"We going the start with absolute basics." "Know I think shown something use thing I know..." "I know the basics" "You may think you know this stuff." "But the human think is we don't know what we don't know" "We don't know what we don't know." "And if you don't understand this stuff is basic stuff properly." "is can come up by we later." "I can guarantee" "So your going the do everything or going the build the foundation." "Properly... everything is based... every sophisticated thing is based on in basics." "so we set the foundation" "And your going start with timing... and spacing." "To entirely separate things which often get is mind together." "An I for great animators... are doing about the... timing and there's talk about... winning really talking about... spacing are doing about... spacing winner really talk about the timing." "So your going the separate these to." "I got my first big lesson from Grim Natwick." "the greater animator who animator that... half of the princess in Snow White." "so we'll find out what timing... and spacing are... the difference between the two things... an we making absolutely clear." "TIMING and SPACING" "Somebody put me on to Grim Natwick... who is then ninety." "And Grim..." "Grim made to a hundred." "And... he had a big part in a Hollywood of course." "he never known... they never known because so old." "He's wonderfull recanter" "He designed Betty Boop." "And we's in animaion all way from the very beginning." "Through Snow White... and then we work to me any end" "Telling will's ninety two or something." "And after his hundredth birthday party with these five hundred." "A door in animators in Hollywood." "He in up Chuck Jones who in new." "Has a little boy he said..." "I'm not getting go for two hundred" "So he's very very... old guy." "And we's a olympic jumper giant arms and great big shoulders...." "So I estimated he was eighty-nine or something." "I'll never forget we's in a Hollywood." "Baseman the kind of for trees... and the twilight..." "The golden." "Twilight come in the window." "So half's in blue shadow." "And half's in the twilight... in the order twilight in is big spatula hands." "And I say" "I will's asking... how me...tell me about animation... tell me what... if can you boy let done all it say it is... can you boy let done." "An he say" "A-A-A-A" "ANIMATION" "IT'S A-A-ALL" "IT'S ALL IN THE TIMING" "AND IN THE SPACING" "IT'S ALL IN THE TIMING AND IN THE SPACING" "Strange the Americans should've developed" "That we's here" "So" "If use this... the whole ball... bouncing ball example." "Oh!" "first the..." "Yeah!" "Let's were going a have the ball had here, here, here, here, and here." "So these going be boink, boink," "boink, boink," "boink." "So it's gone toimk, toimk, toimk, toimk, toimk." "Make now in closer." "Boink." "Ok!" "That is..." "We do in red." "That is the timing!" "Ok!" "This is such an obvious so think but." "I don't think people... separeted the too in timing in space can never tell which is the spacing which the timing which is which" "The timing is the... the hits." "toink, toink toink, toink, toink, toink, toink." "What ever!" "The spaicing." "Is the... the ball." "If it's squash - you know - what ever." "Because up here in of course slowing in middle the arc." "The space is more close together and any is done here." "Toink." "So this overlapping!" "Is overlapping up here." "And of course it's for their part there is going faster." "So this is" "The softball." "Donng, Donng donng, donng!" "And that of course... is the spacing." "So we more doing a complex character." "Such as me talking." "And I'm going" "Donng, Donng, Ponnp." "The timing is the..." "Donnp, Donnp" "Ponnp." "All right!" "The spacing is all let's jump this going on inbetween here." "So..." "let's be over... all over do it." "Donng, donng, donng!" "Is the class there's are this things overlapping." "Are there close together in here, in there here in going far part here." "That's the spacing" "So, the most complex piece of action is just a combination of... the... timing and spacing." "Obviously, if the draw is closely together, the ball will move slower." "And will draws on further a part." "The ball is moving faster." "Here's a great way." "A showing the differents... between timing and spacing." "This coin... take one second the go across the screen." "It's going across... even spacing." "Now, let's take the across." "We them even spacing." "But still goes across in one second." "The same time." "But the very different spacing." "Now we see the both together." "And we see something... very interesting." "Although it doesn't look like the start the same time and the end the same time." "Everybody here is a natural sense of timing." "Especially feel have clarity... or fell musical." "Because times will writing to as." "But the spacing for animation we have to learning." "And..." "These what we're going to achieve in this session." "It takes awhile." "But...but you getting." "This is the same bounce." "There we've seen before." "A small hard ball." "And here will it's with is spacing positions." "The spacing creates the field." "Of a small had ball." "Now here this is squash cartoon one." "And here is with is spacing positions." "Now this... is a larger slightly softball." "And here is with is spacing positions." "Now this" "which is using a circle." "But that is how we space those circles." "How we close the them... the create the illusion" "In this case I heavy bowling ball." "Here is a light ping pong ball." "We know it is light." "Because of the timing and spacing!" "This one way is almost nothing at all." "Now let's take out every other drawing." "Making it twice is fast." "Let's try with an object." "The chart." "There is a." "If we take..." "Mickey Mouse." "Or something." "Or Mouse... to same the time." "And is move from the here the here." "With head." "Ok." "And hand is up here." "And is can go down in the here." "And..." "Say his got a tail." "That's going for in there." "And is can go down in the here." "You know." "We have this charts." "On the drawings, all right." "Telling in the spacing in the drawings are there the here or here." "Grim would have... he you doing are." "You think that you be in arc." "Then it put little chart on it." "Say is like this." "You know, is slow in to that..." "And then we have a different one on the nose." "Maybe was... like that." "And then we have even one in the tail." "Many have this..." "little charts on the drawings, all right." "Everything doesn't happen wants." "Are generic mouse..." "Is going move the hand, the head and the tail the different speeds" "This is why developed separate little charts." "Different charts, for different parts." "The nose is going down, uneven." "The finger goes down,... easing out and easing in... uneven." "Say the tail goes down, even." "Each part has different spacing." "But it all takes place in the same amount of time." "They put different charts for different parts." "So, the everything didn't happen the same right." "This illusion things up." "So, is like an robot." "You know." "See breaking haver thing up." "Is that clear?" "Ken would all is make me." "I would always try start drawing because that we what feel almost comfortable with." "And he say:" " NO GOD DAMNED!" "He said:" " DO THE TIMING!" "And he would make me..." "I on get on exposure sheet, yeahed." "This is a... this is a..." "Classic Disney Sheet." "Four sec..." "Every body know these same is of like?" "Computer guys." "They just 4 seconds on the page or 6 feet." "And Ken would say:" " Look... where is the hit ground there,... mark it." "there it accent when more the accent, ok." "Here... ok." "Any got two litlle hits here." "And here, ok" "Now put another drawing you get that hit." "And I would have to do these important drawings." "All right." "So he say:" " Come on, Dig." "No drawing." "Get out stopwatch or metronome an next at out." "And he make me at that whatever was." "He say:" " You know." "Do again." "And I have to do again, again and again." "I had it clear my mind would won and he had clear this mind." "And he say:" " Does the hit!" "So, his doing the time first." "Is can going animated what is got it is keys were coming to that." "This is how the chart..." "Can got on chart." "How it got over." "To this part the feeld." "Everything would get clear." "Has we go." "Ihaveonequestion." "For the us of are is don't unfamiliar animate on paper." "This two drawings is going are be separate sheet or paper?" "Yeah!" "Then word the charts and up." "Word the charts go up." "Mean your drawing then a one play." "A one page it the first one, the last one." "Ok!" "We would the draw, you know." "Any you put freely numbers." "Yeah!" "We of course probable put into more drawings." "Before we handed it his same poor..." "System." "Ok!" "Yeah!" "That is how do know you guys do that." "Yeah!" "Well, we don't do necessary..." "Maybe we should." "This is the history of chart." "But, where the you're drawing this or creating this in a computer." "The principal is the same." "Different parts." "Move different speeds." "I'll is look we after know is guy, Dick Huemer." "Which he was a Disney story in his name like spell this." "And he was in the main first story guys on Snow White and..." "He and Joe Grant we the story people in Dumbo and also." "Cold, story Fantasia everything." "But he had been the top..." "New York animator doing "Mutt and Jeff" in seven nineteen." "I don't know in the twenties." "And Dick was a good draftsman." "And he also did comic strips in read good." "Read good drawing stuff." "And, he was the leading." "Leadding a... animator." "And he would a..." "He do all the drawing if use the drawing one in..." "He would just..." "Do drawing 1... 2, 3, 4 and 5, all right." "And the red the studio Van Buren however was said." "Did Dick the works wonderful, but we... which quickly get more avid." "And..." "So, Dick say what if you give me somebody else to put in here." "To put in 2 and 4." "To putting this in..." "inbetween draws, I'll a..." "To putting the inbe..." "I'll get twice much work then." "So..." "That was the invention." "Dick invented "the INBETWEENER"." "Because I use to just work kind straight ahead." "You know, this drawing things." "He would just do ever other drawing." "And in some other... or several people is putting enbetween ones." "If we have..." "Drawing one is are extreme." "Calling this extreme." "Not at key this is... important." "Ok!" "An doing... has we doing here the one in the middle." "For purpose, of this class, I would like to call..." "The BREAKDOWN." "We spell like this way." "Breakdown..." "And... we underline." "And next number 3, ok." "And number 2..." "Number 4, are just play inbetweens." "If won be intellectual about it." "An extremes where we get a change of direction." "It's our you could say when you start then action, or end then action." "Has do in again called number 9." "Doing drawing 1 an extreme, doing number 9... an extreme." "The one middle is 5." "One middle..." "Which to be the breakdown." "One there is 4, 6, and you got." "7, 8." "Because that your put then above her below." "In this is what they call..." "And the trade... the slow." "That's slow out your solwing out of the drawing one." "And more slowing, in." "To drawing..." "If you put one in the middle, smack" "Important drawing and then more slowing." "In to drawing 9." "I always get ball up." "You slowing out, you slowing in." "Our think back words in everything." "The best ways the way the computer guy's." "You talking about ease in and ease out." "It's much better is in." "Ease out,... and ease in." "We can show this with the pendulum." "Here is the arc." "The pendulum will swinging." "And here's the breakdown or passing position." "Add inbetween's." "This is what of look's like." "When you done have an ease in, or ease out." "Now we add, a slight ease in." "And ease out both things." "And this is more convincing." "Now will add in two more position." "Give's this nice rise out." "But for more positions." "Give's some need then batter rise out." "And we get are really nice ease in and ease out." "Let's do with the finger." "Were easing out... of drawing one." "Same thing." "Easing out of drawing one." "With more inbetweens." "Now your going easing in, to drawing 5." "Cushioning!" "Now, would easing with more inbetweens add it." "Now, your going ease out of the first position." "And ease in to the second position." "We'll adding inbetweens." "And little be even clear." "Ken Harris always... he talk the terrible simple." "And would say... he would say your cushioning, cushioning this to be cushioning." "There some body throws you baseball and you catch." "He say cushioning." "You know, you just cushioning." "So your..." "Slowing." "You know, easing in." "Boomp!" "I've so Cali..." "I've seen." "California animator's do..." "Do..." "Almost this bad this is of the pan a vision." "Screen." "Pan a vision." "Paper." "They would do this." "That's drawing 1." "And that's drawing... 96." "This make 196." "And then put it chart on this thing." "dididididididididdi!" "And they go play tennis." "You know." "And he say:..." " Jesus!" "Looke terrible this assistant no good." " This assistant no good!" " Absolutely radish." "You know." " I gave to!" "I gave to!" " I know my job!" "He say." "Incidently most actions in life..." "Are on then arc." "They follow arcs." "An lest to doing something in straight line like a punch." "Arcs are beautiful the watch!" "Straight lines give power!" "The pendulum ease is in and out and follow's in arc." "Not like this!" "How your going inbetween theses positions?" "Do we join them up like this?" "Usually we get something have fast." "Something like this." "Neither one thing or another." "Because the inbetweener doesn't understand arcs." "When we really wanted this." "Just this lifting arm follow's three arcs." "The elbow." "The wrist." "And the tips of the fingers." "I get a job in UPA." "And immediate after... two or three weeks I had of tracing pane." "I then it fun like animated." "Then we so boy... we half have an assistant." "So they give me very a highly skill artist." "And..." "Charly was my assistant." "And, Charly was..." "He was good." "He was good job." "Charly didn't like." "Charly would do..." "I do in color just make clear." "Charly would do nice little drawing." "Right the middle." "Between 1 and 3." "And we get the hair just right." "And we do nice drawing in here." "Is the little." "But Charly didn't like." "Do way Kia so can had studio design the eye balls, see." "Charly like that also will like this." "So, for about 30 seconds of the material." "Well can out..." "We have eyes on the screen doing this." "Everythings also going." "Hello there!" "Is going..." "All the time!" "So, I the start doing all the drawings my self." "And got Charly the work some body else." "And..." "And I did learn into many is later how use the assistant." "Because always terrified this happening again." "We had on the rabid." "Because we are hiring in people coming off the street." "There is drawing 1 this is drawing 5." "Coffee cup." "Which saves in the live action actors hand." "The inbetween say the..." "The breakdown is a good drawing." "The why in the middle would be like this." "Because the guy don't know any... think about the perspective." "So, of course should going get." "That, on this screen." "I mean is why would sometimes would even having like that." "Because we didn't no perspective!" "Would we see all the time." "On bad animation." "I mean Milt, when went to Disney." "Early on he was be this 1934 I think." "When..." "And met Great Bill..." "And Thai, and he said:" " How it you do, you know,..." "I mean the assistant pool..." "And Thai inbetween pool or something." "And the Thai said:" " Oh yeah!" "How mean seen is to do coffee cup lately?" "That's how they where they is..." "Tough guys." "So, wobble!" "So would could say..." "The assistant work is really volume control." "You know." "Is drawing... the..." "Is not..." "Would are..." "Would graph stuff is not line in quality." "On that maybe important knowing commercial." "It's were you put's on lines to whole does volumes together." "Assistant work is..." "Is basically volume control." "And so should the animater." "Where controlling the volumes has the hand." "Marvel Comics that's always round." "Like in Spilberg move thing..." "To get add." "Well, that can be wobble." "That can be consistence." "Has a turn." "So..." "You going a hand..." "You little hand the volumes." "Ok!" "There is a... just incidentally." "If your doing a... if animator's doing this drawing." "One is extreme going into number 4." "If is going the do... position." "Is going a put to..." "In thirds... divisions." "Third three and to the way the wards there." "He should not do that the assistant that's not there." "He should at least do... drawing 1." "And two say himself" "And leave the assistant..." "Or inbetween to draw for inbetween in does two." "It's not gone a work." "Leaving what the call thirds like that." "Or he should draw, 1 in the...." "Three, so they assistant can draw the 1." "Equal division in the middle." "If animators lucky enough to a have then system." "The still doesn't knack work." "To have are in cleaner control over the seen." "This top male seen verey basic." "For you will see how them, this important the is." "All in start putting all together." "This sophisticated way." "If we don't get this basic stuff right." "Where gone build there how is gone shaky fundation." "That's review." "We show the difference between timing and spacing." "We show how the chart was burn." "We've show about easing in and easing out." "We've showing volume control." "And arcs." "Now then next session we the building then on is." "We'll the start the seen... and we'll I knew what you doing first." "Then what you do." "What you do after that." "Then was the third, was the fourth, was the fifth thing you do." "We'll tactile the work mess the idea work mess." "And how do organize are material."