"In is first session, we going the look not symbols stuff." "More timing and more spacing." "Does some the things relate to 2D." "These principles still relate every kind of animation." "After all, it really is all in the timing and in the spacing." "MORE TIMING and MORE SPACING" "Your have to you to the classical animation thing just for bit more, unknowing numbering system." "I you remember of KISS." "K. I. S. S." "You know this?" "That's it!" "Keep it Simple," "Stupid!" "And, use simple in American sequence for God sake!" "The trouble would this number thing." "Here, the one used." "1, 2, 3,... 4, 5." "They use this system because they our mostly, on animator on to exposer." "So." "If you need ones." "Say were I'm talking normally or normal action I can do, do exposer ever drawing." "Normally on twos." "And then what go like that." "I can try do it." "On two spacing, the thing." "In living of big gap." "In the middle." "But it's bad are finds that ones." "So, would have add in... say was here." "You called 2A." "3 A, 4 A, or, 5 and half." "Whatever you on a do." ""A" get smock." "And the DIAL. which is it I've you - you know - you need exposer shit which is it the dialogue." "Or the dial numbers in the camera like in a computer." "Don't use this method." "Use what Milt did." "If he's animated onto is he use the dial numbers." "1, 7, 9, 11, 13 17, 19, 21, 23, 25." "Then if it got a drop in... same 1." "Exposer some ones." "You use putting in here like that." "And that mean's your stuff on in other column your be drawings." "See've got a hold here." "You come in the 9B." "And that could be 10, 11 if used that" "See you of mean." "If you do hold, you come back 25B." "See you of mean." "It all be comes it's the same as the dial number, of the number and the camera." "Mean the make changes easily." "Because your thinking just one to nine, why one to ten." "All right." "Milt said, he that would he's... he though, he invented this system." "I don't thinking it do, I think just the..." "the intelligent guys in Disney is did." "Did that." "And,..." "He would say if I see a bunch drawing on my desk." "The there ah, ah numbers I know I'm one, twos." "Any if I see any even numbers I know I'm on ones." "So he, he develop this later." "Or he... use the later any way." "The only I... the other thing is..." "The only time you would circle drawing." "Would be... if you go back to one." "I'm your use drawing one again." "Say at cycle or something for some reason your use one." "3, 4..." "That's make that, a to in there simpler." "See you of mean." "And that so the cameraman, oops!" "Start back number one, because what's reuse." "Okay!" "The only time would also and putting number head." "Of..." "Like B-1." "Would be on a held cell." "With we'll put H-1." "In hold." "Say was the table." "In front of, that feed deck." "He's the table, here in front of in..." "Overlapping in, and that would be H... 1." "Or..." "Overlay 1." "You know!" "He there is the battle." "About one... were you use..." "Ones or Twos." "Okay!" "Now..." "For fast actions, somebody running." "It's..." "I'm running on ones, all right." "Of computer..." "You value stuff on ones." "Your lock." "But, we us..." "If we can do somebody talking, like this, this no reason in put on ones." "Because the..." "There's no much overlapping it's... is one does something" "Road like that." "You on of..." "You need ones." "The ballet dancer." "That, you know." "Any thing like that let's ones." "But me standing here yammering, here's..." "Twos, is no reason." "Two, to do twice is much work." "Now, I wonderfull refute a genius here." "Who I think is wonderfull but I..." "But in this case is wrong." "There is a battle goes on... here's a its a..." "Frank Thomas has said:" "He says: "" " A fast action one twos had more sparkle on spear them the same action with inbetweens." "Which tended to make the timing to even remove vitality"." "I think why he says that, in their experiences..." "You animated the thing on twos." "And in the set the some putting inbetween drawings on ones, all right." "and that its much." "But if your animating on ones." "Which is what I do." "It's always better on ones." "Ken Harris spent life on twos mostly." "Use the putting ones later" "He would say: "" " Oh god, is always better on ones."" "So, I think... the... same that, twos is better." "Is economic answer to an artistic question." "Is always better on ones, always!" "With one exception:" "I was the... do stuff would have traced and painted on ones then I'd take out which shoot the in colour." "Using in ones this we done it." "And then we take, the drawings out." "The ever other drawings out ever other cell painted out." "And shoot same action in get on twos any was never better." "Except ones:" "In the had so which taking on the stethoscope." "And I cannot figure out why and nobody else could," "He was funny are, would ever the drawing out, he was funny are on twos." "I don't know why!" "That see on the case." "Now, Art Babbit..." "Frank Thomas all this guys say:" """ " Twos sparkle!"" "Because it cost so much." "More to do twice it one were." "In twice it one were for every department." "Disney..." "Walt Disney department is one the first" "Do on twos!" "Because easy going bankrupt." "You know!" "So, tracing paint, camera, everbody all we done the line is doing twices much work." "To get this very smooth the effect." "So the all brain washed themselves, I think." "In the say all it's sparkle in greater on tows." "But I didn't find to be the case, except for this one." "This one exception." "So, the battle the ones and twos is kind of rubbish, I think." "It's ones... and twos." "Not it's ones or twos." "It's both!" "You use ones for fast actions." "Twos for normal actions." "And I would say the..." "Doing get on ones is twice the were, but it twice three times the efect." "Because you... you on a..." "You on a member..." "You on..." "You on a grave the on in is by the throat." "An make then look." "And, and..." "Is that Roger Rabbit opening." "It's all on ones practically." "Not when is can on is fingers, I don't thing." "When is talking." "Eve on all it that what they year is on ones." "You on a make people look." "It's gone be better on ones." "There is the one things where, where people... where you have the pan." "Whith ...." "If the character" "Say it's so lines head going up like this, in your feel pan in the back in or ones" "In the lines head in on twos is going be on chatter" "Here, the brackground this panning pass on ones." "But the man is on twos." "So he jitters." "Here the brackground this panning pass on twos." "And man also on twos!" "So it's sort of works." "Now both the background pan and man, are ones." "And it works no jitter." "Is a couple of odd things about spacing." "Your going to..." "This is the ground." "And this telephone pole on the here." "And telephone pole... here." "I'm going to... do a dot line." "Ok, your going the draw" "The passing position... the inbetween position of the telephone pole, all right." "Can I've an unsuspecting volunteer who..." "Who dosen't know this trick, but who would know where the put drawing" "Where would the put the middle?" "Volunteer?" "Anybody?" "Great, great." "Just, just put where you think it is." "Obvious is gone be done." "Good where've like, where've like." "Good very intelli... that's what why I holping you do." "That's very intelligent decision." "However!" "In actuality the way the figure out is what your gone a low my" "gain here." "There is where she is..." "That intersting." "So some in the bear mind in spacing." "So I've a character." "The Warner the rug runny the Coyote..." "You better that in mind." "Now, however." "Your both right in a sense the" "It what they found." "We it's ... is that's technic correct." "Put is act... actually rather better to cheated very slightly forward." "Each time." "Look's better." "Don't ask me why." "So, you do this all way up." "You would the..." "You know!" "Find one in the middle." "And this push forward the little bit." "Find one in the middle." "And push forward the would be there." "Oh my God!" "Where my!" "It would actually be a little better to... do it there." "Let's apply the same thing to a running figure." "Treat the head is an oval" "And find the middle point." "Animate the head with the same system." "And add the body." "We all know what this feel is like." "When something is coming at you." "The images are clustered in the distance." "And separate is they come to ward you." "When seen is going around a corner." "They appear, the cluster, they edges." "And separate in the center." "Animate is usually think of arcs." "Kind of in the flat... two dimension way." "But arc so just often like this." "The image is clustering in the edges." "Separate in the middle." "Clustering the edges again." "Separate in the middle." "And cluster the edges again." "Let's take a ball revolving." "Around the central point." "We'll show the Top View." "And Side View." "At the same time." "The ball is evenly spaced." "As it travels around." "But when look the same thing from the Side View..." "It's cluster, at the edges... and separated in the middle." "Some the balls it the edges, sit right on top each other." "It the appear travel faster around the front and cluster at the edges." "There's a principle here if your the turn of face from here..." "And is going the turn to, the front, here." "Your..." "Your passing position, or breakdown." "It's better the through the thing off, displace..." "The inbeetwen drawing." "Oops!" "Which to be so are there." "Display all just call the inbetween." "See of means." "All the ways is can look just like a..." "It's good..." "We got the circle..." "In the feature is just go around the globe." "Like the just moving around the front of a..." "Flex glass globe." "So which won do is... just get that." "Here's what look's like if don't displace the inbetween position." "Dull!" "Because is not much volume." "Now let's displace the middle position." "It give some volume." "Let's go forward there." "And displace and drop the middle position." "Here's the classic Inbetweeners Mistake." "We got a hammer, come here." "And nail there." "And it's going to..." "Is got hit nail wrongly." "So the nail bend's." "Are hammer is gone the hit nail badly." "And bend like this." "His are mid position." "Bam!" "But are dozy helper does this." "Mean is funny, but I happen always through the rabby." "I could believe..." "You get the... there just putting sense of, there putting thing, putting drawings." "There robot people." "There we go again." "Are slumbering inbetweener strikes again." "Obviously it's this." "We're inbetweening forms, not lines." "The thinking inbetweener, inbetweens the forms." "The unthinking inbetweener just inbetweens the lines." "I need the volunteer just for a second." "Ask catch you get insecure a right befor." "This is, this is in no a test." "This is just a... thing." "Just little thing which people don't know it, which is very useful." "If you stand there." "... stand just like me?" " Yeah!" "You go." "Lovely!" "And... that is it." "Just know relax." "Look that finger." "And then turn in your head look the next one." "Excellent!" "You re-focus, all right." "In any kind of a head turn, we nature blink in the middle." "You usually blink, on a head turn." "But if our lower, or frightened we don't." "Because there's a certain main as squash in stretching in life." "Animators for humor." "Have tended to exaggerate squash and stretch and overuse." "Are it's best hilariously funny." "Even in release realistic animation it can be useful in a very reduced form." "The top animator's on Bamby, found the even in the subtle movement of dear." "There is very slight amount squash and stretch." "However at its worst to get this crude rubbery doc is blur effect." "I try not to overuse." "The problem is illuse salinity." "I'll show you, how you can get all in flexibility." "And vitality they you all every need." "Without resorting to squish cartoon effect." "However what ever animation does need, is a change of shape." "And one way of getting a change your shape." "Is squash and stretching!" "The question is:" "How much squash and stretch do you use, and when do you used?" "It short is works well for a cartoon." "In for a bouncing ball." "But I found out early on the we get a very good resolve without it." "I discovery this by just should a coin with good spacing." "You get up very good resolve." "A very good bounce using a rigid coin." "Now, using squash and stretch." "Ken Harris show me a very interesting thing to increase change shape." "By stretching out the contact position." "Ken Harris they look, you need to get another drawing in there." "To get increase change you shape." "A lot of this so have to do the time but..." "Try to get this, you can see what's happen." "And then, that." "Try you get a contact." "If you doing a stretch thing." "And try again when is come in off." "To keep a contact." "Where's goes up." "Try you get a contact in here." "And try you get a... keep the contact there." "This extra contact position, gives is more change your shape." "But it will be a soft we're hit." "Taken out any get a harder hit." "So it's the principle is like a if the..." "Coyote is flying through the air." "Any is gone a hit that wall." "Any is gone a go splat." "That's this her wall, however you use." "He's gone a go flak there." "Your say this another drawing here." "Your say drawing..." "Try it get a contact maybe the nose... try to get..." "That, would get it a contacts again before you get big change your shape." "In animation we need at least 5 drawings or position to go across the screen or to jump out of it." "For a stronger hit your take out drawing number 6 and throw it away." "For an even stronger hit your take out drawing number 5 and throw it way." "And do a new drwaing #5 contacting the cliff and stretched out to twice the length." "Are this same thing..." "He's got a frog." "Turn seen the a frog." "He's got a frog like this." "They would be much better to you have the hand's hit." "See of mean." "Frog... frog is like this." "All right, the frog then hits." "And squash is up." "However you use done here, squash it." "And then when is goes up again." "It's green." "Have a... a least one the hind legs." "Contacting in the ground." "Stretch out the arms to make early contact, and keep it." "And it's the same would the jump." "Is some body is jumping." "Were the foot there one get that contact on a ground." "Have a least one foot contact early." "And keep it contact." "So it isn't..." "Bump!" "Bump!" "Like that only one it particular do that." "It's always much bump, bump, see of mean." "So you have a contact when..." "Always try have contacts." "Extra contact." "So they you get a big change your shape." "Everything start to get want to we get they system going everything become's change your shape." "This is all been about spacing." "Now let's give back to timing things." "There's a thing known in Warner Brother certainly Ben Washam is Twelve Frame Yawn." "And Ben Washam was the short of charming animator for Chuck Jones." "And he's a very good guy, and..." "He winning first came in the animation." "He was a good drawer and he that this..." "Elaborate thing of guy so you us..." "You know and Ben did twelve drawings." "You know should that on twelve I mean yawn frames so you get..." "And then shock horror." "They then shot on twos so you get" "So then Ben learned." "That the timing is the you do the timing first." "How long this the on take." "That least two second." "And then you figure out where the put your drawings in then spacing." "All right?" "Here are the charts which indicate the spacing." "Here is the again." "The conclusion is:" "It's all in the timing and spacing." "Beginner's animators always putting far too much action... in a short space timing." "They do walk... and give arms is like this." "You know." "In stay of..." "They arms do in bug rail." "You know, they just walking." "Has it normal walk you don't see much happening." "So beginner's will he's all over the place, and then old guys..." "There it tired out... and they don't do in off." "Just do like that - you know." "So..." "The hold problem in spacing, like this is to get..." "The ride among of action and ride among in the timing." "All right!" "That's the problem." "And way the do is acting out." "And I think - you know" " I keep seeing running ride it." "Use the video!" "Its saved animation." "Teste, test and test again." "Art Babbit use to get merring hell of me for using the video." "He's it say "" " Your cheating!"." " You're using that video was a crash sheet I don't thinking you think getting all!" " You know you're using as a crash" "And I said not just using it." "I say was an difference between add on it pencil test." "Well it's not a pencil test it's yes it is vedeo version." "And here's was the is better to..." "Go in the camera man in six thirty nine is try go home." "And give more you're test." "And then send in the lab and get it in a rashes the next morning and waint for the added to the getting next noon." "You get to see you're test in finally is wrong and you lock to change." "Why I go to the video and should the same in ten minutes." "And make your changes." "So ask I did and I use video like crazy." "And sublease you do without." "Is yeah just you do cliches your routining." "Any effect..." "Are has he would news video much in he would somebody lip and end you as have in a" "A great big two hundred pound keen." "Leaping into they air any be going like this" "It means slow motion." "I say better use that video." "Its I pencil test machine." "So test!" "We've look then more timing and space issues." "Add how far a part with make the drawings." "Were the there in clusters or far a part." "And when to use squash and stretch." "We've looke that to how we timing those drawings." "Within the their ones or twos and how much time we need to do in action." "Timing out first." "And the next session will tackle walks." "Walks are fascinating." "And how find out and build different walks." "With weigth personality and style." ".:" "Sincronizaçao e legenda Valentim :." ".: 08 de setembro de 2009 :."