These are dinosaur notes about the way we worked back then. This was a necessity because of the sheer volume of drawings that needed to be completed for each scene, for each character, for each special effect, in each sequence in each film. Now that I look at these notes, I think page 4 should be the FIRST page. This is used to make the action even paced. The "Thirds" will move slower than the first timing chart , but faster than the one with the three inbetweens. This type of inbetween is used if you want the action to soften into the key but not be at the 1/2 way point as this would slow the action down. Eric Goldberg is a good example of that. Yes, its a smaller, traditional-animation-hungry crowd with a fair amount of knowledge about how animation is done, but nonetheless, there is interest. I hope you get something out of them. "Stuff I like, what's on my desk, or what's on my mind". In the end, I think I charted more like Ruben Aquino than like Mark Henn. Most of us animators relied on those "tricks". The whole thing about making animated movies is to somehow find a way to always keep in your mind the amount of time any action is going to play on the screen. Disney was a great time of learning for us all. ", All content and artwork is copyright 2012 Tom Bancroft. you'd then inbetween it with two. They really put a lot into training us- especially during breaks between films. I think it was just a pet peeve of his,there was really no reason they had to be odd numbers.) What this meant was that if it was (for example) a human character turning from right to left, he would have a seperate chart for the head, one for the right arm, one for the left arm, and another for the hair overlap. A(n) _____ chart is likely best to show a trend—such as annual sales—over time. All you really need to know is that every horizontal line on the chart (or "graph" for math people) represents a drawing. His most important "animation drawings" (not poses- those are the key drawings) are his breakdowns. The second from the right with the three inbetweens will move slower. Timing can be implemented by applying weight, scaling properties, and emotion. The third timing chart shows a "Slo-out of the action. Sometimes I would be attending a great lunchtime talk by a visiting artist and other times, I was the one giving the talk on a certain subject of animation. This is awesome stuff you're sharing with us right here and greatly appreciated. Of course, it doesn't really matter how you do it, just the result you get when you shoot it. You will of course be working incredibly slowly in comparison to the time your drawings, models, images, or whatever, will actually be seen. Ruben Aquino was a master at the multiple chart keys. The first chart has a single inbetween which means the movement will be faster. This is an issue only if the action looks like it's moving to fast with only one inbetween but too slow with three. Weight Timing can also defines the weight of an object. Two similar objects can appear to be vastly different weights by manipulating timing … Believe it or not, as a rough inbetweener, you could get a scene on your desk that had 2,3, or even 5 charts per drawing on it! The middle timing chart shows "Thirds". These notes are on small, yellow, lined paper so I hope they are clear enough to read. But, through working with him, I discovered that the timing isn't in the inbetweens, its in the breakdowns. This is an awesome article, thank you for sharing.Regards,Animation Studio, I was digging through one of my boxes from my traditional animation days at Disney Feature animation and found tons of notes I either took or gave out depending on the class. I relied on throwing drawings onto "1s" (one frame of film shot per drawing, rather than 2s which is exposing a drawing for 2 frames of film) or getting very creative and complex in my charting so that I could get more time out of a pose and a crispness as the character was leaving that pose. (Ruben is excellent at overlap animation and ALWAYS has the hair moving at a different timing than the body that is leading it.) Remember, these were the traditional (hand drawn) days of animation. The second inbetween would then just be a half. On page 3 you will see the more complex charting examples. The second timing chart from the left is also a "Half Inbetween" with a "Slo-in" to the action. You can combine a favour with any of the other types of timing charts on either end of an action depending on the effect you want it to have. The numbering system that correlates with each drawing helps you know weather or not the drawing is on 1s or 2s. Those are in his charts.