I think weight is most easily explain with inertia. The heavier an object is, the more effort/time it takes to get it moving and reciprocally more effort to stop it.
This is such a fantastic video. One thing that comes to mind, and this is more of a weird potentially unsustainable trend in the industry Isa story boarders role these days. A storyboard isn't an animatic and an animatic is not a rough animation. At least in the sense that these are separate stages of an animation. Can you put sound to a story board and call it an animatic? Sure. Can you say that animatic is good enough to be your rough animation? Depending on the production and situation and what you want out of an animation absolutely. But what I mean is that I find it crazy that many storyboard artists are tasked with the responsibility of what was traditionally a rough animator. As long as they aren't being over worked and under compensated that's what's important I guess.
i have a LOT to say about this. It will definitely be a separate video but my opinion is that storyboards should be storyboards and anyone that enforces that boards to be fully animated (and says toxic things like if you can't do this, you shouldn't be a board artist) are complete morons.
in my experience, its studios wanting to push more tasks and work on one person instead of having to hire others to do the separate tasks, so you end up doing 3 people's worth of work and boom - burnout.
One mistake in terminology I make a lot is conflating "Traditional" and "Frame by Frame" to mean the same thing, when traditional is meant to mean using the traditional tools of pencil and paper, and frame by frame being self explanitory. I think I end up conflating it as a means of distinguishing frame by frame animation from digital 2D puppet animation.
I think that's a pretty accepted way to use the term these days. Not to many people out there still do animation on paper anymore so when most people hear "traditional" I think they just assume its hand drawn on a computer. I think of it as a change in times. We still call Cell Phone's "phone's" even though they are barley used for that function now, music still has "albums" though it no longer needs to be on a physical media, Traditionally animation is now the mere act of doing hand drawn animation since rigged animation is the norm now. All that to say, I wouldn't worry about that one, I think its okay :) Though if you want to differentiate them, I think just calling it hand drawn animation is good as well (for digital) and then you can keep traditional to mean pencil and paper animation.
I think that in the case of the rotoscoping question, people tend to ask out of clarification. I remembered when Klaus the animated movie was revealed, there were a lot of confusion over whether that movie was 3D animated or not because the style of animation was done so well and felt so natural that it felt like it was all CGI. It's the same when it comes to heavily referenced animation. They tend to look so close that your curiosity just peaks over the process.
I recently watched "Arcane" on Netflix. I assumed it was mocap, but was quickly corrected by a friend. I went from "that's mocap" to "that's damn fine animation!"
@@PaulNaas it doesn't really look mocap, the movement of the characters is pretty realistic/grounded but they're more animated looking compared to mocap stuff.
Such a helpful video! I'm not sure if this entirely fits the topic of the video, but the misconception I would see students fall for a lot when I was in school was that they would adjust the frames per second of the final animation to get the desired timing rather than sticking to 24fps and drawing the appropriate timing. I blame Adobe Animate/Flash for this, as the fps option is very easy to tweak, and it's prominently displayed in the UI. Even still, it's shocking how many people don't realize that 24fps is the standard for film and animation, and even more shocking that my professors would just assume everyone knew this fact.
I hear students say this all the time, and I make a point of correcting their perception. The only constant we have is 24 fps. I think sometimes students confuse frames per second with drawings per second.
@@adoragrayskull I'm not him, but I can elaborate. The most important thing to realize is that "Frames" and "Drawings" are two seperate things. The standard for most film and TV shows is 24 frames per second. That means that 24 images are shown in 1 second of film. In animation, it's not always feasible to draw a new drawing for every one of those frames, so shortcuts are taken. If something is drawn on "twos", this means that a "Drawing" is shown for 2 "frames" of film. The film is still being played at 24 frames per second, but some of those frames feature drawings that are duplicates of each other. Noodle's video "Smoother animation ≠ Better animation" here on TH-cam has a section at the beginning that explains this really well visually, so I highly recommend checking that out.
@@adoragrayskull sure! Frames per second is the playback speed of the medium: 24 for film, 30 (roughly) for video, and so forth. That rate never changes. Drawings per second is the number of drawings used in a *particular* second of animation, and it can vary significantly. Richard Williams animated "on 1's, " meaning that there was a new drawing for every frame of the film. Most classic Disney animation is done "on 2's," meaning that a single drawing is held for two frames (unless the action is complex or fast, then it switches to "on 1's" during that action). Bill Plympton animates "on 3's," holding a drawing for three frames - because he's the only one animating his stuff, and it cuts the number of drawings he has to do to finish a project in half. Hope that helps!
Wonderful Video. 1. 100% agree, Pixar and most studios often use self video reference all the time. referencing shouldn't be as vilified as it is. 2. Agreed, Appeal is a really nebulous thing too just like the rule of cool, cause what is cool to you may not be to someone else so the "rule" is pointless to a degree. 3. True, Smoother on 1's animation doesn't equal better. Animation is literally a visual illusion, you should use 1's,2's,3's even 4's and beyond when you need to. 4. Understanding the timing and spacing difference is very hard to wrap you head around. The best way to get timing and spacing is to do character and physically based animation tests. The character tests so you can learnt o hit emotional beats and the Physical tests like the bouncing ball to understand it in context of the physical properties. 5. I agree that follow-through and drag isn't secondary action, but I think your example of what was secondary action is partly incorrect and is simply primary action with character or as you said nuance. Your swordsman at 7:34 demonstrates secondary action. He is moving forward as the primary action and the way he swings his sword and movement in the top half of his body is the secondary action. typically I'd also say a secondary action carries on after the primary action is finished and either compliments or is counter to the primary action. (although honestly this could just be my terminology) 6. Agreed S&S is only a part of achieving weight, although while I agree that you can change the Keys, Downs, Ups, spacing and timing to improve the weight in a scene/shot the number one thing you can do to improve weight is adjust the in-betweens, since the timing is often decided by how long the shot is and the audio provided, and the keys are based on the emotions needed to be displayed motion explained, In-betweens are the best place to start fixing weight.
Not everyone who's good at a thing is good at teaching how to do that thing. Unfortunately, a lot of colleges are impressed by credentials and hire folks who aren't great at conveying information.
Some things to maybe add into this pile: Ease/Slow in/out. Flash animators have gotten accustomed to reversing ease terminology because the program itself does. It refers to an ease in as an object beginning to move slowly and accelerating, and an ease out as an object in motion decelerating and coming to a stop. Traditionally a slow in would be the object in motion coming into a pose and vice versa. I'm not sure if you differentiate between ease and slow or if those are synonymous [I believe williams used them interchangeably in the survival kit]. Curious how you use them! Another I've encountered is a line boil being referred to as a "shimmer." Occasionally also as a traceback [which I suppose works but I do think of that a bit differently].
thank you so much! this is a great "cheat sheet" to look up the meaning of the animation lingo. regarding the smoothness/fps in animation: noodle made a great video rambling about this. I watched it at least three times.
I was just talking about this on my facebook: I recently realize that there's a confusion about Ease in/Ease out (Slow in/Slow out). When I went to school in the US, I was taught and has since then understood slow in as the beginning of an action, and slow out as the end of an action. But as I'm working with more international partners I've come to realize that there are a great number of people who understand the complete opposite which means slow in is the ending of an action and slow out is the beginning. This is confusing the hell out of me.
When I was studying I also thought that and threw the terms around interchangably tbh, I think a lot of us did. Only YEARS later did I realize the terms mean 'ease OUT OF' current pose and INTO the next. Hence why 'out' is the first and 'in' is the end. It's counter-intuitive because we have this "in comes before out" association in our brains. Remember it as ease OUT OF and ease INTO, if that helps.
Thanks for the video. I remember starting with animating in high school and getting confused by some terms especially since english is not my primary language and all the terms are stranded on english so translating and explaining to others in spanish got things even muddier. I do have a bit of a gripe with the 12 principles since even my teachers on freshman year of college got confused or confused by the terminology. I think they need a bit of update or iteration. Rhythm is a better word for the principle of "timing" and I understand more overlap/follow through as "reaction" since that what essentially is, objects "reacting" to dynamic forces independent in their on way (main body, clothe, hair, etc.). Hope there can be more clear information and communication between people by being critical and not just repeating beat by beat the same lessons over and over.
I've been animating since 3 yrs and since the beginning I've been asking these questions everywhere, every stream, every forum and saw even most of us being confused and unclear. thank u for answering them. FINALLY
So in my experience at school, it was always called secondary action. I never heard overlap used at all. BUT, 1- it was taught by french speaking professors, and I kind of wonder if its just a simple problem of language? and 2 - I've seen in the industry terms change all the time and its MADDENING. So I get not wanting to be a grammar police, but dude animation isn't exactly a hard science , its constantly evolving and changing. So while I get where you're coming from, different animation books say different terms for essentially the same damn thing. (RE: Keys vs Extremes, Illusion of life vs Richard William's animation bible) The Disney guys might've coined the terminology, but animation was being made and developed way before and there wasn't any specific words for it.
I wonder if a good example for "squash and stretch vs weight" is when you have a robot character. Because the robot is a not a flesh and blood creature, they're generally not going to experience squash and stretch in that traditional sense, but presumably you still want the character to feel heavy. Alternatively, discussing "squash and stretch" as a concept seems to be pointing at something deeper (i.e. what your character is made of, how do you think about a given character's movement.) rather than its more literal application.
I gotta admit, I've been guilty of getting many if these terms wrong before either from confusion or just not knowing the term period, overtime I learned how to use terms better like distinguishing animation from artstyle or storyboards from animatics but even then I'll sometimes get it wrong and this video definitely helped clear a lot of misconceptions I had and also taught me some new terms so yeah, just wanted to say I really appreciate this video, along with the rest of your videos. They're a huge help to a current project I'm working on.
Thanks for clarifying each term for all of us! I always find your videos so useful as a teen just starting off learning how to animate! It's nice to learn which term means which early on! Also just a side note: I love the animation with the fox running and the ball with the tail! They are so cute!
For the record, not an animator myself. On in-betweens, I thought the audience's eyes would fill that in themselves when they're absent and if the animation is timed and spaced correctly, it'll flow just fine. Adding in-betweens where it's not needed creates this dissonance? and the jerkiness you showed earlier.
Try looking at the cartoon Kid Cosmic, it's by Craig McCracken who made Powerpuff Girls The animation mainly uses key frames with few in betweens, but the motion is still believable cause the poses read so well and they're timed in a dynamic way
Thank you for this fascinating video! I'm completely self taught when it comes to animation, but have really been making an effort to learn, so that I can make my own videos about nature more interesting/engaging. Your lessons have helped me so much already. I try to implement something new you've talked about with each of my videos that have animation in, and although I still have a long way to go, I can feel myself beginning to understand the concepts and becoming less afraid to push my limits and try something new!
Damn this is a really really good video. I've often had issues with the definition of Appeal- was too subjective. Like I personally think the Adam's family animated feature has zero appeal.
I've studied a lot from Richard Williams, he's talked about Keys being your main story beats of the animation and extremes being the changes of direction in the animation. I've understood that as Keys are your acting pieces that really showcase the character, potentially a lot of emotion, whereas extremes are more the mechanical "here's how things move". I really like how you talk about secondary action as being part of that, adding to the primary animation. Primary animation being the baseline and secondary being the emotional part which transforms a basic anim into one with flair and character. But how would you fit these two concepts illustrated by you and Williams together? Are they interchangeable? or are they used to illustrate two different ways of approaching animation? Would love your input, if you can't get to my question that's cool, i'm enjoying the video either way, Thanks Toniko!
just a side question.. how do you feel about puppet animation (with rigs and deformers). I saw you also have Harmony (i guess premium?) which is often used for those types of animations. or are you only frame by frame oriented.
Was watching this video, and heard these two professional animators get 'ease in' and 'ease out' backwards. They thought you... eased out _into_ a motion??? And eased in when the motion was _closing out??_ It really wasn't that important but it drove me crazy watching their video. How do you get that mixed up?
Well, the traditional understanding is that you're easing in/out of poses, not of motions. So if I have Pose A -> Pose B, I ease out of Pose A and ease into Pose B. But other comments here have pointed out how easy it is to get them mixed up, like how Adobe Flash uses them in the reverse order so that's what new animators get used to
I was trying to learn how to write scripts... every person teaching use the same words for totally different things. So, since then I don't care about how is something named because nothing change at the end of the day
I don't understand the example at 3:38. The dragon on the left seems much more appealing to me; a sense of imbalance can very much be used for visual appeal. Which you appear to have done but marked it as. . .wrong?
Those drawing aren't an example of appeal but solid drawing, the character on the left can appear more expressive because of the more exaggerated tilt of the pose sure, but that wasn't the principle he was trying to illustrate, he was showing solid drawing, and the lack of balance in the figure is why he marked it wrong because the weight of that pose makes it impossible for the dragon to stand up right like the one on the right does, essentially appeal is the emotion/vibe of the scene while solid drawing is all the technical drafsmanship that makes everything look solid and believable, the dragon on the left may appear more appealing because the imbalance tricks our eyes into seeing more expressiveness but in reality it's a lack of solid drawing, which may look fine in a single image if you don't pay too much attention, but can cause problems in an actual moving animation. Of course you can combine the principles in your work, and even disregard some in specific contexts, but he's keeping them separate in this explanation to help aspiring animators better understand the terminology to avoid confusion over what's what, which can cause confusion in projects. Hope this helped clear things up and didn't complicate things further.
As a feedback, a song as a background is not a very logical idea for an explanation video. I had a few episodes of not understanding what you are talking about due to your voice overlapping with the voice in the background song and it going fumbly. I assume you have changed your microphone a while ago, but still the promo in the end cuts the ears with a different acoustics and mic quality. That might be just me ranting, but I assumed that its a feedback nontheless. As always your videos are very informative, thank you for that.
Bonbon's really doing the Yelena look
I think weight is most easily explain with inertia.
The heavier an object is, the more effort/time it takes to get it moving and reciprocally more effort to stop it.
This is such a fantastic video.
One thing that comes to mind, and this is more of a weird potentially unsustainable trend in the industry Isa story boarders role these days. A storyboard isn't an animatic and an animatic is not a rough animation. At least in the sense that these are separate stages of an animation.
Can you put sound to a story board and call it an animatic? Sure. Can you say that animatic is good enough to be your rough animation? Depending on the production and situation and what you want out of an animation absolutely.
But what I mean is that I find it crazy that many storyboard artists are tasked with the responsibility of what was traditionally a rough animator. As long as they aren't being over worked and under compensated that's what's important I guess.
i have a LOT to say about this. It will definitely be a separate video but my opinion is that storyboards should be storyboards and anyone that enforces that boards to be fully animated (and says toxic things like if you can't do this, you shouldn't be a board artist) are complete morons.
Imagine making rough animations for a 6 figure salary 🙃
in my experience, its studios wanting to push more tasks and work on one person instead of having to hire others to do the separate tasks, so you end up doing 3 people's worth of work and boom - burnout.
@@Smieska_13 and you get three people's worth of pay?
You'll lucky to get one person's pay honestly 😤
One mistake in terminology I make a lot is conflating "Traditional" and "Frame by Frame" to mean the same thing, when traditional is meant to mean using the traditional tools of pencil and paper, and frame by frame being self explanitory. I think I end up conflating it as a means of distinguishing frame by frame animation from digital 2D puppet animation.
I think that's a pretty accepted way to use the term these days. Not to many people out there still do animation on paper anymore so when most people hear "traditional" I think they just assume its hand drawn on a computer. I think of it as a change in times. We still call Cell Phone's "phone's" even though they are barley used for that function now, music still has "albums" though it no longer needs to be on a physical media, Traditionally animation is now the mere act of doing hand drawn animation since rigged animation is the norm now. All that to say, I wouldn't worry about that one, I think its okay :) Though if you want to differentiate them, I think just calling it hand drawn animation is good as well (for digital) and then you can keep traditional to mean pencil and paper animation.
I think I make that mistake a lot too. Oof.
I think that in the case of the rotoscoping question, people tend to ask out of clarification. I remembered when Klaus the animated movie was revealed, there were a lot of confusion over whether that movie was 3D animated or not because the style of animation was done so well and felt so natural that it felt like it was all CGI.
It's the same when it comes to heavily referenced animation. They tend to look so close that your curiosity just peaks over the process.
Klaus was also rendered in a way that made it look 3d which added to the confusion for some.
I recently watched "Arcane" on Netflix. I assumed it was mocap, but was quickly corrected by a friend. I went from "that's mocap" to "that's damn fine animation!"
@@PaulNaas it doesn't really look mocap, the movement of the characters is pretty realistic/grounded but they're more animated looking compared to mocap stuff.
@@ginogatash4030 I disagree, but that’s fine.
Such a helpful video! I'm not sure if this entirely fits the topic of the video, but the misconception I would see students fall for a lot when I was in school was that they would adjust the frames per second of the final animation to get the desired timing rather than sticking to 24fps and drawing the appropriate timing. I blame Adobe Animate/Flash for this, as the fps option is very easy to tweak, and it's prominently displayed in the UI. Even still, it's shocking how many people don't realize that 24fps is the standard for film and animation, and even more shocking that my professors would just assume everyone knew this fact.
I hear students say this all the time, and I make a point of correcting their perception. The only constant we have is 24 fps. I think sometimes students confuse frames per second with drawings per second.
@@PaulNaas could you explain the difference to me? I'm just now getting into animation and things are still kinda confusing
@@adoragrayskull I'm not him, but I can elaborate. The most important thing to realize is that "Frames" and "Drawings" are two seperate things.
The standard for most film and TV shows is 24 frames per second. That means that 24 images are shown in 1 second of film. In animation, it's not always feasible to draw a new drawing for every one of those frames, so shortcuts are taken. If something is drawn on "twos", this means that a "Drawing" is shown for 2 "frames" of film. The film is still being played at 24 frames per second, but some of those frames feature drawings that are duplicates of each other.
Noodle's video "Smoother animation ≠ Better animation" here on TH-cam has a section at the beginning that explains this really well visually, so I highly recommend checking that out.
@@FazerGS oh my god thank you thank you thank you
@@adoragrayskull sure! Frames per second is the playback speed of the medium: 24 for film, 30 (roughly) for video, and so forth. That rate never changes.
Drawings per second is the number of drawings used in a *particular* second of animation, and it can vary significantly. Richard Williams animated "on 1's, " meaning that there was a new drawing for every frame of the film. Most classic Disney animation is done "on 2's," meaning that a single drawing is held for two frames (unless the action is complex or fast, then it switches to "on 1's" during that action).
Bill Plympton animates "on 3's," holding a drawing for three frames - because he's the only one animating his stuff, and it cuts the number of drawings he has to do to finish a project in half.
Hope that helps!
Wonderful Video.
1. 100% agree, Pixar and most studios often use self video reference all the time. referencing shouldn't be as vilified as it is.
2. Agreed, Appeal is a really nebulous thing too just like the rule of cool, cause what is cool to you may not be to someone else so the "rule" is pointless to a degree.
3. True, Smoother on 1's animation doesn't equal better. Animation is literally a visual illusion, you should use 1's,2's,3's even 4's and beyond when you need to.
4. Understanding the timing and spacing difference is very hard to wrap you head around. The best way to get timing and spacing is to do character and physically based animation tests. The character tests so you can learnt o hit emotional beats and the Physical tests like the bouncing ball to understand it in context of the physical properties.
5. I agree that follow-through and drag isn't secondary action, but I think your example of what was secondary action is partly incorrect and is simply primary action with character or as you said nuance.
Your swordsman at 7:34 demonstrates secondary action. He is moving forward as the primary action and the way he swings his sword and movement in the top half of his body is the secondary action. typically I'd also say a secondary action carries on after the primary action is finished and either compliments or is counter to the primary action. (although honestly this could just be my terminology)
6. Agreed S&S is only a part of achieving weight, although while I agree that you can change the Keys, Downs, Ups, spacing and timing to improve the weight in a scene/shot the number one thing you can do to improve weight is adjust the in-betweens, since the timing is often decided by how long the shot is and the audio provided, and the keys are based on the emotions needed to be displayed motion explained, In-betweens are the best place to start fixing weight.
You're always teaching me more than my college professors ever did. Thank you.
Not everyone who's good at a thing is good at teaching how to do that thing. Unfortunately, a lot of colleges are impressed by credentials and hire folks who aren't great at conveying information.
Babe, wake up! Toniko posted a video
Some things to maybe add into this pile: Ease/Slow in/out. Flash animators have gotten accustomed to reversing ease terminology because the program itself does. It refers to an ease in as an object beginning to move slowly and accelerating, and an ease out as an object in motion decelerating and coming to a stop. Traditionally a slow in would be the object in motion coming into a pose and vice versa. I'm not sure if you differentiate between ease and slow or if those are synonymous [I believe williams used them interchangeably in the survival kit]. Curious how you use them!
Another I've encountered is a line boil being referred to as a "shimmer." Occasionally also as a traceback [which I suppose works but I do think of that a bit differently].
thank you so much! this is a great "cheat sheet" to look up the meaning of the animation lingo. regarding the smoothness/fps in animation: noodle made a great video rambling about this. I watched it at least three times.
Thanks for these vids man, i just started out animating last week and your vids are really helping out
I see that aot Reference on the thumbnail.
THANK YOU for talking about reference vs rotoscoping. Every single time
I was just talking about this on my facebook: I recently realize that there's a confusion about Ease in/Ease out (Slow in/Slow out). When I went to school in the US, I was taught and has since then understood slow in as the beginning of an action, and slow out as the end of an action. But as I'm working with more international partners I've come to realize that there are a great number of people who understand the complete opposite which means slow in is the ending of an action and slow out is the beginning. This is confusing the hell out of me.
When I was studying I also thought that and threw the terms around interchangably tbh, I think a lot of us did. Only YEARS later did I realize the terms mean 'ease OUT OF' current pose and INTO the next. Hence why 'out' is the first and 'in' is the end. It's counter-intuitive because we have this "in comes before out" association in our brains. Remember it as ease OUT OF and ease INTO, if that helps.
Thanks for the video. I remember starting with animating in high school and getting confused by some terms especially since english is not my primary language and all the terms are stranded on english so translating and explaining to others in spanish got things even muddier. I do have a bit of a gripe with the 12 principles since even my teachers on freshman year of college got confused or confused by the terminology. I think they need a bit of update or iteration. Rhythm is a better word for the principle of "timing" and I understand more overlap/follow through as "reaction" since that what essentially is, objects "reacting" to dynamic forces independent in their on way (main body, clothe, hair, etc.). Hope there can be more clear information and communication between people by being critical and not just repeating beat by beat the same lessons over and over.
I've been animating since 3 yrs and since the beginning I've been asking these questions everywhere, every stream, every forum and saw even most of us being confused and unclear. thank u for answering them. FINALLY
So in my experience at school, it was always called secondary action. I never heard overlap used at all. BUT, 1- it was taught by french speaking professors, and I kind of wonder if its just a simple problem of language? and 2 - I've seen in the industry terms change all the time and its MADDENING. So I get not wanting to be a grammar police, but dude animation isn't exactly a hard science , its constantly evolving and changing. So while I get where you're coming from, different animation books say different terms for essentially the same damn thing. (RE: Keys vs Extremes, Illusion of life vs Richard William's animation bible) The Disney guys might've coined the terminology, but animation was being made and developed way before and there wasn't any specific words for it.
Thank you for this, I have to animate the 12 principles and needed clarification on secondary action and appeal
Holy crap, I literally just learnt this in class. That’s was probably the first lecture I had where the lecturer was helpful
With you 100% on everything you said, especially overlap vs. secondary. That drives me up a wall! Great video.
I have not learned in 4 years of animation school what you taught in 11:52 seconds! Sooo helpful
i use to to get overlapping and secondary animation mixed up all the time until now, now it clicks thanks man!
Ayo is that the Yelena face from aot???
I wonder if a good example for "squash and stretch vs weight" is when you have a robot character. Because the robot is a not a flesh and blood creature, they're generally not going to experience squash and stretch in that traditional sense, but presumably you still want the character to feel heavy.
Alternatively, discussing "squash and stretch" as a concept seems to be pointing at something deeper (i.e. what your character is made of, how do you think about a given character's movement.) rather than its more literal application.
I gotta admit, I've been guilty of getting many if these terms wrong before either from confusion or just not knowing the term period, overtime I learned how to use terms better like distinguishing animation from artstyle or storyboards from animatics but even then I'll sometimes get it wrong and this video definitely helped clear a lot of misconceptions I had and also taught me some new terms so yeah, just wanted to say I really appreciate this video, along with the rest of your videos. They're a huge help to a current project I'm working on.
Thank you very much for existing, thanks for the advice I love you ❤
i did all the mistakes in past….i still do but now i have the idea where i am going wrong….thanks for this informative video…❤️
Thanks for clarifying each term for all of us! I always find your videos so useful as a teen just starting off learning how to animate! It's nice to learn which term means which early on!
Also just a side note: I love the animation with the fox running and the ball with the tail! They are so cute!
Bruh this thumbnail is so cursed XD
Its the AOT face from Yelena!!! Hilarious!!!
Literally the main reason I came here 😂 that grimace game tho!
2:53 BonBon in real life
Thanks Toniko !! You are great to ALL of us learning animations
For the record, not an animator myself.
On in-betweens, I thought the audience's eyes would fill that in themselves when they're absent and if the animation is timed and spaced correctly, it'll flow just fine. Adding in-betweens where it's not needed creates this dissonance? and the jerkiness you showed earlier.
Try looking at the cartoon Kid Cosmic, it's by Craig McCracken who made Powerpuff Girls
The animation mainly uses key frames with few in betweens, but the motion is still believable cause the poses read so well and they're timed in a dynamic way
THANK YOU SO MUCH!
Thank you for this fascinating video! I'm completely self taught when it comes to animation, but have really been making an effort to learn, so that I can make my own videos about nature more interesting/engaging. Your lessons have helped me so much already. I try to implement something new you've talked about with each of my videos that have animation in, and although I still have a long way to go, I can feel myself beginning to understand the concepts and becoming less afraid to push my limits and try something new!
lol, he used the aot meme here in this video
Next video on weight? 🤩
I really gotta know how to have more weight in animation and less floatiness
WOW! Amazing Tutorial!!! So much information squeezed into such a short time. SPECTACULAR VID! Thank you!
Damn this is a really really good video. I've often had issues with the definition of Appeal- was too subjective. Like I personally think the Adam's family animated feature has zero appeal.
I've studied a lot from Richard Williams, he's talked about Keys being your main story beats of the animation and extremes being the changes of direction in the animation. I've understood that as Keys are your acting pieces that really showcase the character, potentially a lot of emotion, whereas extremes are more the mechanical "here's how things move". I really like how you talk about secondary action as being part of that, adding to the primary animation. Primary animation being the baseline and secondary being the emotional part which transforms a basic anim into one with flair and character. But how would you fit these two concepts illustrated by you and Williams together? Are they interchangeable? or are they used to illustrate two different ways of approaching animation? Would love your input, if you can't get to my question that's cool, i'm enjoying the video either way, Thanks Toniko!
Your videos are great, thank you!
just a side question.. how do you feel about puppet animation (with rigs and deformers). I saw you also have Harmony (i guess premium?) which is often used for those types of animations.
or are you only frame by frame oriented.
ty for making this, the roto vs reference thing gets me mad lol
Was watching this video, and heard these two professional animators get 'ease in' and 'ease out' backwards. They thought you... eased out _into_ a motion??? And eased in when the motion was _closing out??_ It really wasn't that important but it drove me crazy watching their video. How do you get that mixed up?
Well, the traditional understanding is that you're easing in/out of poses, not of motions. So if I have Pose A -> Pose B, I ease out of Pose A and ease into Pose B. But other comments here have pointed out how easy it is to get them mixed up, like how Adobe Flash uses them in the reverse order so that's what new animators get used to
Heyy, please make a step by step process video on how to apply for animation studios, what are the requirements. Please 🙏🙏
How to move an onion skin drawings in Toon Boom Harmony like in 11:16? I realy need it but can't find.
Super
This is legit so helpful
Awesome video!
Omg! This so helpful! Thanks Toniko :D
What's Yelena doing in the thumbnail? lol
😂😂i love this Thumbnail yelena face meme
I was trying to learn how to write scripts... every person teaching use the same words for totally different things. So, since then I don't care about how is something named because nothing change at the end of the day
No a peel is the first layer of a fruit.
i think straight vs curve falls more into appeal than solid drawing. its a design choice.
kaya pala hindi kami magkaintindihan ni direk tungkol sa overlapping action at secondary action.
What is the intro music at 0:24? I have been looking for nearly two years
happy mandolin
carré dans l'axe
And then there's me, not knowing what I did in animating in the first place.
Hello toniko
I don't understand the example at 3:38. The dragon on the left seems much more appealing to me; a sense of imbalance can very much be used for visual appeal. Which you appear to have done but marked it as. . .wrong?
that example isn't based on appeal.
This example is don't about appeal, he said this on the video.
Those drawing aren't an example of appeal but solid drawing, the character on the left can appear more expressive because of the more exaggerated tilt of the pose sure, but that wasn't the principle he was trying to illustrate, he was showing solid drawing, and the lack of balance in the figure is why he marked it wrong because the weight of that pose makes it impossible for the dragon to stand up right like the one on the right does, essentially appeal is the emotion/vibe of the scene while solid drawing is all the technical drafsmanship that makes everything look solid and believable, the dragon on the left may appear more appealing because the imbalance tricks our eyes into seeing more expressiveness but in reality it's a lack of solid drawing, which may look fine in a single image if you don't pay too much attention, but can cause problems in an actual moving animation.
Of course you can combine the principles in your work, and even disregard some in specific contexts, but he's keeping them separate in this explanation to help aspiring animators better understand the terminology to avoid confusion over what's what, which can cause confusion in projects.
Hope this helped clear things up and didn't complicate things further.
@@ginogatash4030 Thanks, that makes sense.
@@joeedh no problem.
Let's eat Bonbon.
Is the thumbnail referencing Attack on titan? XD
Bruh stick nodes community is misunderstanding about rotoscoping and heavy references
ayo yelena-
Why does your thumbnail look like Yelena?
ok.
As a feedback, a song as a background is not a very logical idea for an explanation video. I had a few episodes of not understanding what you are talking about due to your voice overlapping with the voice in the background song and it going fumbly. I assume you have changed your microphone a while ago, but still the promo in the end cuts the ears with a different acoustics and mic quality. That might be just me ranting, but I assumed that its a feedback nontheless. As always your videos are very informative, thank you for that.