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We're going to start with the absolute basics.

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You may think, show me something interesting, I know the basics.

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You may think you know this stuff,

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but the human thing is we don't know what we don't know.

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You don't know what you don't know.

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And if you don't understand this stuff, this basic stuff properly,

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it's going to come up and bite you later.

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I can guarantee it.

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So we're going to do everything, we're going to build a foundation properly.

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everything is based on every sophisticated thing is based on these basics so we set the

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foundations and we're going to start with timing and spacing two entirely separate things which

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often get smudged together and i've heard great animators arguing about the timing when they're

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talking about when they're really talking about the spacing or arguing about the spacing when

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they're really talking about the timing so we're going to separate these two i got my first big

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lesson from Grim Natwick, the great animator who animated half of the princess in Snow White.

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So we'll find out what timing and spacing are,

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the difference between the two things, and we'll make it absolutely clear.

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somebody put me on to grim natwick who was then 90 and grim uh grim made it to 100

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and and uh he had a big party in hollywood of course he he never knew any they never knew him

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because he was so old he was a wonderful raconteur he designed betty boop and he was in the animation

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all the way from the very beginning

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through Snow White

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and then he worked with me in the end

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until he was 92 or something.

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And after his 100th birthday party

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with these 500 adoring animators in Hollywood,

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he rung up Chuck Jones,

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who he knew as a little boy.

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He said, I'm not going to go for 200.

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So he was a very, very old guy.

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And he was an Olympic jumper

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and he had these giant arms

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and great big shoulders,

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even when he was 90.

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so I must have met him

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he was 89 or something

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and I'll never forget it

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it was in a Hollywood

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basement

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the kind of

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fir trees

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and the twilight

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the golden

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twilight's coming

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in the window

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so half of it

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is in blue shadow

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and half's in the

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orange twilight

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in these big

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spatula hands

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and I said

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I was asking

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how do you

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tell me about animation

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tell me how it

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tell me what

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if you could boil it down

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what would you say

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it is

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can you boil it down? And he says, well, animation, it's all, it's all in the timing

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and in the spacing. It's all in the timing and in the spacing. Strange, the Americans should

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have developed it no that was it so if we use this the horrible old bouncing ball example well first

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yeah let's we're gonna have the ball hit here here here here and here so this is going to be boink

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Boink, boink, boink, boink, boink.

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So it's going to donk, donk, donk, donk, donk, make that one closer, boink.

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Okay, that is, let me do this in red, that is the timing, okay.

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I mean this is such an obvious old thing

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but I don't think people

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I certainly didn't separate the two

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when he says timing and spacing

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I could never tell which was the spacing

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which was the timing

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which is which

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the timing is the hits

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doink, doink, doink

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doink, doink, doink, doink

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whatever

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the spacing is the

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the ball

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if it squashes

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you know whatever

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it goes up here

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and, of course, it's slowing in the middle of the arc.

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The spacing is more close together,

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and then it's down here, funk, and, okay?

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So this overlapping, it's overlapping up here,

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and, of course, it's further apart there as it's going faster.

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So this is a soft ball, right?

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Doink, doink, doink, doink.

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And that, of course, is the spacing.

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So when we're doing a complex character, such as me talking, and I'm going dump, dump, bump, the timing is the dump, dump, bump, right?

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The spacing is all the junk that's going on in between here.

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So let's be over, I'll overdo it.

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Dunk, dunk, dunk.

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Is the clusters, are these things overlapping?

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are they close together in here and then they're going far apart here.

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That's the spacing.

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So the most complex piece of action is just a combination of the timing and the spacing of it.

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Obviously, if the drawings are closer together, the ball will move slower.

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And when the drawings are further apart, the ball's moving faster.

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Here's a great way of showing the difference between timing and spacing.

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This coin takes one second to go across the screen.

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It's going across in even spacing.

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Now, let's take it across with uneven spacing.

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But it still goes across in one second.

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The same timing, but very different spacing.

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Now let's see them both together.

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And we see something very interesting.

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Although it doesn't look like it,

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They start at the same time, and they end at the same time.

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Everybody here has a natural sense of timing,

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especially if you're athletic or if you're musical,

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because timing's built right into us.

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But the spacing for animation, we have to learn.

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And this is what we're going to achieve in this session.

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It takes a while, but you'll get it.

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This is the same bounce that we've seen before, a small hard ball, and here it is with its

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spacing positions.

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The spacing creates the feel of a small hard ball.

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Now here's a squashy cartoon one, and here it is with its spacing positions.

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Now this is a larger, slightly soft ball, and here it is with its spacing positions.

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Now this, we're just using a circle, but it's how we space those circles, how we cluster

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them that creates the illusion.

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In this case, a heavy bowling ball.

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Here's a light ping pong ball.

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We know it's light because of the timing and the spacing.

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one weighs almost nothing at all. Now let's take out every other drawing, making it twice

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as fast. Let's try it with an object. The chart, there was a, if we take Mickey Mouse

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or something, or a mouse, they all look the same at the time, and he's moving from here

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to here with the head, okay, and the hand is up here and it's going to go down into

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here. And say he's got a tail that's going from there and it's going to go down into

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here. You know, we have these charts on the drawings, right, telling you the spacing of

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the drawings. They're either here or here. Grimm would have a, he would do an, you'd

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think that would be an arc and then he put a little chart on it say it's like

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this you know it's just slowing into that and then you have a different one

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on the nose maybe it was like that and then you have an even one on the tail

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and you have these little charts on the drawings everything doesn't happen at

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once our generic mouse is going to move the hand the head and the tail at

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at different speeds.

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This is why they developed separate little charts,

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different charts for different parts.

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The nose is going down uneven.

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The finger goes down, easing out, and easing in, uneven.

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Say the tail goes down even.

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Each part has different spacing, but it all

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takes place in the same amount of time.

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They put different charts for different parts

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so that everything didn't happen at the same rate.

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This loosened things up.

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So it isn't like a robot, you know.

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So you break everything up.

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Is that clear?

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Ken would always make me,

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I would always try to start drawing

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because that was what I felt most comfortable with.

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And he'd say, no, God damn it.

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He said, do the timing.

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And he would make me,

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I don't want to get on the exposure sheet yet

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but

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if this is a

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classic Disney sheet

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four seconds, everybody knows what these things look like

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computer guys

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they're just four seconds

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on the page or six feet

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and Ken would say, look

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where does he hit the ground there

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mark it, there's your accent

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and where's your next hit, okay here

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okay, and you got two little hits here

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and here, okay

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now put another drawing here get that hit and I would have to do these

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important drawings right so he'd say come on dick no drawing get a stopwatch

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or a metronome and let's act it out and he'd make me act it out whatever it was

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da da da da he say don't do it again and I have to do it again and again and

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again till I had it clear in my mind what I wanted and and he had it clear in

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his mind he said those are the hits so he's doing the timing first then he's

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gonna go in and animate it once he's got his keys but we're coming to that this

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is how the chart what I'm trying how it got over to this part of the field

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everything will get clearer as we go

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for those of our us that don't aren't familiar with animating on paper these

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two drawings are gonna be on separate sheets of paper yeah then where do the

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charts end up where the charts go I mean we're drawing them on one on one page

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either the first one or the last one okay we would draw it on and you draw

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the frame numbers yeah okay and we might we of course would probably put in some

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more drawings before we handed it to some poor assistant okay anyone yeah

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That's how I don't know how you guys do that.

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Yeah, well, we don't do it necessarily this way.

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Maybe we should.

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This is the history of charts.

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But whether you're drawing this or creating this in the computer,

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the principle is the same.

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Different parts move at different speeds.

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I was lucky enough to know this guy, Dick Humer, which is odd.

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He was a Disney story member.

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His name was spelt like this.

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And he was one of the main first story guys on Snow White.

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And he and Joe Grant were the story people on Dumbo.

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And he was also co-storied Fantasia and everything.

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But he had been the top New York animator, doing Mutt & Jeffs in sort of 19, I don't know, in the 20s.

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And Dick was a good draftsman.

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And he also did comic strips.

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Rather good drawing and stuff.

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And he was the leading animator.

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And he would do all the drawings.

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If he was doing drawing one, he would just do drawing one, two, three, four, and five.

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right and and the head of the studio van buren or whoever it was said gee dick the work's wonderful

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but we wish we could get more of it and so dick said well if you give me somebody else to put in

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here um to put in two and four put in these in the in between drawings i'll uh

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put in the

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I'll get twice as much work done

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so

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that was the invention

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Dick invented the in-betweener

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because they used to just work

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kind of straight ahead

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you know just drawing things

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and then he would just

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do every other drawing

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and then some other

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or several people

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just put in the in-between ones

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if we have

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drawing one

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is our extreme. I'm calling this an extreme, not a key. This is important, okay? I'm doing,

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as we're doing here, the one in the middle, for purposes of this class, I would like to

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call the breakdown. We spell it this way. We just break down, break down, and we underline

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it and that's number three okay and number two and number four are just plain in in-betweens

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if you want to be intellectual about it an extreme is wherever you get a change of direction

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it's or or you could say when you start an action or end an action let's do it again

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calling it number nine we just have we're doing drawing one an extreme number nine

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an extreme.

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The one in the middle is five.

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The one in the middle,

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which would be the breakdown.

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One in there is four,

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six,

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then you got

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seven,

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eight.

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It doesn't matter,

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you put them above or below.

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Okay.

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And this is what they call

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in the trade

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the slow

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that's the slow out

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we're slowing out of drawing one

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and we're slowing in

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to draw

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we put the one in the middle

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smack

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important drawing

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and then we're slowing

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in

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to drawing nine

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I always get balled up

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with slowing out

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and slowing in

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I think of them backwards

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and everything

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the best way

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is the way the computer guys

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you talk about easing in

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and easing out

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it's much better isn't it ease out and ease in we can show this with a pendulum

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here's the arc that the pendulum will swing in and here's the breakdown or

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passing position add in-betweens this is what it looks like when you don't have

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an ease in or an ease out now we add a slight ease in and ease out both ends

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and it's more convincing.

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Now we'll add in two more positions.

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Gives us a nice result.

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But four more positions gives us an even better result.

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And we get a really nice ease in and ease out.

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Let's do it with a finger.

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We're easing out of drawing one.

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Same thing.

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Easing out of drawing one with more in-betweens.

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now we're going to ease in to drawing five cushion in now we'll ease in with

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more in-betweens added now we're going to ease out of the first position and

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ease in to the second position we'll add in-betweens and it'll be even clearer

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Ken Harris always he thought terribly simply and you just say he would say

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we're cushion cushioning this would be cushioning if somebody throws you a

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baseball and you catch it, he'd say, well, it cushions, you know, you just cushion. So

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you're slowing in or easing in. I've seen California animators do almost as bad as this.

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If this is a Panavision screen, Panavision paper, they will do this. That's drawing one

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and that's drawing

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96

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let's make it 196

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and they'll put a chart on this thing

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and they'll go play tennis

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you know

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and you say

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Jesus you look terrible

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the assistant's no good

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the assistant's no good

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absolutely rubbish

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you know

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I gave it to him

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I gave it to him

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I know my job

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See? Incidentally, most actions in life are on an arc. They follow arcs, unless you're doing

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something in a straight line, like a punch. Arcs are beautiful to watch. Straight lines

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give power. A pendulum eases in and out and follows an arc. Not like this. How are

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we going to in-between these positions? Do we join them up like this? Usually we

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get something half-assed. Something like this. Neither one thing nor another

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because the in-betweener doesn't understand arcs.

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When we really wanted this,

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just this lifting arm follows three arcs,

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the elbow, the wrist, and the tips of the fingers.

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I got a job at UPA,

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and immediately after two or three weeks as head of Trace and Paint,

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they found I could animate.

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Then they said, well, you have to have an assistant.

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So they gave me quite a skilled artist.

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And Charlie was my assistant.

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And Charlie was, he was good.

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He was a good guy.

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But Charlie didn't like.

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Charlie would do, I'll do it in color just to make it clear.

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Charlie would do a nice little drawing right in the middle between one and three.

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And he'd get the hair just right.

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And he'd do a nice drawing in here.

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But Charlie didn't like the way Leo Salkin, the head of the studio, had designed the eyeballs.

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See?

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Charlie liked eyeballs that were like this.

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So for about 30 seconds of material, when it came out, you had the eyes on the screen doing this.

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Everything else was going, hello there, and it was going...

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all the time so I started doing all the drawings myself and got Charlie to work

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with somebody else and and and I didn't learn until many years later how to use

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an assistant because I was terrified of this happening again we had it on the

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rabbit because we were hiring people coming in off the street there's drawing

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one this is drawing five of a coffee cup which say is in the live-action actors

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hand and the in-between say the the breakdown is a good drawing the one in

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the middle would be like this because the guy didn't know anything about

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perspective so of course you're gonna get that on the screen what a little

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little little little little I mean it was wild sometimes you'd even have them

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like that because they didn't know perspective well you see it all the time

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on bad animation isn't it I mean Milt when he went to Disney early on he was

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this be 1934 I think he went and he met the great Bill Titler and tight and he

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said I how do you do you know and he said I'm in the I'm in the assistant

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pool and tight or the in-between pool or something and tightly says oh yeah how

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many scenes did you cock up lately that's how they were these tough tough

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guys so wobble so you could say the assistant work is really volume control

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you know just throwing that in the the it's not without with the graphic stuff

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It's not line quality, although that may be important on a commercial.

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It's where you put those lines to hold those volumes together.

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Assistant work is basically volume control.

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And so should the animator.

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We're controlling the volumes as this hand Marvel Comics style goes around,

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like in a Spielberg movie, to get you.

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Well, that can't be wobbling.

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That's got to be consistent as it turns.

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So, you've got to be able to handle the volumes.

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Okay.

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There's a...

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Just incidentally, if you're doing a...

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If an animator's doing this drawing,

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one is extreme, he's going to number four.

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If he's going to do position...

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He's going to put two in thirds, divisions 33 and a third percent of the way towards there.

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He should not do that to the assistant. That's not fair.

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He should at least do drawing one and two, say, himself,

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and leave the assistant to drop one in between those two.

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it's it's it's not going to work leaving what they call thirds like that or he

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should draw one and three so the assistant can drop the one equal

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divisions in the middle if the animators lucky enough to have an assistant he

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still does enough work to have ironclad control over the scene this stuff may

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all seem very basic but you will see how damned important it is when we start

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putting it all together in a sophisticated way if we don't get this

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basic stuff right we're gonna build our house on a shaky foundation let's review

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we've shown the difference between timing and spacing we've shown how the

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chart was born we've shown about easing in and easing out we've shown volume

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control and arcs. Now the next session we'll be building on this. We'll start a

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scene and we'll find out what do you do first, then what do you do, what do you do

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after that, then what's the third, what's the fourth, what's the fifth thing that

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you do. We'll tackle the work method, the ideal work method, and how to organize

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our material.

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Thank you for watching!