How To Avoid Floaty Animation
Summary
TLDRこのスクリプトは、アニメーション制作におけるタイミングと口の動きの調整について説明しています。最初のアニメーションのブロックは最終的なアニメーションとは異なるため、柔軟に調整できることが重要です。口の動きを分析し、タイミングを正確に調整することで、アニメーションの質を向上させることができます。スクリプトでは、口の動きが「these」のような単語を発音する際にどのように均等に分割され、どのように正確にタイミングされるべきかについて詳細に説明しています。また、アニメーションのタイミングを設計する方法についても提案しており、キーフレームを追加したり削除したりすることで、アニメーションの速さや遅さを調整することができます。
Takeaways
- 🔍 アニメーションの最初のブロックは最終的なアニメーションとは遠いため、初めから固守するのは悪い考えです。
- 🚀 動かしながら調整し、機能がうまくいかない場合は素早く変更することが重要です。
- 🗣 口の動きは、閉じるのに5~6フレームかかるように均等に配置することが望ましいです。
- 📉 中間を長く過ごすことは避け、それによって形がぼやける、線形になる、退屈な印象を与えるからです。
- 🎨 言葉の発音の形を理解するために、特定の形(pose Aとpose B)を強調することが重要です。
- 🔧 中間形状は美しく設計されるべきですが、できるだけスキップされるべきです。
- ⏱ タイミングは、口の同期と体の動きの原則が同じです。長く過ごすと線形で退屈になります。
- 🎯 タイミングを設計することで、線形で退屈なアニメーションを避けることができます。
- 🖼 アニメーションのタイミングを決める方法は、キーフレームをタイムライン上で移動することで調整できます。
- 📌 アニメーションの最初段階では、全てのポーズを設計し、それらのタイミングを独立して決定します。
- 🛠 タイミングとポーズを別々に設計することで、より焦点を当て、より自然なアニメーションを作ることができます。
- 📚 練習を通じて、タイミングの設計が自然にできるようになります。
Q & A
アニメーションの最初のブロックが最終的なアニメーションとどれほど離れている可能性があるか?
-最初のブロックは最終的なアニメーションと大きく離れている可能性があり、そのことに固執することは良くありません。
口の動きをどのように調整すれば、アニメーションがより自然に見えるか?
-口の動きを調整する場合、口を閉じるのにかかるフレーム数を均等に配置し、中間の状態を避けることが重要です。
アニメーションのタイミングをどのように設計すれば、線形で退屈なアニメーションを避けられるか?
-タイミングを設計する際には、インとアウトのタイミングを調整し、必要に応じてキーフレームを追加または削除することで、線形で退屈なアニメーションを避けることができます。
口の動きのタイミングをどのように決定すれば、口の音と同期させることができるか?
-口の動きのタイミングは、口の音と一致するように調整し、中間の状態を避け、特定の音に焦点を当てたポーズを強調することで同期させることができます。
アニメーターがアニメーションをよりスムーズに進めるために学んだことは何ですか?
-アニメーターは、最初のブロックが最終的な成果物と異なる可能性があることを学び、そのことに固執せず、柔軟に対応するようになることが重要です。
アニメーションで「these」という言葉を表現する際、口の動きはどのようにすべきか?
-「these」という言葉を表現する際、口を閉じるのに5から6フレームかかるようにし、均等に配置することで自然な動きを作り出します。
アニメーションのポーズをどのように設計すれば、視聴者が正しい情報を得られるか?
-アニメーションのポーズは、視聴者がAとBの2つの形を正確に理解できるように設計し、中間の形状はスキップできるようにすることが重要です。
アニメーションのタイミングをどのように調整すれば、自然な動きを実現できるか?
-タイミングを調整する際は、ポーズの間に必要な時間を決定し、その間に適切なイージングを加えることで自然な動きを実現できます。
アニメーションのトレーニングで役立つ手法は何ですか?
-アニメーターは、アニメーションの開始時に全てのポーズを設計し、それらをタイムラインに沿って調整することで、タイミングを個別に設計できます。
アニメーションで体の動きと口の同期をどのように調整すれば、退屈なアニメーションを避けられるか?
-体の動きと口の同期を調整する際は、同じ原理で、中間の状態を避け、インとアウトのタイミングを適切に設計することで、退屈なアニメーションを避けることができます。
Outlines
🎨 アニメーション制作における柔軟性とタイミングの重要性
アニメーションの制作において、最初のブロックと最終的なアニメーションが大きく異なることを理解し、そのことに固着しないことが重要です。口の動きのタイミングや形状の調整、特に中間の状態を避けることがポイントです。口の閉じ方や言葉の発音のタイミングを正確に表現し、中間の状態を避けることで、浮遊感や線形で退屈なアニメーションを作り出すことができるでしょう。また、タイミングの調整には、ポーズを決めてからタイミングを調整する方法が提案されています。この方法を使うことで、アニメーションのリズムをより自然に表現することが可能です。
🎥 アニメーションのポーズとタイミングの設計
アニメーションにおいて、ポーズを設計し、それぞれのポーズを十分に美しく仕上げることが重要です。ポーズを決めたら、それらの間でのタイミングを調整し、アニメーションの流れを自然な形で表現することが求められます。タイミングの調整には、ポーズ同士の間の時間を決め、適切なイージングを加えることが重要です。この方法でアニメーションを制作することで、線形で退屈なアニメーションを避け、より魅力的な作品を作り上げることができます。
Mindmap
Keywords
💡blocking
💡adjust
💡mouth movement
💡timing
💡pose
💡ease
💡linear
💡in-between
💡sharpness
💡tradition
Highlights
It's important to be flexible with your animation as the final product will likely differ from the initial concept.
Adjusting on the move is crucial; don't hold onto initial ideas too tightly.
Mouth movement should be quick and evenly spaced to avoid a mushy look.
Focus on key shapes during lip sync to maintain clarity and avoid unnecessary in-betweens.
The timing of mouth movements and body actions should be designed to avoid floatiness and linearity.
Use ins and outs in timing to create a more dynamic and engaging animation.
Design key poses to be strong and visually appealing, then adjust the timing between them.
Poses should be designed to work individually, ensuring they are impactful on their own.
Decide the timing between poses by moving them on the timeline to create a natural flow.
Adding ease in and ease out helps to create a more natural and less linear animation.
Focus on the timing separately from posing to avoid a linear trap and create a more dynamic animation.
Practice designing timing to improve your animation skills and avoid monotony.
The method of designing poses first and then timing separately can lead to better animation outcomes.
Animation should be designed to be engaging and not fall into the trap of being boring or predictable.
Transcripts
super important to know that when your
blocking is is so far from the final
animation so trying to hold on to it is
a bad idea just need to be able to
adjust on the move and be able to just
you know if this is not working I think
I did a shot I did a demo the other day
for someone
and I had just let's say the Arc was
going up and down this and then I edited
the front which meant that up and down
no longer worked so I had to change the
up and down I basically had to flip it
or move it or something but it just goes
to show that what you start with is
probably never what you're going to
finish with
and you shouldn't try to hold on to it
too too tightly so it's great that
you've kind of learned that and has
enabled you to move forward a lot easier
when you say these uh these is a very
strong word these like like it's a quite
quick so your your mouth movement if you
look
see how slow you're closing the mouth
you got one two three four five six like
five to six frames to close the mouth
and they're all evenly spaced like this
so when you say these you might you
might actually think
um
it I'm not sure exactly where on the
word it would be but this would kind of
be the timing I would go for
you know so yeah basically you don't
want to spend any time in the middle
because this is when it's going to get
mushy and and splany and floaty whenever
you spend too much time in the middle
that's when that you get that awful look
so if you're quick if this is pose a
this is pose B this is what the you want
the viewer to read you want them to see
the A and the b in this H the T in this
case the th and the E the E's easiness
so these are the two shapes that we need
to understand in order to understand the
word that she's just said so anything in
between is
subtracting from these shapes you know
what I mean they're just an in-between
shape so they should be designed nice
but they should try to be skipped at all
costs
you know what I mean like the because
especially when you're like this is okay
because it's just one word but when you
have fast lip sync you have to really
choose which Which shapes you want to
favor and being able to move through
shapes as quick as possible and it's
it's without looking like a
not real
um it's a good idea if you don't want to
spend too much time in the middle so
just take a look at that for that that
first word that you have there you can
make that a lot sharper and just make
sure you hit the shapes and and then we
just want to see the ease in the shape
so this this shape here is where we want
to kind of see the E and the S and then
this is going to push it just a tiny bit
out so
you probably hit this and then you could
just push it out just a tiniest bit you
know just
these okay
does that make sense but it needs to be
sharper basically so one of the things
that we're seeing a lot in your
animation is this kind of timing so just
based off the mouth and this head turn
basically
um so you've got to make sure you're
doing the
because with the lip sync and the body
movements it's the same principle if you
spend too much time in these bits it's
going to be floaty and
linear and boring basically but if you
if you design the timing basically you
just need ins and outs like slow in
and slow out and you and that's it and
then the space between here and here is
is where you kind of need to decide how
fast you want something and how slow
if you need it slower then you just add
some more keys you need it faster and
use remove keys this is It's really
simple concept I guess more the more you
do it the more you will naturally be
able to just do it like for example the
way I animate I think a good training
that might help you it's the way I like
to animate and Kevin Jackson taught me
this is you can do poses
like for example
you do all your poses at the start of
the animation depend always depends on
the shot to shot for example but let's
say I've got a shot here and my dude's
just standing here like this and then
the next frame is he's doing a jump so
he's going to bend down
right and then the next one is going to
push off
the dish and then the next one is going
to BSC
for some reason right so these are my
three four poses so normally when you're
posing you might post this one and then
move three three three frames along and
pose this one do a little ease then this
one but you can do this on one frame the
second frame the third frame and the
fourth frame they don't have to be
um in time because all you need to make
sure is that these golden poses are
perfect not perfect but reading you know
close to perfect like really design them
so you know make sure this pose looks
sick whatever pose you want just make
sure it's super beautiful so it'd work
by itself same with this one Design This
one really really good like whatever you
want to do
you know
um so it's really nice and then this one
is super good and this one's super good
so now all you need to do is decide the
timing
between these frames by moving them on
the timeline so you can just grab this
you set this one at one and then you
grab the rest and you move it and you're
like all right that's enough time for
this one
and then all you really need to do is
add a bit of an ease and then a bit of
an ease and this is the you know the
time that you decided to get there for
example so this might be on fight the
fifth frame you're here but you know
you've got a two frame ears the third
frame is pretty fast and then on the
fourth frame you're already there and
then maybe you've got like a true frame
here so let's say six or seven frames
right and then you've done this and then
this is fast so you probably want to do
it on the next two frames you don't want
to take five frames to get to this
because this is the lunge so you might
just have you could have one or you
might have two and you know you just
have the in between like this and the
arms come up or something
and then once you get there you want to
be like all right well how much hang
time do I want and how do you want to do
this set so once you have the poses you
just have to decide the time that it
takes to get between the poses right and
so
with that method it's really easy to not
get this kind of timing where everything
is like super linear boring because
you're designing the timing as as a
separate thing for example you're not
posing and timing at the same time
you're posing and then you're timing so
you can really focus on the timing
um
to give that in your mind
obviously we can't do it for this one
because we're already done but I think
that's a good practice to be able to
kind of design your timing a bit easier
and avoid that kind of linear trap
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