How To Avoid Floaty Animation

super important to know that when your blocking is is so far from the final animation so trying to hold on to it is a bad idea just need to be able to adjust on the move and be able to just you know if this is not working I think I did a shot I did a demo the other day for someone and I had just let's say the Arc was going up and down this and then I edited the front which meant that up and down no longer worked so I had to change the up and down I basically had to flip it or move it or something but it just goes to show that what you start with is probably never what you're going to finish with and you shouldn't try to hold on to it too too tightly so it's great that you've kind of learned that and has enabled you to move forward a lot easier when you say these uh these is a very strong word these like like it's a quite quick so your your mouth movement if you look see how slow you're closing the mouth you got one two three four five six like five to six frames to close the mouth and they're all evenly spaced like this so when you say these you might you might actually think um it I'm not sure exactly where on the word it would be but this would kind of be the timing I would go for you know so yeah basically you don't want to spend any time in the middle because this is when it's going to get mushy and and splany and floaty whenever you spend too much time in the middle that's when that you get that awful look so if you're quick if this is pose a this is pose B this is what the you want the viewer to read you want them to see the A and the b in this H the T in this case the th and the E the E's easiness so these are the two shapes that we need to understand in order to understand the word that she's just said so anything in between is subtracting from these shapes you know what I mean they're just an in-between shape so they should be designed nice but they should try to be skipped at all costs you know what I mean like the because especially when you're like this is okay because it's just one word but when you have fast lip sync you have to really choose which Which shapes you want to favor and being able to move through shapes as quick as possible and it's it's without looking like a not real um it's a good idea if you don't want to spend too much time in the middle so just take a look at that for that that first word that you have there you can make that a lot sharper and just make sure you hit the shapes and and then we just want to see the ease in the shape so this this shape here is where we want to kind of see the E and the S and then this is going to push it just a tiny bit out so you probably hit this and then you could just push it out just a tiniest bit you know just these okay does that make sense but it needs to be sharper basically so one of the things that we're seeing a lot in your animation is this kind of timing so just based off the mouth and this head turn basically um so you've got to make sure you're doing the because with the lip sync and the body movements it's the same principle if you spend too much time in these bits it's going to be floaty and linear and boring basically but if you if you design the timing basically you just need ins and outs like slow in and slow out and you and that's it and then the space between here and here is is where you kind of need to decide how fast you want something and how slow if you need it slower then you just add some more keys you need it faster and use remove keys this is It's really simple concept I guess more the more you do it the more you will naturally be able to just do it like for example the way I animate I think a good training that might help you it's the way I like to animate and Kevin Jackson taught me this is you can do poses like for example you do all your poses at the start of the animation depend always depends on the shot to shot for example but let's say I've got a shot here and my dude's just standing here like this and then the next frame is he's doing a jump so he's going to bend down right and then the next one is going to push off the dish and then the next one is going to BSC for some reason right so these are my three four poses so normally when you're posing you might post this one and then move three three three frames along and pose this one do a little ease then this one but you can do this on one frame the second frame the third frame and the fourth frame they don't have to be um in time because all you need to make sure is that these golden poses are perfect not perfect but reading you know close to perfect like really design them so you know make sure this pose looks sick whatever pose you want just make sure it's super beautiful so it'd work by itself same with this one Design This one really really good like whatever you want to do you know um so it's really nice and then this one is super good and this one's super good so now all you need to do is decide the timing between these frames by moving them on the timeline so you can just grab this you set this one at one and then you grab the rest and you move it and you're like all right that's enough time for this one and then all you really need to do is add a bit of an ease and then a bit of an ease and this is the you know the time that you decided to get there for example so this might be on fight the fifth frame you're here but you know you've got a two frame ears the third frame is pretty fast and then on the fourth frame you're already there and then maybe you've got like a true frame here so let's say six or seven frames right and then you've done this and then this is fast so you probably want to do it on the next two frames you don't want to take five frames to get to this because this is the lunge so you might just have you could have one or you might have two and you know you just have the in between like this and the arms come up or something and then once you get there you want to be like all right well how much hang time do I want and how do you want to do this set so once you have the poses you just have to decide the time that it takes to get between the poses right and so with that method it's really easy to not get this kind of timing where everything is like super linear boring because you're designing the timing as as a separate thing for example you're not posing and timing at the same time you're posing and then you're timing so you can really focus on the timing um to give that in your mind obviously we can't do it for this one because we're already done but I think that's a good practice to be able to kind of design your timing a bit easier and avoid that kind of linear trap

Channel: Lupin House Animation

Views: 19,139

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Id: J7rTbD3NcTY

Length: 7min 14sec (434 seconds)

Published: Tue Sep 26 2023