At 2/6/10 04:59 PM, farfenwaffle wrote:
I used to do pivot all the time, yet it makes animation alot harder because there is no way to do inbetweens, and only one layer of onion skin. So it's really bare feeling, I always fuck up with easing on that program.
Anyway, had soem trouble with following-through on movements. Bone type things are hard to animate... :(
theres a few tricks to add inbetweens. You can copy frames inbetween another so you can modify one of the copies.
One layer of onion skin is all you really need once you fully understand easing and have a good eye for spacing. You'll see expert pivoters sacrificing onion skins all together to generate a more detailed and complicated background and foreground.
To keep movements smooth you need to make sure arms and legs don't reverse direction. This can't always be seen while animating and is a common mistake when animating a body thats moving at speed, because on the one hand it looks like its on the right side of the onion skin but the actual direction of travel of a limb could be completely opposite. You can spot when this happens when you see the full animation, you'll see at certain points a limb violently shaking for a few frames.
Once this mistake is made its really hard to fix without multiple re-attempts at the frame. Some mistake the shaking to be one frame, where its really another or fixing one frame makes the next frame become the shaker and it can really throw you off and make you run in circles.
One sure way to fix is to always have the end of a limb point at its previous onion skin limb. In some cases this may not be the movement you want but it should eliminate the problem so you now have a base point where the animation looks smooth. From there you can modify the frames to be in the position you want.
Like I've said before pivot is quite a challenge, and not many understand that. A seasoned animator can easily run into problems they've never encountered before because of the sheer leniency freehand animation gives them. With pivot you need to be precise or the resulting animation will immediately kick you in the balls for messing up. This helps an animator learn how to make their animations much more fluid and gives them the skills to spot any mistakes that would otherwise go unnoticed in any other circumstances.