For People Crazy About 2D Animation!

Acme Punched! is for people crazy about 2D animation. It may be enjoyed by beginners and others, but it is aimed at animators who know already something about the process of animation and the basics of character animation. In large part, it will attempt to provide a deep look into the problem solving that goes on in my head as I work out a scene, often in step-by-step posts that I will sometimes enter in "real time", without knowing in advance what the outcome will be. Mistakes and false starts will not only be included but emphasized, so that the creative process of animation will be portrayed realistically. And, while my own bias is for 2D drawn animation, many of the effects and principles discussed here can apply to CGI 3D animation as well. I hope the blog will prove useful and instructive for all.

-Jim Bradrick

Saturday, October 28, 2017

No. 139, What's Inside, 2: The Gadget, Part Two

The Numbers Racket

Depending on what changes are made, a drawing number might eventually return to its original designation!

In 3D animation, the frame or image numbers are counted for you, more or less, so if you make a change in timing, your computer just resets the numbers.  (Haha! If I am wrong about this, I expect some of you with more experience in 3D than I have will set me straight.)

Animating on paper, your drawings must be hand-numbered and those numbers must be entered on your (paper) exposure sheet. Later on, beyond scanning, your pencil test or animation program such as Animate Pro will track further changes. Before that, however, it is pencils and erasers.
Actual re-numbered drawings.

I confess that I have to use erasers for renumbering quite often. It is a simple matter of lack of experience. Perhaps you find that surprising, but my career experience compared to that of, say, a Ken Harris at Warner Brothers, is insignificant.

Consider that a Hollywood studio animator in the 1940s or 1950s would turn out up to 30 feet of animation a week. That's 20 seconds. He was responsible only for timing and extreme and breakdown drawings, and for making spacing guides for his inbetweener. In some situations, timing was already worked out by the director. And the animator worked at this week after week, year after year.  It got to the point where such an animator would look at a scene and know instinctively and accurately how long a hold should be, or how short. Thousands of career hours "on the board".

Compare that to the independent animator like me, who also has had to perform all the other job titles that animation production entails--storyboarding, layout, inbetweening, digital ink and paint (and, oh yes, actual ink and paint on cels until the 1990s), background art and camera  work--and you can see that my actual time spent "on the board" doing animation was but a small fraction of my total effort. What would be my footage count in a week? Averaged out, it would certainly be less than one foot.

Factor in also all the down time: time spent looking for new accounts, time waiting for contracts to be signed, time working at some day job when the animation work just wasn't there.

Is it any wonder that for all that I do know, I sometimes get it wrong when I try to time out in advance how long the Old Man should gaze into the darkness of his trunk before turning back to look at the guards? Not enough flying time; not enough hours "on the board."

Thus, I erase, renumber drawings, and sometimes have to renumber them again.  I elect to use a 12-frame hold, then see in pencil test that 16 or 20 frames is better. Some other hold is too long and gets shortened.  Yes, it is mostly changes in the duration of holds that causes my numbering changes. I need more experience "on the board."

But I'm working on that.

[Note: I use the Disney numbering system which links the drawing number directly to the frame number in the scene. Thus, if you add or subtract drawings or change an exposure length, all the subsequent numbers are thrown off. This is, admittedly, an awkward system for someone not yet sure of all timing.] 

And while I'm on the subject of timing, let me tell you about...

The Hold that Isn't There

Before continuing, please go back to post 138 and play the video again. Look for the part where the Old Man, after himself looking into the trunk, straightens up a bit and looks back to the right before plunging his hand in to get the cylinder.

Do you see the hold there?  Right at the top of the action, right before he turns back to the trunk? No?

Well, there was a hold there. It was just 6 frames long, right on this drawing here.

The drawing that was held for 6 frames.

I had been very deliberately experimenting with a moving hold there, getting the Old Man's head turned early in the move so that the pose of him looking to the right would read without actually holding on one drawing. Then, before testing it, I lost my nerve and added in that 6-frame hold. (Which affected the numbering from that point on.)  It did look okay that way, but later, remembering my original idea, I took that hold out--reducing the exposure on that drawing from 6 frames to 2, actually--and found that it still worked quite well.

Lesson learned: with 8 drawings or sixteen frames, closely spaced, all showing his head looking to the right, no actual held drawing is necessary. What about 14 frames or 12 or 10? Will the pose still read? Maybe. Every situation, every animation scene, is different. You can always do a pencil test.

Saturday, October 21, 2017

No. 138, What's Inside!, 1: The Gadget, Part One

Where have I been?

Me at St. Michael's Mount, Cornwall.
I took a month off for a road and hiking tour of western England, plus Wales and Scotland. Had a wonderful time but now I am back with plenty of new ideas for blog posts to keep you animators thinking.  Let's get into it!

Now that I have reached the actual animation stage of my film production of Carry On, I find it appropriate to try to detail all the thinking and planning that go into many of the scenes I will be animating. I am now calling this type of post "What's inside!".

"What's inside" means all the things that the animation includes in terms of drawing, timing, spacing and any other aspects of the animation process that can be explained, and also the missteps and changes that take place before the scenes are finally approved.

I'll start with a scene I have referenced before, scene 6-15, where the Old Man opens his trunk and pulls out a cylindrical device which he then holds out for the guards to see. I am still working on this and have made some changes in the last few days.

First, here is the latest version:

A Puzzle

I have a lot to say about this scene, but first I have a fun puzzler for you. I challenge you to compare the latest version with this slightly older one and then say what change in animation has been made between them.

Don't be distracted by the more complete drawings in the new one--that isn't what I am talking about. If you can see what I mean, contact me and I will send an original drawing to the first two people who get it right.

Getting into What's Inside!

Okay, I have already showed you (in post No. 137) how I animated some of the legs in a second pass.

Now lets look at the movement where the Old Man, beginning with his hand inside the trunk, lifts the cylinder out and then turns and holds it out toward the guards. This movement required 29 drawings on two's, so it lasts 2 1/2 seconds up to the hold at the end.

Simple? Not quite. There are really only two key drawiings: the first and the last. (Remember, key drawings are the drawings that tell the story.)

The two Key or story-telling drawings, 163 and 235.

But clearly I needed more extremes than that, because, for one thing, how are you going to chart 27 inbetweens?  That might look like this!

Also, the change from one key to the other is enormous, so a little control is necessary, and you get that by defining the move with some more extremes plugged in.

I did this by animating more or less straight ahead between the keys and, working rough, produced three extremes.

The added Extremes/Breakdowns: 195, 207 and 223.
I have called these drawings extremes because they bear timing charts, but in fact they are more in the nature of breakdowns. Breakdowns, remember, are important drawings--possibly as important as the extremes themselves--since they define just how the action gets from one extreme to the other, and they can be eccentric. By eccentric I mean unpredictable and, in terms of inbetweening, illogical, because they can go where an inbetween cannot go.

A major example of this in scene 6-15 is what happens with the head relative to the hand holding the cylinder. I decided that I wanted the cylinder to arrive sooner than the head to its final position, because the whole point of this action here is to get the cylinder out and display it to the guards. If you play the scene, you will see that the head arrives late and catches up with the left hand. This was easily done by simply showing the cylinder almost to the end of its arc by breakdown drawing 223, a full seven drawings before the hold.

Drawings 223 and 235. His left hand in the first drawing is
 in the final ease-in, while the head still has far to go.
But does the hand-and-cylinder really arrive  before the head? No, it doesn't; look closely at the video and you will see that everything in the drawing comes to a halt at the same time.  The difference is in the spacing of the drawings for each part, which obscures the fact that it does all stop at once.
Here you see the same two drawings in register, making the situation more clear.
Of course the better known way of gracefully going into a hold is to have follow-through on something, hair or clothing or a tail, on an extra layer.  This spacing is just another way of doing that --and of making your animation more interesting to watch!

To be continued in post no. 139...