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Miscellaneous
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General Discussion
In-betweening - need your input please guys
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30 Nov 2006Heya - I'd like some information on how you guys deal with in-betweening please guys. Do you normaly make use of every single frame, as a 2d animator would with a piece of paper, or do you rely heavily on the computer to create your in-betweens? What are the pro's and con's (if any?) of doing it this way.
Quinn gave me a cool answer, by first creating the key poses, then go on and do the middle of the keys, then the middle of the inbetweens, which sounds great if you're working Pose-to-pose, but what about people who's animating straight-ahead, like im currently doing?
Looking forward hearing what you guys have to say on this. -
30 Nov 2006Have you heard of the Animator's Survival kit ? It speaks of this ALOT, and makes it very clear.
http://www.theanimatorssurvivalkit.com/
Hope it helps!! And you should really get it and go through it top to bottom, you can learn alot from it! -
30 Nov 2006The computer does all the inbetweens, but you should be doing something like every 5th frame or so, dependin on the movement
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El Zilcho 7 posts30 Nov 2006ask any pro animator and they'll tell you the computer is THE WORST in-betweener ever, because its a mathmatical calculation....
If you spend ALOT of time on the graph editor you usually get the curves working for you in certain situations...but when you get to complex stuff and fast action..rely more on YOUR keys, not the computers....just my 2 cents
but the computer does its job "ok" sometimes -
02 Dec 2006Yep... I tend to do a lot of the 'inbetweening' work myself. I generally work pose to pose, so I guess it makes sense - and I try to get a lot of the breakdowns done before I convert it all to splines (I used to do a linear pass too al a Keith Lango, but didn't see much point to that). Sometimes I'll kinda go with a 'mix' method, doing the main key poses and then break straight into splines... then do a lot of work in the graph editor.
But yeah... there are times when I will key an object on every frame (so it doesn't matter what the graph looks like between the keys). It's not often I'll do it - I guess it's not a wholly sensible thing to do - but there are times when it's almost necessary to get, say, a hand to do exactly what want it to do (especially if I get gimbal locks etc). I have to be at a point near the end of the anim, when I'm pretty happy, before I do this. Actually I pretty much did this today - animating a monster lashing out at something, but having a real problem getting the arm to look right but maintain a good sense of weight. I had to really break down the motion, the way the elbow crossed the wrist etc, to get the shot working.
One bonus is that it really does make you step back from the technical side of things, (ie worrying about the smoothness of splines or how a tweak to the shoulder will effect the elbow and the wrist etc) and look at it a little more artistically, really analyse the forms and poses... you really start to feel like you are animating!
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09 Dec 2006Has Iest been around this last week, or is it just me? Anyhoo, did any of this help mate?
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