Graphics Reference
In-Depth Information
frequent. Appreciating all these separate A's of animation and being able to
differentiate between them, as well as seeing how they might work separately
or in combination, will enable the animator to gain a better understanding of
animation and develop toward becoming a master of his or her craft.
Timing for Animation
I have lost count of the number of times students have asked me, “What is
good animation timing?” Like any teacher, I am always very eager to help
and be as much use as I can to my students in their efforts to make the most
of their education. So I strive to tell them and demonstrate to them what
good animation timing is. The truth is: I can't. Well, that is not strictly true.
What I always try to emphasize is not
good
animation timing but
appropriate
animation timing. What is appropriate timing for one type of animation may
be completely wrong and inappropriate for another type of animation. Only
once the animator has established the demands of the animated film can
that animator make a judgment about what constitutes good or successful
animation timing. Naturalistic animation timing is not the same as cartoon
animation timing and may not necessarily be the same as comedy animation
timing.
All good comedy is a matter of timing. In this regard it is easier to establish
what is good timing or not. If the timing of a gag is wrong, it simply won't be
funny. However, this is easy to say but a good deal harder to explain or teach.
Good comic timing is not a simple matter of saying that a successful pratfall
is funny if it's over 12 frames, whereas one over 16 frames is unfunny. Good
comedy acting is a matter of experience, not a formulaic approach to timing.
It is difficult to learn and takes a great deal of practice and experimentation.
The use of animation timing is the principle source of all naturalistic or
abstract actions and all animated performances. Regardless of discipline,
technique, or process, animation timing is central to all animation; regardless
of discipline, animation timing takes a great deal of patience and practice to
fully master.
Timing for animation can be divided into three very distinct types that
describe the various aspects of animated film:
pacing, phrasing
, and
animation
timing
. Let's look at each in turn.
Pacing
Pacing
describes the variations in the dynamics of a film narrative and
the animated film in its totality. This form of animation timing describes
the manner in which a story is expressed within a specific timeframe. It
determines how a film narrative develops, how the tension is built through a
series of sequences, how mood is established, and how action is driven along.
Fast action sequences work together and interweave with slower sequences
