Anonymous at Tue, 7 Sep 2021 10:57:02 UTC No. 849135

>>849084
Use animbot

Anonymous at Tue, 7 Sep 2021 12:23:59 UTC No. 849147

It's quite simple.
Put in more effort and cut down the lazy tweening by about 98%.

Anonymous at Tue, 7 Sep 2021 13:42:39 UTC No. 849156

>>849135
>>849147
I want to learn the technique though, I want to learn how to know how many frames to hold an expression for it to 'read'.
And just generally instead of having to trial and error to get something to feel right in the timing, know how to do it with a timing sheet and write it into the X-sheet
>Put in more effort
Hahahahahha. I'm not actually a 3D animator, I come from a 2D background and hand draw all my tweens. No ctrl + v ever. But that still doesn't answer the question of when to use a smear, when to just snap from a pose to a pose and most importantly make the timing feel right?
How do I learn that?

Anonymous at Tue, 7 Sep 2021 13:48:09 UTC No. 849159

>>849156
>I want to learn the technique though
I'd autistically analyze great animations while having frame counters in view.
The good thing about 3D animation is that you can freely finetune your animation chunks until they "feel right" while with 2D animation you'd have to maybe draw more frames only to throw them out when it doesn't work, wasting a lot of time

Anonymous at Tue, 7 Sep 2021 14:52:36 UTC No. 849168

>>849159
>I'd autistically analyze great animations while having frame counters in view.
I've thought about that, but I'm worried about the different framerates from telecine. But I guess it still doesn't matter right?
>while with 2D animation you'd have to maybe draw more frames only to throw them out when it doesn't work, wasting a lot of time
compositors too have this problem I find, i change a key frame, wait for the render... oooh wait still wrong

Anonymous at Tue, 7 Sep 2021 17:45:25 UTC No. 849184

>>849084
traditional animator here
>Listen to the clock or set a metronome to 60bpm.
>Act out the motion yourself based on the timing you think works best for the moment.
>Count out how many ticks it took.
>Allocate the time needed.
>Put in your most important poses first based on 4s, 6s, and 8s.
>Play with the timing of each exposure until it works.

Anonymous at Tue, 7 Sep 2021 18:33:51 UTC No. 849188

>>849168
>compositors too have this problem
Why the fuck do you look through the compositor or even finished render while you're still working on the animations? Seems like you try to do heaps of shortcuts before learning the basics first. Doing that always bites you in the ass.

Anonymous at Tue, 7 Sep 2021 18:35:47 UTC No. 849189

>>849188
he just needs a better GPU

Anonymous at Tue, 7 Sep 2021 18:38:58 UTC No. 849192

>>849189
No.
You figure out your animation work in the simplest preview viewport. Not in final fucking render.

Anonymous at Wed, 8 Sep 2021 02:00:09 UTC No. 849279

>>849188
because it only plays back at 1.8 fps, how do you time with that?
>>849189
Yes
>>849192
When did I say final render? The preview is often like 3fps. So when I say 'render' I'm waiting for it to go through the entire segment and basically pre-render it just so I can watch it back fluidly.
Of course instead of getting angry and making assumptions so you can get on your high-horse when you could show your true superiority by simply explaining the techniques are for getting good at timing in animation.
>>849184
>>Count out how many ticks it took.
Great suggestion, thank you!
What do you do for things like balls or inanimate objects moving across the screen, or maybe a Tex Avery thing like pic related where a limb extends in a impossible cartoonish fashion?
>>Put in your most important poses first based on 4s, 6s, and 8s.
Thank you, I should have already known this. This is also assuming you shoot on the "2's" right?
Thank you very much

Anonymous at Sun, 12 Sep 2021 01:06:02 UTC No. 850186

bump

Anonymous at Sun, 12 Sep 2021 14:12:53 UTC No. 850274

practice it- Study how x sheets work for a few days/weeks and try applying it on projects you tackle. Try to think of it as a "field" of visualization. A lens which you can look through to be more capable of dissecting, interpreting, and transcribing complex animation. The studying won't be hard if you think of it like neo seeing code or whatever. Sounds dumb, and not a perfect analogy- But that's what pushes me on things I find hard to tackle

trial and error- GET FEEDBACK- Post here, you could make and animation WIP thread; Could even help the board out a bit. Seek criticism, and open yourself to your shortcomings

make your bed every single morning- Either get studying or Get animating in the first half of your day- Makes it easier to approach, for me. My brain has trouble starting things if I won't make good headway before I've got to stop. I found a workaround though - the morning routine wake up with the rooster, and nothing will seem out of reach to start work on- The day is seemingly endless at its start

I've never used a metronome, but my animations are imprecise. I can feel out a rhythm pretty good going straight ahead and hitting on 4s and 8s- filling in-betweens on the next day

Anonymous at Thu, 23 Sep 2021 01:21:23 UTC No. 852463

>>849084
>>849084
Re-read the 12+ principles, study real life motion and other animation works and pay close attention to where/how they use the principles. If you find a shot you really like, spend 20 minutes analysing how it uses the principles. Heck, try to roughly re-do it yourself and see what you learn from it.

Something too smooth likely means your spacing is too even, there's not enough ins/out, and you aren't adding overlaps/offsets, and not having any of that stuff will kill your sense of weight. Not sure what you mean by "how to mickey mouse stuff to music" either, if you're using software to animate then you should be able to plug in an audio track and easily line up your timings to the audio.

Also lastly, film reference of you or use reference footage of others/online. Nobody ever "comes up with stuff", you study real-life and its mechanics enough so that one day it gets engraved into your brain for you to use it to make art.

Anonymous at Thu, 23 Sep 2021 01:26:07 UTC No. 852464

>>852463
>>849084

If you just mean "how do I make stuff feel musical and like it belongs well to a music track" then this goes a bit more into music theory, things like sticking to the beat and which beat to line up to, you'll usually divide the audio into its time signature and play within that framework (like say 4/4, and then accenting or offsetting certain beats). It's basically what dancing is about in the end. So I'd recommend getting into playing an instrument and/or learning a bit of dancing to help that side. Generic animation timing isn't that far off either. If anything just practice filming yourself to the track and do what "feels right", and analyse the footage.

Anonymous at Thu, 23 Sep 2021 01:33:33 UTC No. 852465

>>852463
Thanks for the reply anon
>if you're using software to animate then you should be able to plug in an audio track and easily line up your timings to the audio.
not an option I'm afraid. I must learn how to avoid even spacing without having to use trial and error. To get a natural sense of timing
>>852463
>film reference of you or use reference footage of others/online.
Again, what about Tex Avery gags with like ridiculously long limos where it squashes and stretches or limbs that extend to the other side of the room? Like I asked >>849279 here
>>852464
>If you just mean "how do I make stuff feel musical
Not that's not what I mean. I mean more like, how can I do Oskar Fischinger stuff or Friz Freleng where the melody and the onscreen action are in lockstep
> If anything just practice filming yourself to the track and do what "feels right", and analyse the footage.
That's simply not practical for a number of reasons, I need to learn skills that don't require trial and error. How can I learn that?
What are some examples of your animation timing that I can look at so I can ask you questions?

Anonymous at Thu, 23 Sep 2021 03:00:08 UTC No. 852479

>>852465
>what about X? what about Y? what about...

Anon you start by mastering basics using any methods available to you to simplify and enhance your understanding of the process.
In order to jump into advanced shit you need to have strong foundational skills to draw upon.
You can't sit down and just fucking do shit like a natural if you're not already absolutely fluent in the language of animation.
You need to get a shit ton of information into your head first, develop good habits and good instincts.
Only way you can make that happen is to practice, practice, practice. Take a short break and then practice another few thousand hours.

Maybe people told you Mickey Mouse shit is supposed to be easy? Well that expression doesn't cover actual Mickey Mouse shit as it relates to animation.
What you are trying to do is something that is very difficult to do well.

It's like you still want someone to come along and demystify this shit for you in a few simple to digest sentences.
That's never gonna happen. You've been handed the roadmap by that anon you responded to just now, as you have by many before.
You gotta put in several years of work doing what they told you, there is no shortcut.

Anonymous at Thu, 23 Sep 2021 03:07:10 UTC No. 852482

Another thread about how OP wants to learn something but doesn't want to actually do the work in learning that something...

Anonymous at Thu, 23 Sep 2021 09:40:03 UTC No. 852541

>>849084
do you have camera? record yourself acting the movements, form as many angles as necesary, oh and study the 12 animation principles.