Timing refers to the number of drawings or frames for a given action, which translates to the speed of the action on film. On a purely physical level, correct timing makes objects appear to obey the laws of physics; for instance, an object's weight determines how it reacts to an impetus, like a push. Timing is critical for establishing a character's mood, emotion, and reaction. It can also be a device to communicate aspects of a character's personality.
The concept of timing is pretty straight forward conceptually. It describes how long (in frames usually) actions take to go from point A to point B. A ball that takes 15 frames to move from point A to B is going to move faster than a ball that takes 25 frames to do the same.
Spacing is a different look at the same concept of timing as it describes the distance something travels over a given time. Taking a different spin on the first example here we have a ball that takes 15 frames to travel from point A to point B. If we retain the 15 frame count for the move but make points A and B farther apart the ball will move faster even though our timing is exactly the same. To speed up movement you either have to have less time during the move or more distance over the same time.
In this video we have 2 balls moving from the same point A to point B (left to right). However, the ball in the back does the move in 8 frames while the front ball does the move over 15 frames. This is an example where the timing changes the speed of the ball. Less time over the same distance equals faster move.
In this video we again have 2 balls moving from the left to the right. This time both balls move over 15 frames but the rear ball only moves half of the distance of the front ball. At frame 15 the front ball is on the right of the screen while the rear ball is only in the middle. The rear ball appears to be moving slower. This is an example where the spacing changes the speed of the ball. Less distance over the same time equals slower move.
When we are approaching animation timing is HUGELY important. Not that everything else isn't important, but even the best posing, squash and stretch and appeal will be completely obliterated by bad timing. Bad timing can even occur when a key action takes 1 frame too many or 1 frame too little to complete.
The absolute best way to improve timing is through Observation and Practice.
You have spent your entire life observing. Put that experience to work and trust your intuitions about timing when things just feel off. Your challenge as an animator is being able to break down the "things that feel off" into a language (and process) that you can communicate with and fix so that it is corrected. When using a 3D animation tool like Maya this can often be the hardest part of animation because even though we know it isn't right, how to make it right is more of a challenge. Remembering that Maya is a tool (Like a big expensive pencil) means that it will only do what you tell it to do. Maya has some things it does to hopefully make your life easier, but that remains a sticky comment for most of us at times.
Ultimately animation is a frame by frame process. Every frame counts. Every frame matters. "EVERY STINKING ONE!."
When doing hand drawn animation someone has to draw each of those frames. In a large production principle animators are responsible for all of the key frame drawings and any breakdowns required for the shot to work. The rest of the frames that fall inbetween the keyframes and breakdowns are called the... you guessed it... inbetweens. These are also called tweens. Usually these are produced by animation assistants in large productions. The relation between the keys, breakdowns and tweens are hugely important. A slight spacing issue from frame to frame or too little or too many frames existing between actions can cause a major break in the shot.
The principle animator usually oversees the work of their assistant to ensure the overall feeling of the shot they are producing is retained. As 3D animators our animation assistant is Maya and the animation curves that flow between our keys. Our means of overseeing the tweening process is through the adjustment of keyframe tangents in the Graph Editor. Our interactions with the graph editor look and feel more mathmatical than the artistic feel of pencil on paper, but in essence the "math and science" are absolutely identical. As we step frame by frame we tweak the keyframe tangents to ensure the values we are editing (Translate, Rotate, Scale, etc.) have the value to put the object we are animating exactly where we want at exactly the right time. This is why getting good at blocking out our shots can be so extremely helpful. If we get our Keys right doing the inbetweens comes much easier. Work with as little information as you can for as long as you can. Then add more and repeat the process until you have a fully polished shot.
See Module 8 for the specifics on this assignment you should already be working on. This week we will be completing your flour sack II jump.
Once complete submit your final playblast MP4 video to Assignment 8 on UNM Canvas