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Bouncing Ball Peg: Adjusting the Action Spacing
Ease-in or ease-out to give the animation more spacing between drawings.
- 1. Bouncing Ball Traditional: Planning — 2m
- 2. Bouncing Ball Traditional: Keys and Breakdowns — 3m
- 3. Bouncing Ball Traditional: In-between Poses — 5m
- 4. Bouncing Ball Traditional: Clean Up — 3m
- 5. Bouncing Ball Traditional: Painting — 3m
- 6. Bouncing Ball Peg: Planning — 1m
- 7. Bouncing Ball Peg: Creating the Ball — 2m
- 8. Bouncing Ball Peg: Keys and Breakdowns — 4m
- 9. Bouncing Ball Peg: Adjusting the Action Path — 2m
- 10. Bouncing Ball Peg: Adjusting the Action Spacing — 2m
In this video, we'll be adjusting the action spacing on our bouncing ball using the peg technique.
In the previous video, we adjusted the ball's action path. Now that is done, we can hide the show control by clicking here. So what we can see here with the onion skining on is that the spacing of the ball action is too even here between frames 1 and 7 and also between frames 11 and 17. So we can create the slow out from frame 1 to 7 as we've planned in our spacing chart by selecting frame 1 in the timeline, and then by selecting this tool, which is called Set Ease for Multiple Parameters, you can think of an Ease as either a slow in, which is deceleration, or as a slow out, which is acceleration. The default when you open the Set Ease for Multiple Parameters is a straight line, which means constant speed. So it's neither a slow in or a slow out. So what we want is slower movement in this early part between the frames and a faster movement in this later part between those same frames. So I adjust the shape of this curve by clicking and dragging on this red handle, and I can see the change I'm making in the Camera View as the ball drawings are getting closer to frame 1 in the onion skin view, and I can see the change by clicking on Apply. So now I want to be sure to click on Apply one more time and then on Close. Now I go to frame 11 in my timeline and open the Set Ease for Multiple Parameters tool again. And this time between frames 11 and 17, we want to have a slow in to key frame 17. So I'm pulling down on the red handle and we can see in the Camera View that I'm changing the spacing so that the ball drawings are getting closer to frame 17, which is the slow in that I want to create. And now turning off the visibility of the other layers in our timeline, we can set Play to Loop and watch the result of our planning in our peg animation.