This is another variation of the take with some different timing and actions. These are the key drawings from the in-class demo that I did.
Shoot them as a cycle for the 24 - 48 frames.
I've timed this out softer than the other version, just so you can see the differences.
You'll notive on the timing chart for drawing #1 that I have a slo-in and slo-out to the next key #9. Shot on twos, that will be 18 frames or 2/3 of a second which might end up being slightly soft. I didn't pencil test the keys during the demo, so I was just guessing on the timing.
(You'll see later how it looks shot on twos and then how I modified it by playing with the exposures of the drawings)
Now, this is not a key drawing. It's the inbetween #10.
This is the "smear version of the inbetween that is shown in the pencil tests below.
The variation on this would be the strobe, shown to the right.
This is the extreme head position to the right or the "take pose".
Label this key #12.
In Pose D, I'm settling the character back into the recovery.
For Pose E, the character moves forward just a bit as a "shock absorber move so the final recovery doesn't look stiff.
And the last key, F has the character moving back into the final settle pose.
Just for fun, I added in another small take to the camera at the very end. This required an anticipation down key.
And then up into the final look to the camera pose. I could just let the character stick in this pose or add in a final little settle down.
In this first pencil test, I have a 1 second hold at the beginning and end. Everything else is shot on twos the whole way through. You'll probably notice how soft all the movements are. There's no real accent point.
What I did next was go through the exposures in Premier and adjust the drawings so that some of them are on ones. This speeds up the action a bit more at certain points, so there's more variety in the timing.
In this final variation I've made just a couple of minor changes to about 3 drawings. Can you see the difference?
Is it better than the last one?
Or not quite right?
This version is the revised timing with most of the drawings on twos and a few on ones. Can you see the difference?
Most of the time, you can play around with the timing a bit and make the animation look crisper.
For those of you new to this, it may seem confusing but I'll explain it as best I can:
To the right here is the exposure sheet for the scene. The two individual strips are actually two pages, I've cropped off all the unnecessary columns.
On the far right of each strip is the exposure count: 1 to 30, and 31 to 60. So, there are 60 frames total shown here (I left out the hold of drawing #1 and #36 at the beginning and end to save space).
In the "1st test" column, I've listed the drawing numbers and you can see how they're all on twos. In the "2nd test" column is the modified timing, where some of the drawings are on twos, some are on ones and #12 and #32 are held for 3 frames.
This shortens up the overall length of the scene by 8 frames (or 1/3 of a second). It may not seem like much, but you can see how it makes a difference in the two pencil tests.
Don't be afraid of playing around with your drawings like this as you can come up with some nice results.
(Did anyone notice that I left out drawings 27, 29, and 31? That's because, as I was inbetweening them, I realized they would slow the action down way too much, so I just didn't do them, and I saved myself about 10 minutes of needless drawing.)
