2.WORKING FOR MAPPA

3.animating anime thinking they can make a waifu anime by themselves, kill me-

Facts

4.having a lil too much ego

​@@maroz5073overused joke

"As a hobby" people like you sick me

​@@Maybehaha755it's not that serious bro

@@Maybehaha755 care to say why?

@@Maybehaha755what?

​@@Maybehaha755 ok...?

this whole channel is about professional advice, and his experience is in anime with japanese animation companies

Animating on 4's 5's and 6's is also fine IMO if it is specific style. On real show - probably bad idea. Also doing strange timing make timesheet unreadable.

Ain’t no rules in art

@@soullessbiteI think its meant to just do your assigned role and not try to cover for other things that other people are meant to do

Even when working by myself, I start with only the keys that are necessary and then go back with inbetweens. You can label everything as keys but it shows you don't have confidence in your timing and spacing to plot out your inbetweens later and it's going to take longer if you are making all the drawings in one go. It also makes tie down and cleanup slower.

At 7:30 he mentions that if it’s a held drawing then copying and pasting is fine

He's pointing to those that the character must be moving, ex. The char. is talking, it's very noticeable if just shift the drawings and just change the mouth flaps. When it's IB it'll look like a cut out. The hair must be moving, the shape of the cheeks when talking and the eyes must shift as if still looking at someone. Some lazy, or OG animators that's in hurry would do this to save time. Animators are paid by the footage (or by fraction of second of each scene) not by regular day wage. If you can animate 50 scenes in one week, you earn much more as opposed to just animating 10 scenes per week. That's why some animators love to get easily to animate scenes (like only the mouth moving or a hair blowing cycle) since they earn the same money as opposed to a scene where the character is doing lots of action (* though special complicated animation like intense fight scene or lots of moving crowd would getter higher rates than the regular scenes, in which the studio would hire a veteran specialist animator to focus on that scene)

Good luck finishing it!!🎉

Me too

Do you know if he means animating on 4s is a slide show when talking about 24 fps? He doesn't really say at what rate but I assume 24 since that's one of the standards. Would that then be the equivalent of having a frame repeat for 10 frames if you have your animation at 60fps?

@@johndinner4418 Frame-by-frame animation isn't something that's done at 60fps. The reason is simple: there's far too many frames at 60 fps. You simply can't draw them all out, so it's frankly not even worth going there. 24 is also incredibly versatile because it divides evenly into a lot of factors. Frame-by-frame animation is always animated at 24fps. 3D animation or some other kind of vector/interpolated animation (like flash animations) can be rendered at 24, 30, 60, etc., but to go above 24 for frame-by-frame is just too much work for not enough gain.

@@taliyahofthenasaaj7570 Thanks but that didn't answer my question. I was asking what is the base of saying animating on fours. If I'm correct by assuming he means that out of base 24, that means it'd be a different frame every 4 frames in a 24 fps animation which would then mean that if you ran that at 60 fps, it'd be the equivalent of 10 frames, right? That was my question

​@@johndinner4418well yes, in the end in both cases there will only be 6 drawings per second, but animation works on 24 so I don't know when you would use 60fps

@@vananana1086 animated video games

if you mean the early early sketch stages before clean up, like the key frames are mainly just rough simple shapes before inbetweens n what not, that'd be strong strong poses/silhoutte, line of action n all that. timing spacing ease in out ect basically the same princples still apply to sketch animation (and a basic grasp on gesturing and anatomy i think) just wothout the inbetween and clean up stage

You can create an anime style cartoon, but you can't necessarily make a real anime if you're not Japanese! Because anime is Japanese animation.

@@xSakuraStrawberryxanime is literally “cartoon” if translated.. but people decided to split the genre because the animation style differs a lot then western csrttons

Wait so you’re saying that I can’t actually create an anime 🙁@@xSakuraStrawberryx

That doesn’t really make sense. If a Japanese person created an American style animation, then according to your explanation, it would be considered anime even though it’s not even anime style.

Exactly, thank you @@Raiya.Merlyan

nvm i'm dumb lol it's just deca dence (i saw it said that but i thought that was like the producing company's name)

there using clip studio paint :)

@@artisticbirdies they’re

depending on your style and when in the animation youre copy & pasting, its absolutely fine to do so. Epicness at Peak's video on how to draw smoothly explains it better than i could, id recommend checking that one out!

@@1989v9 ill check that out, ty :)

Okay, so imagine a car driving from the left to right on a page. There are three key frames. 1)The car being drawn driving from the left side, 2) The car in the middle of the page, and lastly, 3) The car driving on right side of the screen. There are also frames that act as the movement of the car going in-between each key frame. The frames in between the key frames are the in-betweens. Does that help you?

@@HappyGoof4 that’s not what I meant when I said I don’t differentiate between a key and an in between. What I meant was that since I’m doing it all solo, it makes no difference for me to only draw the keys and then in between, and to draw both key and in between together. I usually just draw the key and in between together (meaning that for me all the frames might as well be key) because I have a hard time drawing the characters consistently unless I plan it out from sketch to finish.

Oh. Sorry!@@sleepycritical6950

Do what is best for your workflow. I alternate between these two methods. Sometimes it's all keyframes and no inbetweens, othertimes it's keyframes first then inbetweens. It depends on how difficult a scene is for me, or if adding inbetweens feels unnecessary. Right now I'm trying to adopt Studio Trigger's "less is more" approach. This does require perfect keyframes though.

It's a division of labor thing. If a key animator is drawing too many frames, he's slowing himself down making extra drawings that the inbetweeners are supposed to handle. The key animator does the major poses, and the inbetweeners (a larger group of animators) fill in the motion that takes place between them. If you're working by yourself on a hobbyist project, this is less relevant as you have no assistants helping you. Some solo animators still do this though. Example, Ed Tadeo's animation of Wolverine: kzfaq.info/get/bejne/ramVfNWo0Ny0Zmw.htmlsi=d8dz-gw46rNFD2LI You'll notice that he first does a very rough jumpy animation. Those are the key frames. When he goes back and starts adding frames with blue/pink shaded drawings (onion-skin function), that is inbetweening, at this point he's drawing the frames that fall between the "major" blue and pink figures that define the major poses in the sequence.

This advice is suitable only for Japanese animation. Because they send their keyframes to China for outsource inbetweeining. If you do not have this option then you should draw both keyframes and IBs by yourself. In threes by the way. ; ))

@@philip4658even tho I’ve been learning animation for a year now I have never made inbetweens

Got any tips for someone trying to get into cg animation ?