Disney was a great time of learning for us all. Corrections could be made by you are by made into a "teaching moment" for your assistant if there was time in the production. How I charted a scene is very close to how Mark charted. Sometimes I would be attending a great lunchtime talk by a visiting artist and other times, I was the one giving the talk on a certain subject of animation. That usually meant you had the rough inbetweener or clean up assistant bring the scene back to you when it was completed so you could "roll through it" (that's like flipping it, but on the pegs)and check all the arcs, timing, drawings, etc. Of course, it doesn't really matter how you do it, just the result you get when you shoot it. I relied on throwing drawings onto "1s" (one frame of film shot per drawing, rather than 2s which is exposing a drawing for 2 frames of film) or getting very creative and complex in my charting so that I could get more time out of a pose and a crispness as the character was leaving that pose. The second timing chart from the left is also a "Half Inbetween" with a "Slo-in" to the action. The numbering system that correlates with each drawing helps you know weather or not the drawing is on 1s or 2s. ", All content and artwork is copyright 2012 Tom Bancroft. The final timing chart is a combination of the 2nd and 3rd timing charts with the slo-in and slo-out on either end of the action. Or as we would say when we were tired of a scene and just wanted it done- "IF ITS MOVIN' ITS GROOVIN'! Timing, or the speed of an action, is an important principle because it gives meaning to movement.The speed of an action defines how well the idea will be read to the audience. The timing chart second from the right is the same but it has 3 inbetweens. I'm not saying that some of this isn't still interesting and maybe even a little useful for the CG animators out there. The third timing chart shows a "Slo-out of the action. The notes I post today are from the latter, a talk I gave on the subject of "TIMING for Animation". The whole thing about making animated movies is to somehow find a way to always keep in your mind the amount of time any action is going to play on the screen. This is awesome stuff you're sharing with us right here and greatly appreciated. You were then giving the half completed (though 100% thought out) stack of drawings to an assistant to finish up. I hope you get something out of them. In the end, I think I charted more like Ruben Aquino than like Mark Henn. "Stuff I like, what's on my desk, or what's on my mind". Look at that one first. I held the job of rough inbetweener for Mark Henn and learned most everything I know about animation- and especially how he organized an animation scene- from that experience. To be honest, the notes below may do the same thing: raise more questions than answers. The timing charts are drawn in the same format by all animators. Except for the exception of the animation behind the charting. On page 3 you will see the more complex charting examples. The odd looking one with just the single inbetween with the "F" beside it is called a "Favour" or a "Cushon" like the pillow you have on a couch. each represent cubic Bézier curve with fixed four point values, with the cubic-bezier() function value allowing for a non-predefined value. The timing function that corresponds to a given animation, as determined by animation-name. Disney was a great time of learning for us all. (Mark always had a way of getting his animation that was on 2s on odd numbers- no matter how many times he would switch to 1s inbetween animation sections. I never mastered that ability. Those are in his charts. Every animator hated handing off their scene for someone else to inbetween because as the animator, you really felt like you knew how each drawing should be drawn, felt, and move. But, through working with him, I discovered that the timing isn't in the inbetweens, its in the breakdowns. To be honest, had I not worked with Mark Henn, I would never have thought of charting as anything but where the "real" animation timing comes from. This type of inbetween is used if you want the action to soften into the key but not be at the 1/2 way point as this would slow the action down. I may have even photocopied these and handed them out, I'm not sure. His most important "animation drawings" (not poses- those are the key drawings) are his breakdowns. The second inbetween would then just be a half. Most of us animators relied on those "tricks". The first chart has a single inbetween which means the movement will be faster. Eric Goldberg is a good example of that. Now that I look at these notes, I think page 4 should be the FIRST page. There's clearly so much you want to share up there and I can't help thinking readers like myself might get confused in following one block, as opposed to several paragraphs. The middle timing chart shows "Thirds". Two similar objects can appear to be vastly different weights by manipulating timing … by series The______ option on the Animations tab and the Effect Options button will display a chart one data series at a time.