This concept is also part of the 12 principles of animation. You can watch the video example here<\/a>.<\/p>\n In-betweens are the drawings between keyposes (or keyframes). They define the smoothness<\/strong> of the action. Let’s take the example of a head turn: if the action lasts 24 frames, but there are only 2 in-between drawings between the frame 1 and frame 24, the animation will feel quite choppy. The more drawings I have to gradually move from one head position to the next, the smoother my animation will be.<\/p>\n This doesn’t mean you should always have the same number of in-betweens per keyframes. In-betweens also control the speed<\/strong> of the action. If I want the second half of my head turn to go faster than my first half, I will create fewer frames (thus fewer in-betweens per keyframes).<\/p>\n Breakdowns<\/strong> are transitional drawings: they can help you “break down” an action before you start drawing all the in-betweens. The breakdown drawing go our head turn example may be a pose midway through the action, with the head facing down and the eyes blinking. You would typically draw a breakdown after the key pose and before the in-betweens.<\/p>\n A timing chart can help you plan how many breakdowns and in-betweens you’ll need to complete your action.<\/p>\n It’s a straight line starting and ending with the first and last keyframes of the action. \u00a0Each perpendicular stroke on the line represents a separate drawing. There are a few design rules you can follow to make your timing chart as clear as possible:<\/p>\n Let’s review two other important principles of animation: Arcs<\/a> and Timing<\/a>\u00a0(Don Hertzfeldt’s “Billy’s Balloon”<\/a> (1998) is a great example of how timing can be used for comedy) and let\u2019s apply them to an animation of a ball bouncing across the screen. Here are some things to keep in mind as you draw your frames:<\/p>\n Use Adobe Animate to create an animation of a ball falling from a cliff and bouncing a few times before coming to a stop. Apply the squash & stretch and slow-in & slow-out principles you used for your last assignment AND carefully apply 2 more: arcs, and timing. Anticipation<\/a> can also enhance your animation (i.e: have the ball hover at the edge of the cliff before falling, have the ball move back and forth very slightly a few times before coming to a full stop etc.).<\/p>\n Use the following file format: 24fps, width: 1920px | height: 1080px.\u00a0Save your .fla file and export your animation to Quicktime (review exporting instructions on the week 2 page<\/a>). Upload your animation to Vimeo or Youtube<\/p>\n Create a new post on your Open Lab portfolio. Your post should include a link to your Vimeo or Youtube video<\/strong> as well as a short description<\/strong> (reflections on your process, challenges, goals etc. are also welcome).<\/p>\n This assignment is due next week. Submit the following files on the following platforms:<\/p>\n The grading rubric for this assignment can be found\u00a0here<\/a>.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":" Key Concepts Straight Ahead vs. Pose to Pose You can approach an animation sequence in two ways: Straight ahead animation means you start on frame 1 and add each subsequent frame chronologically. This approach works particularly well for fluid movements such as that of smoke, water, fire etc. In the pose-to-pose\u00a0approach, you create the key … Continue reading “Week3”<\/span><\/a><\/p>\n","protected":false},"author":21,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"portfolio_post_id":0,"portfolio_citation":"","portfolio_annotation":"","openlab_post_visibility":"","footnotes":""},"class_list":["post-290","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/openlab.bmcc.cuny.edu\/mmp260-pinkas-s2020\/wp-json\/wp\/v2\/pages\/290","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/openlab.bmcc.cuny.edu\/mmp260-pinkas-s2020\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/openlab.bmcc.cuny.edu\/mmp260-pinkas-s2020\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/openlab.bmcc.cuny.edu\/mmp260-pinkas-s2020\/wp-json\/wp\/v2\/users\/21"}],"replies":[{"embeddable":true,"href":"https:\/\/openlab.bmcc.cuny.edu\/mmp260-pinkas-s2020\/wp-json\/wp\/v2\/comments?post=290"}],"version-history":[{"count":29,"href":"https:\/\/openlab.bmcc.cuny.edu\/mmp260-pinkas-s2020\/wp-json\/wp\/v2\/pages\/290\/revisions"}],"predecessor-version":[{"id":799,"href":"https:\/\/openlab.bmcc.cuny.edu\/mmp260-pinkas-s2020\/wp-json\/wp\/v2\/pages\/290\/revisions\/799"}],"wp:attachment":[{"href":"https:\/\/openlab.bmcc.cuny.edu\/mmp260-pinkas-s2020\/wp-json\/wp\/v2\/media?parent=290"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}In-betweens and Breakdwons<\/h3>\n
Timing Charts<\/h3>\n
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\n12 Principles Applied: Arcs and Timing<\/h1>\n
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![\"\"](\"https:\/\/openlab.bmcc.cuny.edu\/mmp260-pinkas-s2020\/wp-content\/uploads\/sites\/88\/2019\/09\/mmp260-week3-timechart.gif\")
\nAssignment: Ball #2<\/h1>\n
Subject<\/strong><\/h3>\n
Format<\/h3>\n
Submission<\/h3>\n
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