable,
941
00:43:14,858 --> 00:43:17,328
or when you want to have emphasis
942
00:43:17,328 --> 00:43:21,098
on certain part of the movement.
943
00:43:21,098 --> 00:43:23,934
Because the force that accelerates
944
00:43:23,934 --> 00:43:26,837
the ball is gravity, which is constant,
945
00:43:27,338 --> 00:43:28,806
it's going to have the same
946
00:43:28,806 --> 00:43:30,674
amount of acceleration
947
00:43:30,674 --> 00:43:31,642
on its way down
948
00:43:31,642 --> 00:43:34,878
as its first part of the movement,
949
00:43:34,878 --> 00:43:36,614
because the distance
950
00:43:36,614 --> 00:43:38,716
it travels is slightly smaller
951
00:43:38,716 --> 00:43:40,084
this time
952
00:43:40,250 --> 00:43:41,518
we're going to slightly
953
00:43:41,518 --> 00:43:43,354
adjust the spacing
954
00:43:43,354 --> 00:43:45,889
and actually remove certain frames
955
00:43:45,889 --> 00:43:48,659
because the overall time it takes the
956
00:43:48,659 --> 00:43:50,894
ball to get down is smaller.
957
00:43:52,096 --> 00:43:53,797
This time, when the ball
958
00:43:53,797 --> 00:43:54,832
reaches the ground,
959
00:43:54,832 --> 00:43:57,701
it has slightly less force behind it.
960
00:43:58,102 --> 00:43:59,870
So we will be creating
961
00:43:59,870 --> 00:44:02,506
a smaller deformation in the impact frame
962
00:44:03,173 --> 00:44:04,675
and we're going to decrease
963
00:44:04,675 --> 00:44:06,810
the speed of the ball when it goes up.
964
00:44:07,811 --> 00:44:09,546
Because gravity is constant
965
00:44:09,546 --> 00:44:11,215
we're going to try and make it
966
00:44:11,215 --> 00:44:13,550
so that deacceleration of the ball
967
00:44:13,984 --> 00:44:17,521
is the same as the one that we had before.
968
00:44:18,288 --> 00:44:20,224
With the following impacts,
969
00:44:20,224 --> 00:44:22,359
the ball is going to lose more
970
00:44:22,359 --> 00:44:23,827
and more force
971
00:44:23,827 --> 00:44:25,596
behind it, making it
972
00:44:25,596 --> 00:44:27,498
so it jumps less high
973
00:44:27,498 --> 00:44:30,567
and the impact frames are less deformed.
974
00:44:31,035 --> 00:44:34,304
all the way until it reaches its final stop
975
00:44:34,304 --> 00:44:36,173
before settling down.
976
00:44:38,142 --> 00:44:40,711
Take time to understand this exercise
977
00:44:40,711 --> 00:44:42,646
and try and apply this type
978
00:44:42,646 --> 00:44:46,450
of breakdown of forces and acceleration,
979
00:44:46,450 --> 00:44:48,218
too many types of movement
980
00:44:48,218 --> 00:44:49,787
that you see in real life
981
00:44:49,787 --> 00:44:50,988
or that you're trying
982
00:44:50,988 --> 00:44:53,123
to recreate for yourself.
983
00:44:53,657 --> 00:44:56,627
Always try and visualize when and where
984
00:44:56,627 --> 00:45:00,064
something is going to accelerate, deaccelerate
985
00:45:00,064 --> 00:45:01,699
and the amount of force behind
986
00:45:01,699 --> 00:45:03,333
a certain movement
987
00:45:03,333 --> 00:45:06,036
before you plan your trajectory.
988
00:45:06,637 --> 00:45:10,007
Next lesson, we're going to focus on more complex
989
00:45:10,007 --> 00:45:11,775
objects and movements.
990
00:45:11,775 --> 00:45:14,344
So it's important that you understand
991
00:45:14,344 --> 00:45:16,380
the concepts in this video
992
00:45:16,380 --> 00:45:19,249
and know how to recognize
993
00:45:19,249 --> 00:45:23,754
when and where your character is going to slow in and slow out,
994
00:45:23,754 --> 00:45:25,489
where you're going to add
995
00:45:25,489 --> 00:45:29,259
your smear and squashes stretch frame
996
00:45:29,259 --> 00:45:31,528
and how to create your overall
997
00:45:31,528 --> 00:45:35,966
timing for each part of the movement.
998
00:46:06,630 --> 00:46:08,632
The exercise in this lesson
999
00:46:08,632 --> 00:46:10,968
is to take the examples
1000
00:46:10,968 --> 00:46:13,070
that I've made for this video
1001
00:46:13,070 --> 00:46:15,539
and make your own versions of them.
1002
00:46:16,507 --> 00:46:17,741
Try to make versions
1003
00:46:17,741 --> 00:46:19,676
that are different to mine
1004
00:46:19,676 --> 00:46:21,245
while still keeping in mind
1005
00:46:21,245 --> 00:46:24,248
the concepts behind each example.
1006
00:46:24,782 --> 00:46:25,816
You want to make sure
1007
00:46:25,816 --> 00:46:26,884
that you understand
1008
00:46:26,884 --> 00:46:28,352
the process and the correct
1009
00:46:28,352 --> 00:46:30,287
spacing between frames
1010
00:46:30,287 --> 00:46:31,755
and not just follow it
1011
00:46:31,755 --> 00:46:33,824
to create something aesthetically pleasing
1012
00:46:33,824 --> 00:46:35,826
without knowing how you did it.
1013
00:46:35,826 --> 00:46:37,728
I especially encourage you
1014
00:46:37,728 --> 00:46:39,196
to actually experiment
1015
00:46:39,196 --> 00:46:41,198
around and try different
1016
00:46:41,198 --> 00:46:44,301
timings with the same trajectory or movement
1017
00:46:44,301 --> 00:46:45,969
that you're trying to make.
1018
00:46:46,436 --> 00:46:47,838
Again, make sure
1019
00:46:47,838 --> 00:46:48,972
that whichever movement
1020
00:46:48,972 --> 00:46:51,074
you're making is readable
1021
00:46:51,074 --> 00:46:53,210
and that you avoid making jittering
1022
00:46:53,210 --> 00:46:55,712
when creating slow movements.
1023
00:46:55,712 --> 00:46:56,713
You need to make sure
1024
00:46:56,713 --> 00:46:59,082
that whichever movement you're making
1025
00:46:59,082 --> 00:47:01,518
is following a clear path
1026
00:47:01,518 --> 00:47:03,921
and that no frames is going backward
1027
00:47:03,921 --> 00:47:05,889
in the middle of an action.
1028
00:47:06,456 --> 00:47:08,959
Also, make sure to keep the volume
1029
00:47:08,959 --> 00:47:10,561
of your object consistent,
1030
00:47:10,561 --> 00:47:13,797
even if you're using a squash and stretch effect.
1031
00:47:14,531 --> 00:47:17,868
Also, keep your exercise fairly short,
1032
00:47:17,868 --> 00:47:20,337
making it three seconds or less,
1033
00:47:20,838 --> 00:47:24,274
because we're all going to be adding additional details onto it
1034
00:47:24,274 --> 00:47:26,176
in later lessons.
1035
00:47:28,212 --> 00:47:29,179
To recap
1036
00:47:29,179 --> 00:47:32,149
in today's lesson, we've learned the principles
1037
00:47:32,149 --> 00:47:34,017
and reasons behind the way
1038
00:47:34,017 --> 00:47:36,253
object moves in animation,
1039
00:47:36,253 --> 00:47:37,221
and which techniques
1040
00:47:37,221 --> 00:47:40,457
we're going to use to support said movements.
1041
00:47:40,457 --> 00:47:42,926
We also learned how to express
1042
00:47:42,926 --> 00:47:45,229
certain types of movement
1043
00:47:45,229 --> 00:47:48,665
using the deformation, spacing and timing,
1044
00:47:48,665 --> 00:47:50,901
as well as how to analyze movement
1045
00:47:50,901 --> 00:47:54,037
in order to understand and predict
1046
00:47:54,037 --> 00:47:55,372
how it's going to look
1047
00:47:55,372 --> 00:47:58,041
before we plan a final trajectory
1048
00:47:58,041 --> 00:47:59,877
that we're going to reference
1049
00:47:59,877 --> 00:48:02,779
when creating more complex actions later on.
1050
00:48:03,881 --> 00:48:06,450
Thank you for watching and see your next time.
1051
00:48:06,450 --> 00:48:08,418
Bye.
74698
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