Timing and spacing for animation

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.