Timing and spacing for animation
One of the important fundamentals of animation, whether it
is 2D or 3D animation, is timing and spacing for all your elements and assets
for your short or feature film. Understanding this fundamental element is
relatively easier then some of the other fundamental applications of this
field. The underlying principle of this element is where lies the problem for
most animators. It is very difficult to get the timing and spacing correct in
each project. Knowing how this fundamental element works, as such was presented and
reviewed in the original 12 principles of animation, doesn’t always apply to every project or situation within your scenes.
Timing refers to the length of time it takes for the action
to take place, and spacing refers to place in which the object occupies within
the given frames of animation. At current publication, film still is running at
24 frames per second for animated projects. This is the frame rate that you can
use to base your timing off of. If you have a bullet that is fired from a gun,
the bullet travels from one side of the screen to the other side in 24 frames,
the bullet will have taken one second to traverse the distance from point “A”
to point “B”. Now depending on the position within the other 22 frames, you can
slow down or speed up the illusion of the bullet traveling between those two
points. If you are shooting for a constant speed, no tweaking on frames is
necessary.
Now if you take the bullet that we used in the above
scenario, the bullet takes one second to travel from point “A” to Point “B”. If
we adjust the amount of spacing between the frames, such as in last seven
frames to have more frames of the bullet with positions spaced out, the bullet
will look like it is slowing down. If we took those same seven frames, had less
frames of the bullets position key framed, it will create the illusion of the
bullet speeding up. Within the 22 frames of animation, you can change the
amount of spacing of your object drastically, creating timing effects on that
object in relation to the other elements within the shot. With this example,
you can see how the spacing of an object is in direct relation to the number of
frames you use will affect the timing of the action that takes place for each
of your elements.
This same concept is true for ALL your elements weather
static or dynamic.
Many animators look to other projects and short films that
have been done by seasoned animators in order to glimpse at what professional
timing should look like. The best practice for a budding animator is to look at
real world reference to understand the elements of timing and spacing. This is
how seasoned animators learned as well. The principles of animation that were
created all those years ago and modified down to this very day where built on
real world principles. Some of those principles where exaggerated in order to
create a more entertaining shots and characters. I use to have drawing sessions
with a friend of mine, he would come over and we would practice drawing rough
shapes and compositions. He showed me a really good technique to enhance my
view of timing, composition utilizing movies and T.V shows. He explained to me
that these shows are already composed to a professional standard, and the
action is live. Even though the show was scripted, the actors still acted like
you or I would in a normal situation. Granted some actors are better than
others, but they still move and provide that much needed example of real world
principles. We would start watching a show or movie, and we would take turns
just randomly pausing the show and drawing what we saw in that frame. We would
limit ourselves to only two to five minute sketches in order to remain loose
and not get bogged down in details. A really great artistic exercise I highly
recommend! Being able to reference the real world on the fly will provide you
with an excellent grasp how timing is a critical point in any project.
Every movement that you make can be divided into timing and
spacing examples. If you reach for a remote for your T.V to change the channel,
what kind of timing does it take to accomplish that? Did you pick it up slowly,
or quickly? Where you distracted at some point during the action that it caused
you to act differently? How do you press the button? What happens when you find
out that the battery does not work after many minutes of getting frustrated
because your channel will not change? All these affect your timing and can be
simple or as complicated as you want to make them. Most animators only show
enough action or timing to get the idea, though, or emotion across to their
viewer.
When I watch an animated film or a short done by some other
professional or amateur animator, I look at the action that is taking place in
that scene and begin to analyze it. I look at it and ask if the action could
have been different, was it effective in conveying the message or idea could
the timing or placement being off. There are literally thousands of ways
something can be done; there is no single way for it to be right. For instance,
you walk into an art gallery. Someone next to you looking at the same painting
you are at the exact time and moment. What are the odds that they are
interpreting that painting the same way you are? I can guarantee you that your
thoughts or outlook on that painting at that moment will NOT be the same. So
some ones viewpoint on timing and spacial awareness will never be the same as
another persons. Does this make it bad? No, It is just their personal opinion,
how you make your project work and the way you visualize it is what is
important.
As you practice visualizing people, objects and other
elements in the real world; you will find yourself do so every time you go out
onto the street or out to socialize. I like to call it people watching, sounds
a little creepy, but it is only for artistic endeavors only. The more you
practice these principles; you will find that it will become second nature. You
will find that you cannot shut it off, that you will be observing even when you
are not trying to. This will be both a curse and a blessing; it is just another
part of mastering your techniques and skills as an animator.
Not only can timing give action and speed to your elements
within the shot, but also can give thought and motivation behind your character
object. Remember I talked about the remote, the action you would follow to
change the channel and all the endless possibilities that could occur within
the time it took? Now take and think about the thought or motivation behind why
you needed to change the channel. This is one reason that timing and spacing is
so difficult, there are so many alternative actions, thoughts or motivational
points behind every scene, it becomes almost a mathematical necessity to
approximate the correct line of action for the thought or idea behind the
motivation. And this is why there is no definitive correct answer for each
scene. You can get a close approximation to what works, in order to get your
idea or motivation across to your viewers.
‘The Dam Keeper’ by Dice Tsutsumi and Robert Kondo.
