Tuesday, September 04, 2007

NEW TUTORIAL! : solidity/turning trick

Hey man IT'S A NEW TUTORIAL! Had a lil' extra time so thought I'd throw this up. So, ever wonder how to get your animation rock solid? Oh, BTW, this is pretty much a tutorial meant and applicable for 2D guys! Sorry CG peeps, I'll do another one that applies to both! Anyway, beyond actually knowing how to draw... which brings me to a side note. These tricks WILL NOT make your animation better, they will only enhance to natural gifting you already possess to make your animation work flow easier and quicker. I had a student once that tried a trick once. He taped his model sheet to the back of his lightbox to control his sizes and proportions, as I suggested. He came back a week later and said "it didn't work, look! My character gets huge." Now, obviously he didn't really pay attention to his model sheet while he was animating because the model sheet doesn't lie, but that's not the point. These tricks are not magic tools that will make you a great animator, the are only extra tools to help your already existing talent. In a day an age where the computer is so much a supplimental part of life and a program exists to help assist you with everything I wonder if there is a bit of preconditioned mentality for us in animation. Anyway, just wanted to make that all clear.
So, ever been animating something that is moving a great distance. Not necessarily fast, just across the entire screen? Or, even harder, across the entire screen SLOWLY? Had difficulty getting those inbetween poses that are freakin' far apart to be solid? Me too... here's a trick. One day I was visiting a friend at James Baxter's studio. He was introducing me to James and I saw James sitting in his seat just tearing bit's of tape off and sticking the ends on his desk like the below photo.




Like so.... anyway, I wasn't real sure what he was doing I just figured he was taping something up or whatever. Well, then I ran into a shot later where the character had to move across the screen very slowly. I was having a bit of a time keeping it solid. I remembered what James was doing and I wondered if this was what it was meant for. So here's what I did. It is easier to inbetween something that is not moving much. So I of course nailed my Key's down like the below picture (BTW the way, these drawings are merely for drawing examples, not meant to be show pieces).




Then I very loosely and lightly nailed down where the inbetween would go. Like this:



Then I lifted the 2nd key off of the pegs and taped it directly over the 1st key drawing so the head shapes matched up.





BTW, you can still do separate charting. I wanted the heads horizontal movement to be even, and the head rotation to favor the first Key. So, chart and inbetween accordingly. Nothing has changed, it just got easier to do.




OK, now you take that inbetween pose and place it directly over the other 2 keys so that the head shape matches up with the two keys. It should look like the characters head is just rotating in place.


The corners of the paper your using should reflect your charts. If the horizontal path is even, the corners will be evenly spaced. I also added a bit of an arc so the paper dips ever so slightly.





Now, just inbetween as you desire!! It's pretty simple really. And trust me, it's WAY faster and more accurate than doing it the other way. Now note: THIS IS NOT TRACE AND PLACE! It's sorta related, but not quite the same. Trace and place will for the most part give you the paper cut out feeling of animation. Shapes won't change and it'll be solid, but unturnable (yes, made that word up :) ) and dead to look at. I hate that kind of animation-- sure it's fast, but, ummmmm, that's all it is. I do recommend ruffing out your shots without doing this. You should not be completely obsessed at the first part of the process with technical perfection, you can clean that up in tie down, which is what this trick is meant for! Anyhow this is the final result!


Hope you guys find this useful! ANIMATE WELL!

86 comments:

libra bear said...

??????? If I could make the question marks bigger I would. I think what I'll do is copy all your posts into word (tutorials that is) then print them off, and When I'm ready to try things out have your notes next to my board. I'm so young at this, I'm just happy that people like you are not scared to share information. Big thanks again Matt, still impressed by you giving nature.

Matt Williames said...

Hmmm, did I not make this very clear? I really want everyone to be able to understand- what is it that was confusing? maybe I could go back into it and rewrite it. Animation truly is a team effort, and if no one is willing to share knowledge the artform will die! I love sharing with everyone who's ready to learn! Let me know what I can do to make this more understandble!

Maarten Rijs said...

Euh.. I thought I understood everything but if Wesley doesn't understand it... then I must have misunderstood it.. right? Hmm getting caught up in my weird sentences again.
Well anyway really usefull stuff! I was thinking about this 'problem' the other day and heres the solution!
And again man, thanks so much for sharing!

Lou Hamou-Lhadj said...

Hey Matt,
I like what you're trying to show here, I found its something not many know when I gave a 3 hour lecture on it last year and the questions kept coming! But I will say that there's an even easier way that doesn't involve tape if you've got a steady enough hand to hold your overlapped keys in place. Just as using the corners of your page indicate the arc, the registration holes are a good (and often necessary!!!!) second point of reference. It's actually possible to get your corners looking like they're in the right spot when they aren't if you don't also look at your holes. It'll make your inbetween that much more accurate AND you've got the difference in shape (assuming you're using acme pegs) to aid you. If this is unclear perhaps I'll upload a few photos to my blog to supplement what you've got here, but cheers!

Matt Williames said...

Maarten: Glad you found it useful! As I said, if you can think of a way to make this clearer to understand I'm all ears!
Lou: Yeah, you could just hold it except that if your hand slips then you have to stop while you replace the drawing. Plus, you can't flip when you don't use tape... but hey, if you've got a steady enough hand go for it!However, upon thinking about it I would agree with you about the registration holes, they are a better point of reference. Thanks for the helpful input!

Tim Moen said...

hey matt.
this is a great post. im really glad you shared it. i actually figured this trick out myself one time when i needed it. i wasnt naiive enough to think i was the only one who thought of it, but im glad that you noticed it and put it up, because i forgot to share it on my blog. hey..have you ever heard of some trick involving little "x"s that you draw and line up on top of eachother, for like inbetweening or something? my friend at work was tryin to explain it to me and i didnt get it. (and also, if you happen to have roger radcliffe model sheets hanging around, id appreciate a file of it lol...i have a number of disney model sheets that i could scan and give you back in return if you didnt already have access to them)cheers!

Maarten Rijs said...

Hey I've got a question. I'm doing an animation now with a headturn in it (the character stays at the same place though so I wont need to use this trick).
But I was wondering... Here the inbetween of the turn is at 1/3 favoring 1. Which means the head has to gain turnspeed first. It slowes out, but when the head stops shouldnt it slow in again cause it has to 'brake'?
It's probably a very dumb question haha.

Maarten

Ivan Oviedo said...

Hi Matt, I would like to thank you for your post on my blog. I'm always trying to get better, and who knows some day I'll be able to work for some big studio in USA.

Matt Williames said...

Tim: Yeah, i figured quite a few people probably already knew this. In fact, I think I even remember learning this a long time ago like when I was 14, and then forgetting it. I only have one tiny tiny model sheet of Rojer. I say tiny b/c it's like 25 drawings fit onto a 8.5 x 11. I'd be happy to scan it and e-mail it to you if you'd like!
Maaarten: That's a great question! And one that a lot of people don't think of when they are first starting. Just remember this, things take time to start moving and time to stop moving. So yes, in most normal action both a slow out and slow in are necessary. Sometimes when you want something more snappy for the desired emotional effect, ou ignore the slow in's or slow out's. But in your case I'd say definately have that head slow in to it's last key.
Ivan: I love visiting your blog! It's nice to see someone else out there posting pencil tests! And nice ones at that!! So where do you work now?

Ivan Oviedo said...

I just finished a freelance about the Niagara Falls for Blur studio, but I can't post on my blog right now due to copyrights and stuff.
I'm not doing anything at the moment, just waiting things happen. Unfortunately here in Brazil things are slow.

libra bear said...

Ok, things are a lot clear reading it the 3rd time. Don't worry about rewriting or changing anything. I'm the kind of person that truly understands by doing, not just reading. I'll try it out, after I finish my project and if I don't get it, I'll let you know. It’s funny you talking about the trace and place thing. I'm doing a head looking up from the side. I traced and placed (for the first time) but only the keys. And it has that same cut out feel you were talking about. It's a bit strobey (I'm making up words too) but maybe I need to do it on 1s instead of 2s. I wish I learnt how to animate when I was younger. Children have the gift of not being to analytical about things, they just do. I’ll keep pushing till this becomes more natural. Thanks again Matt

Tim Moen said...

YES YES YES PLEASE SEND IT lol. sorry, i didnt look at this blog wall for your response. i will also email you, so check there.

Taber said...

Hey, thanks for the great tip! I probably would've inbetweened the dumb way if I hadn't read this.

Matt Williames said...

Taber: Hey no problamo! But remember too, that you don't have to inbetween everything like this. Sometimes the "good old way" of leaving your drawings on the pegs works just fine.

Ivan Oviedo said...

And you, do you work now?

Rob said...

Awesome post Matt! I usually only have stuff moving fast over big spaces so I let the furthest-spaced inbetweens get loose and follow the arc.

I really like how you delayed the rotation too, even during a tutorial.

Maarten Rijs said...

Hey rob, if your reading this, thanks a lot for your comment on my blog. It really helped me out. Id get back to you but your profile doesnt work for me!

Kevincredible said...

Hey Matt,

Thanks for posting this tutorial. You know it's funny, Preston Blair kind of covers something like this in his book, "Cartoon Animation."

For this tip, I do have a question.

Say I have a stack of paper, and I punch holes in it for the peg bar. Then I take another stack of paper and punch holes in it. So stacking them on the peg bar would match up, but if I was to simply stack the paper on top of each other, the peg bar holes would never match up. Does that mean this tip would not apply to something in this context? Or am I completely lost here?

Thanks again for all your tips!

Kevin

Joseph Merideth said...

i can't begin to tell how much animation i've done this way...
great lil post
jm

anibarnews said...

Good works man

Sally Brown said...

I really like how you delayed the rotation too, even during a tutorial. Great job!

Hanne-Lize Delport said...

I'm gonna need some coffee and then I'll read it again.

Hanne-Lize Delport said...

I'm gonna need some coffee and then I'll read it again.

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