Saltar navegación

ASK_02

Ajuste de pantalla

El ajuste de pantalla se aprecia al ver el vídeo en pantalla completa. Elige la presentación que más te guste:

Subido el 9 de enero de 2026 por Juan Jose M.

1 visualizaciones

Animaciones 3D, juegos y entornos interactivos

Más información Transcripción

Descargar la transcripción

We're going to start with the absolute basics. 00:00:01
You may think, show me something interesting, I know the basics. 00:00:04
You may think you know this stuff, 00:00:07
but the human thing is we don't know what we don't know. 00:00:10
You don't know what you don't know. 00:00:14
And if you don't understand this stuff, this basic stuff properly, 00:00:16
it's going to come up and bite you later. 00:00:20
I can guarantee it. 00:00:22
So we're going to do everything, we're going to build a foundation properly. 00:00:24
everything is based on every sophisticated thing is based on these basics so we set the 00:00:27
foundations and we're going to start with timing and spacing two entirely separate things which 00:00:34
often get smudged together and i've heard great animators arguing about the timing when they're 00:00:41
talking about when they're really talking about the spacing or arguing about the spacing when 00:00:46
they're really talking about the timing so we're going to separate these two i got my first big 00:00:50
lesson from Grim Natwick, the great animator who animated half of the princess in Snow White. 00:00:55
So we'll find out what timing and spacing are, 00:01:02
the difference between the two things, and we'll make it absolutely clear. 00:01:06
somebody put me on to grim natwick who was then 90 and grim uh grim made it to 100 00:01:11
and and uh he had a big party in hollywood of course he he never knew any they never knew him 00:01:24
because he was so old he was a wonderful raconteur he designed betty boop and he was in the animation 00:01:30
all the way from the very beginning 00:01:36
through Snow White 00:01:37
and then he worked with me in the end 00:01:38
until he was 92 or something. 00:01:41
And after his 100th birthday party 00:01:44
with these 500 adoring animators in Hollywood, 00:01:46
he rung up Chuck Jones, 00:01:49
who he knew as a little boy. 00:01:51
He said, I'm not going to go for 200. 00:01:53
So he was a very, very old guy. 00:01:56
And he was an Olympic jumper 00:01:59
and he had these giant arms 00:02:01
and great big shoulders, 00:02:03
even when he was 90. 00:02:04
so I must have met him 00:02:05
he was 89 or something 00:02:06
and I'll never forget it 00:02:08
it was in a Hollywood 00:02:09
basement 00:02:10
the kind of 00:02:12
fir trees 00:02:12
and the twilight 00:02:13
the golden 00:02:15
twilight's coming 00:02:18
in the window 00:02:20
so half of it 00:02:20
is in blue shadow 00:02:21
and half's in the 00:02:22
orange twilight 00:02:23
in these big 00:02:25
spatula hands 00:02:25
and I said 00:02:26
I was asking 00:02:27
how do you 00:02:28
tell me about animation 00:02:29
tell me how it 00:02:30
tell me what 00:02:31
if you could boil it down 00:02:32
what would you say 00:02:33
it is 00:02:34
can you boil it down? And he says, well, animation, it's all, it's all in the timing 00:02:35
and in the spacing. It's all in the timing and in the spacing. Strange, the Americans should 00:02:48
have developed it no that was it so if we use this the horrible old bouncing ball example well first 00:03:01
yeah let's we're gonna have the ball hit here here here here and here so this is going to be boink 00:03:17
Boink, boink, boink, boink, boink. 00:03:25
So it's going to donk, donk, donk, donk, donk, make that one closer, boink. 00:03:38
Okay, that is, let me do this in red, that is the timing, okay. 00:03:51
I mean this is such an obvious old thing 00:04:07
but I don't think people 00:04:10
I certainly didn't separate the two 00:04:11
when he says timing and spacing 00:04:13
I could never tell which was the spacing 00:04:15
which was the timing 00:04:16
which is which 00:04:17
the timing is the hits 00:04:18
doink, doink, doink 00:04:20
doink, doink, doink, doink 00:04:23
whatever 00:04:24
the spacing is the 00:04:25
the ball 00:04:28
if it squashes 00:04:31
you know whatever 00:04:34
it goes up here 00:04:35
and, of course, it's slowing in the middle of the arc. 00:04:36
The spacing is more close together, 00:04:40
and then it's down here, funk, and, okay? 00:04:41
So this overlapping, it's overlapping up here, 00:04:55
and, of course, it's further apart there as it's going faster. 00:05:00
So this is a soft ball, right? 00:05:04
Doink, doink, doink, doink. 00:05:07
And that, of course, is the spacing. 00:05:09
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? 00:05:14
The spacing is all the junk that's going on in between here. 00:05:30
So let's be over, I'll overdo it. 00:05:35
Dunk, dunk, dunk. 00:05:37
Is the clusters, are these things overlapping? 00:05:39
are they close together in here and then they're going far apart here. 00:05:43
That's the spacing. 00:05:47
So the most complex piece of action is just a combination of the timing and the spacing of it. 00:05:49
Obviously, if the drawings are closer together, the ball will move slower. 00:05:58
And when the drawings are further apart, the ball's moving faster. 00:06:03
Here's a great way of showing the difference between timing and spacing. 00:06:10
This coin takes one second to go across the screen. 00:06:16
It's going across in even spacing. 00:06:26
Now, let's take it across with uneven spacing. 00:06:35
But it still goes across in one second. 00:06:39
The same timing, but very different spacing. 00:06:43
Now let's see them both together. 00:06:52
And we see something very interesting. 00:06:54
Although it doesn't look like it, 00:07:01
They start at the same time, and they end at the same time. 00:07:03
Everybody here has a natural sense of timing, 00:07:12
especially if you're athletic or if you're musical, 00:07:16
because timing's built right into us. 00:07:18
But the spacing for animation, we have to learn. 00:07:22
And this is what we're going to achieve in this session. 00:07:27
It takes a while, but you'll get it. 00:07:31
This is the same bounce that we've seen before, a small hard ball, and here it is with its 00:07:34
spacing positions. 00:07:44
The spacing creates the feel of a small hard ball. 00:07:47
Now here's a squashy cartoon one, and here it is with its spacing positions. 00:07:56
Now this is a larger, slightly soft ball, and here it is with its spacing positions. 00:08:17
Now this, we're just using a circle, but it's how we space those circles, how we cluster 00:08:36
them that creates the illusion. 00:08:47
In this case, a heavy bowling ball. 00:08:50
Here's a light ping pong ball. 00:09:02
We know it's light because of the timing and the spacing. 00:09:07
one weighs almost nothing at all. Now let's take out every other drawing, making it twice 00:09:19
as fast. Let's try it with an object. The chart, there was a, if we take Mickey Mouse 00:09:37
or something, or a mouse, they all look the same at the time, and he's moving from here 00:10:04
to here with the head, okay, and the hand is up here and it's going to go down into 00:10:09
here. And say he's got a tail that's going from there and it's going to go down into 00:10:22
here. You know, we have these charts on the drawings, right, telling you the spacing of 00:10:34
the drawings. They're either here or here. Grimm would have a, he would do an, you'd 00:10:42
think that would be an arc and then he put a little chart on it say it's like 00:10:49
this you know it's just slowing into that and then you have a different one 00:10:54
on the nose maybe it was like that and then you have an even one on the tail 00:11:01
and you have these little charts on the drawings everything doesn't happen at 00:11:08
once our generic mouse is going to move the hand the head and the tail at 00:11:15
at different speeds. 00:11:21
This is why they developed separate little charts, 00:11:23
different charts for different parts. 00:11:26
The nose is going down uneven. 00:11:30
The finger goes down, easing out, and easing in, uneven. 00:11:36
Say the tail goes down even. 00:11:43
Each part has different spacing, but it all 00:11:48
takes place in the same amount of time. 00:11:51
They put different charts for different parts 00:11:53
so that everything didn't happen at the same rate. 00:11:55
This loosened things up. 00:11:59
So it isn't like a robot, you know. 00:12:03
So you break everything up. 00:12:06
Is that clear? 00:12:08
Ken would always make me, 00:12:11
I would always try to start drawing 00:12:12
because that was what I felt most comfortable with. 00:12:14
And he'd say, no, God damn it. 00:12:17
He said, do the timing. 00:12:19
And he would make me, 00:12:21
I don't want to get on the exposure sheet yet 00:12:22
but 00:12:26
if this is a 00:12:28
classic Disney sheet 00:12:31
four seconds, everybody knows what these things look like 00:12:33
computer guys 00:12:35
they're just four seconds 00:12:36
on the page or six feet 00:12:39
and Ken would say, look 00:12:41
where does he hit the ground there 00:12:43
mark it, there's your accent 00:12:45
and where's your next hit, okay here 00:12:47
okay, and you got two little hits here 00:12:49
and here, okay 00:12:51
now put another drawing here get that hit and I would have to do these 00:12:52
important drawings right so he'd say come on dick no drawing get a stopwatch 00:12:57
or a metronome and let's act it out and he'd make me act it out whatever it was 00:13:02
da da da da he say don't do it again and I have to do it again and again and 00:13:06
again till I had it clear in my mind what I wanted and and he had it clear in 00:13:12
his mind he said those are the hits so he's doing the timing first then he's 00:13:17
gonna go in and animate it once he's got his keys but we're coming to that this 00:13:22
is how the chart what I'm trying how it got over to this part of the field 00:13:27
everything will get clearer as we go 00:13:33
for those of our us that don't aren't familiar with animating on paper these 00:13:40
two drawings are gonna be on separate sheets of paper yeah then where do the 00:13:45
charts end up where the charts go I mean we're drawing them on one on one page 00:13:49
either the first one or the last one okay we would draw it on and you draw 00:13:54
the frame numbers yeah okay and we might we of course would probably put in some 00:13:59
more drawings before we handed it to some poor assistant okay anyone yeah 00:14:04
That's how I don't know how you guys do that. 00:14:11
Yeah, well, we don't do it necessarily this way. 00:14:16
Maybe we should. 00:14:19
This is the history of charts. 00:14:23
But whether you're drawing this or creating this in the computer, 00:14:25
the principle is the same. 00:14:29
Different parts move at different speeds. 00:14:31
I was lucky enough to know this guy, Dick Humer, which is odd. 00:14:36
He was a Disney story member. 00:14:41
His name was spelt like this. 00:14:42
And he was one of the main first story guys on Snow White. 00:14:46
And he and Joe Grant were the story people on Dumbo. 00:14:49
And he was also co-storied Fantasia and everything. 00:14:52
But he had been the top New York animator, doing Mutt & Jeffs in sort of 19, I don't know, in the 20s. 00:14:57
And Dick was a good draftsman. 00:15:05
And he also did comic strips. 00:15:08
Rather good drawing and stuff. 00:15:09
And he was the leading animator. 00:15:15
And he would do all the drawings. 00:15:22
If he was doing drawing one, he would just do drawing one, two, three, four, and five. 00:15:25
right and and the head of the studio van buren or whoever it was said gee dick the work's wonderful 00:15:33
but we wish we could get more of it and so dick said well if you give me somebody else to put in 00:15:41
here um to put in two and four put in these in the in between drawings i'll uh 00:15:47
put in the 00:15:56
I'll get twice as much work done 00:15:59
that was the invention 00:16:03
Dick invented the in-betweener 00:16:05
because they used to just work 00:16:07
kind of straight ahead 00:16:11
you know just drawing things 00:16:12
and then he would just 00:16:14
do every other drawing 00:16:16
and then some other 00:16:17
or several people 00:16:18
just put in the in-between ones 00:16:20
if we have 00:16:21
drawing one 00:16:24
is our extreme. I'm calling this an extreme, not a key. This is important, okay? I'm doing, 00:16:27
as we're doing here, the one in the middle, for purposes of this class, I would like to 00:16:48
call the breakdown. We spell it this way. We just break down, break down, and we underline 00:16:54
it and that's number three okay and number two and number four are just plain in in-betweens 00:17:10
if you want to be intellectual about it an extreme is wherever you get a change of direction 00:17:22
it's or or you could say when you start an action or end an action let's do it again 00:17:34
calling it number nine we just have we're doing drawing one an extreme number nine 00:17:43
an extreme. 00:17:49
The one in the middle is five. 00:18:07
The one in the middle, 00:18:09
which would be the breakdown. 00:18:10
One in there is four, 00:18:14
six, 00:18:16
then you got 00:18:17
seven, 00:18:18
eight. 00:18:22
It doesn't matter, 00:18:25
you put them above or below. 00:18:25
Okay. 00:18:29
And this is what they call 00:18:31
in the trade 00:18:32
the slow 00:18:35
that's the slow out 00:18:36
we're slowing out of drawing one 00:18:40
and we're slowing in 00:18:42
to draw 00:18:45
we put the one in the middle 00:18:47
smack 00:18:48
important drawing 00:18:48
and then we're slowing 00:18:50
to drawing nine 00:18:53
I always get balled up 00:18:55
with slowing out 00:18:58
and slowing in 00:18:59
I think of them backwards 00:18:59
and everything 00:19:00
the best way 00:19:01
is the way the computer guys 00:19:02
you talk about easing in 00:19:04
and easing out 00:19:05
it's much better isn't it ease out and ease in we can show this with a pendulum 00:19:06
here's the arc that the pendulum will swing in and here's the breakdown or 00:19:14
passing position add in-betweens this is what it looks like when you don't have 00:19:19
an ease in or an ease out now we add a slight ease in and ease out both ends 00:19:28
and it's more convincing. 00:19:40
Now we'll add in two more positions. 00:19:45
Gives us a nice result. 00:19:48
But four more positions gives us an even better result. 00:19:54
And we get a really nice ease in and ease out. 00:19:59
Let's do it with a finger. 00:20:07
We're easing out of drawing one. 00:20:09
Same thing. 00:20:17
Easing out of drawing one with more in-betweens. 00:20:19
now we're going to ease in to drawing five cushion in now we'll ease in with 00:20:22
more in-betweens added now we're going to ease out of the first position and 00:20:38
ease in to the second position we'll add in-betweens and it'll be even clearer 00:20:51
Ken Harris always he thought terribly simply and you just say he would say 00:21:05
we're cushion cushioning this would be cushioning if somebody throws you a 00:21:18
baseball and you catch it, he'd say, well, it cushions, you know, you just cushion. So 00:21:22
you're slowing in or easing in. I've seen California animators do almost as bad as this. 00:21:28
If this is a Panavision screen, Panavision paper, they will do this. That's drawing one 00:21:43
and that's drawing 00:21:57
let's make it 196 00:22:02
and they'll put a chart on this thing 00:22:06
and they'll go play tennis 00:22:10
you know 00:22:18
and you say 00:22:19
Jesus you look terrible 00:22:20
the assistant's no good 00:22:22
the assistant's no good 00:22:23
absolutely rubbish 00:22:24
you know 00:22:26
I gave it to him 00:22:26
I gave it to him 00:22:27
I know my job 00:22:28
See? Incidentally, most actions in life are on an arc. They follow arcs, unless you're doing 00:22:30
something in a straight line, like a punch. Arcs are beautiful to watch. Straight lines 00:22:40
give power. A pendulum eases in and out and follows an arc. Not like this. How are 00:22:52
we going to in-between these positions? Do we join them up like this? Usually we 00:23:12
get something half-assed. Something like this. Neither one thing nor another 00:23:25
because the in-betweener doesn't understand arcs. 00:23:31
When we really wanted this, 00:23:35
just this lifting arm follows three arcs, 00:23:43
the elbow, the wrist, and the tips of the fingers. 00:23:47
I got a job at UPA, 00:24:02
and immediately after two or three weeks as head of Trace and Paint, 00:24:05
they found I could animate. 00:24:09
Then they said, well, you have to have an assistant. 00:24:12
So they gave me quite a skilled artist. 00:24:14
And Charlie was my assistant. 00:24:17
And Charlie was, he was good. 00:24:21
He was a good guy. 00:24:23
But Charlie didn't like. 00:24:24
Charlie would do, I'll do it in color just to make it clear. 00:24:26
Charlie would do a nice little drawing right in the middle between one and three. 00:24:30
And he'd get the hair just right. 00:24:39
And he'd do a nice drawing in here. 00:24:42
But Charlie didn't like the way Leo Salkin, the head of the studio, had designed the eyeballs. 00:24:45
See? 00:25:01
Charlie liked eyeballs that were like this. 00:25:02
So for about 30 seconds of material, when it came out, you had the eyes on the screen doing this. 00:25:07
Everything else was going, hello there, and it was going... 00:25:20
all the time so I started doing all the drawings myself and got Charlie to work 00:25:22
with somebody else and and and I didn't learn until many years later how to use 00:25:28
an assistant because I was terrified of this happening again we had it on the 00:25:33
rabbit because we were hiring people coming in off the street there's drawing 00:25:38
one this is drawing five of a coffee cup which say is in the live-action actors 00:25:43
hand and the in-between say the the breakdown is a good drawing the one in 00:25:47
the middle would be like this because the guy didn't know anything about 00:26:00
perspective so of course you're gonna get that on the screen what a little 00:26:03
little little little little I mean it was wild sometimes you'd even have them 00:26:10
like that because they didn't know perspective well you see it all the time 00:26:15
on bad animation isn't it I mean Milt when he went to Disney early on he was 00:26:22
this be 1934 I think he went and he met the great Bill Titler and tight and he 00:26:29
said I how do you do you know and he said I'm in the I'm in the assistant 00:26:35
pool and tight or the in-between pool or something and tightly says oh yeah how 00:26:40
many scenes did you cock up lately that's how they were these tough tough 00:26:46
guys so wobble so you could say the assistant work is really volume control 00:26:51
you know just throwing that in the the it's not without with the graphic stuff 00:27:02
It's not line quality, although that may be important on a commercial. 00:27:10
It's where you put those lines to hold those volumes together. 00:27:13
Assistant work is basically volume control. 00:27:17
And so should the animator. 00:27:21
We're controlling the volumes as this hand Marvel Comics style goes around, 00:27:24
like in a Spielberg movie, to get you. 00:27:29
Well, that can't be wobbling. 00:27:32
That's got to be consistent as it turns. 00:27:34
So, you've got to be able to handle the volumes. 00:27:36
Okay. 00:27:44
There's a... 00:27:45
Just incidentally, if you're doing a... 00:27:48
If an animator's doing this drawing, 00:27:51
one is extreme, he's going to number four. 00:27:54
If he's going to do position... 00:27:59
He's going to put two in thirds, divisions 33 and a third percent of the way towards there. 00:28:03
He should not do that to the assistant. That's not fair. 00:28:11
He should at least do drawing one and two, say, himself, 00:28:15
and leave the assistant to drop one in between those two. 00:28:21
it's it's it's not going to work leaving what they call thirds like that or he 00:28:27
should draw one and three so the assistant can drop the one equal 00:28:35
divisions in the middle if the animators lucky enough to have an assistant he 00:28:41
still does enough work to have ironclad control over the scene this stuff may 00:28:48
all seem very basic but you will see how damned important it is when we start 00:28:55
putting it all together in a sophisticated way if we don't get this 00:29:00
basic stuff right we're gonna build our house on a shaky foundation let's review 00:29:05
we've shown the difference between timing and spacing we've shown how the 00:29:11
chart was born we've shown about easing in and easing out we've shown volume 00:29:15
control and arcs. Now the next session we'll be building on this. We'll start a 00:29:22
scene and we'll find out what do you do first, then what do you do, what do you do 00:29:29
after that, then what's the third, what's the fourth, what's the fifth thing that 00:29:35
you do. We'll tackle the work method, the ideal work method, and how to organize 00:29:38
our material. 00:29:45
Thank you for watching! 00:29:52
Etiquetas:
3d
Subido por:
Juan Jose M.
Licencia:
Todos los derechos reservados
Visualizaciones:
1
Fecha:
9 de enero de 2026 - 13:50
Visibilidad:
Clave
Centro:
IES CIFP a Distancia Ignacio Ellacuría
Duración:
30′ 37″
Relación de aspecto:
3:2 El estándar usado en la televisión NTSC. Sólo lo usan dichas pantallas.
Resolución:
720x480 píxeles
Tamaño:
112.32 MBytes

Del mismo autor…

Ver más del mismo autor

EducaMadrid, Plataforma Educativa de la Comunidad de Madrid

Plataforma Educativa EducaMadrid