Great video! Worst advice I was given when I was starting out: don't use a lot of keys. The advice had good intent, the animator was explaining how he'd inherited a scene from another animator and the curves were a mess. But, the way I took it was use the most minimal amount of keys possible and my animation suffered because of it. I didn't have as many breakdowns, micro adjustments like slight weight shifts in the feet, because I thought I was using "too many keys". Lesson I eventually figured out: it's okay to use a lot of keys as long as you know the intent behind it. Also there's no set rule for too much or too little keys. I've heard of some animators who actually animate on 1's. If it's a fast action in a short amount of time, YES there will be a lot of keys. If you're baking keyed animation onto mocap data, YES there will be a lot of keys.
@@scotthuster3531 Yes, it always depends! This topic is so interesting. I got told this, when learning animation and I have to say, for a beginner, it's the perfect constraint to learn curves and interpolation. For example, we had to do a walk-cycle with 3 keyframes and honestly, it's enough if your poses are good. And that was the thing, I took with me. First, get all of your poses, and then add in-betweens where necessary. It just saves you a whole lot of work. When animating for video-games, they always get baked to 1's.
3 advise i got the most is : "don't listen to music while animating" Since in morden time, absolute silence enviroment is almost impossible, thats why i need music to get into the flow "you have to responsible for all the demo reel assest" this advise is like tell the psychiatrist to mind reading ( btw no one can't do that ) "video reference is cheating" Da vinci draw an egg, the egg is the reference
BS of course. Good artists steal the best. It's all about camouflaging your source reference so it is super hard for someone to figure out where it came from. Everything is reference.
@@lgtwzrd that’s even more BS. It’s not about hiding your reference in the slightest. It’s about being able to remix many sources of inspiration, honour them and improve on them instead of just blatantly copying a piece of reference. There’s a difference, since doing what I said inherently makes your reference harder to pin down, but hard to pin down reference doesn’t mean being artistically genuine in that way.
idk where youve heard this, becasue "use reference" and "copy other artists" is what everyone has told me. its important for getting the big stuff and building your own style and technique
One bit of advice that really rubbed me the wrong way was from a pretty popular pro animator online. Someone asked him how he recommends dealing with lack of motivation to start working. His advice was basically to consider doing something other than animation since if they're not eager to do it, then they must not like doing it. That just sounds so wrong and discouraging to me. Some of the best artists I've ever known often feel like they need someone to hold a gun to their head in order to start cracking on their next project, so you shouldn't judge yourself and rethink your career path just for not feeling enough "get up and go" to start making an animation. Best alternative advice I can think of is to give yourself small goals to get you started, like just pose a couple key frames per day. If you feel like you wanna do more once you've reached your goal, then great! Keep going! I don't think you need to be perpetually eager to do the job in order to do it for a living. Everyone deals with Newton's first law at some point and need a little push to get started.
I kind of see his point though. I was a graphic designer before I got into animation and I found that I was having trouble motivating myself. But for my whole life I loved drawing and making little flip books so I decided to start animating and I realized that I don’t even need motivation to do it. It’s just so much fun!
@@fitzhugh7463 it's good to have a job you like doing and look forward to doing, for sure! but even the most fun job in the world can sometimes feel like a JOB. I think it depends on the person too. Personally, I've just been too depressed to do anything creative the past couple months lol
I just wanted to comment about the use of references. The video you posted yesterday or the day before about how to use references showed me a lot, so yesterday I decided to try to record myself doing the movement I wanted to animate and use that. Quite honestly, though the shot is very unimportant as a whole, it's easily the best shot I've ever animated. So thank you for the wonderful advice!
11:20 I was never told to sync up lips 2 frames behind. But I was told that if you can't get it perfect, it's better for the mouth shapes to come early than to come late.
I just want to say THANK YOU for mentioning age. I was in your first Maya workshop and recently moved to London to attend school here in 3-D Digital Animation and VFX. One of my biggest worries has been getting into this career at my age. I know many students will be younger. I'm also uncertain how to look for work as a rigger. This is what I want to do; not the modeling or animation part. I want to be an amazing rigger.
I study graphic design at school and our teacher which is a 3D animator, motion designer, graphic designer etc who is like 30 years in the industry puts lowfi music in class for us to listen while we work. Edit : he told us he also listen to all kind of music while he works.
Weird. I have been teaching myself lip sync, and quite independently realized that everything I did always seemed about two frames too late, regardless of how technically correct it seemed. Moving it two-ish frames earlier made it work much better nearly every time. I didn't hear that anywhere, it just kind of happened... Huh.
I heard the first one from Cake Station here on YT and tried it myself. I have to say maybe it works if there is silence, but the unholy constant banshee's screaming of my PC fan convinced me to put on some classical/instrumental music
same! my college teachers are still overdoing on this constantly telling us that we need to learn everything and create everything even if it's not great. they just want generalists instead of specialists.
This is very helpful, the one with Richard Williams shocked me the most, but it’s so true as well. For me when I’m animating or drawing I have music I get distracted by going and back and forth to switch a song I don’t like. I can see where he was coming from. As for reference I agree, it needs to be used, and it’s been my biggest asset in my drawings and animation. BTW like the Dash shirt.
the "no music" tip is so true, I mean your saying about it. When I read it in the "Animator Survival Kit" I gone "WTF??" 100% agree with every word that you said about it.. Silence distracts me so much! I do have different music garages that work for different "focus types" . Even inside the field of animation. If I need to plan the main motion or gesture movement, or plan the frames position (I do frame by fame) then classic or instrumental for "problem solving mode" when everything is set and I just need to put the lines on the frames (in between's) then everything with high tempo goes. classic rock, metal, gangsta rap even psy trance :) Took me really long time to understand that.. to bad your video wasn't around 5 years ago :D Love your content Keep it up :)
Would love to see a part 2. Bad advice 3 is rampant across design and animation. Diversifying my style is the best thing I did as a motion graphics artist.
The two frame offset is a good rule of thumb, because when a person talks they make the shape with their mouth and then make the sound. I think of it like playing a trumpet you make the shape with your fingers and then blow out to play the note, and like you said it’s better to be too early then too late.
i listen to lo-fi, easy listening/jazz when i’m writing or modeling, it works pretty great for me and helps reduce some stress from the process, personally i recommend any kind of study lo-fi you can find since those mixes do have the most ambient of music so they don’t take away from your attention.
As a person with adhd, I find i become super focused if I have some kind of background noise. I’m really glad you brought up that milt thing because I was worried when I read it in the book
For your question about 2D animation and animating at 12fps, yes, that's still absolutely a thing. We call it animating on 2's, since we add a new drawing every other frame. You can also animated on 3's or even 4's. This is actually an aesthetic choice, since with 2D animation, if you animate on every frame, the motion starts looking TOO smooth, kind of like British sitcoms. This is especially important on animation done via Flash/Harmony or any other cut-out style animation, since having all the motion in every frame makes the action look mechanical, what we call "tweeny", since the software generated the animation using linear pathing. That being said, we totally break that rule all the time and animate on 1's when necessary, since sometimes, especially for quick action, you might need that extra frame to avoid strobing or popping. Of course, a good smear will help with that as well. As for the lip sync, that probably comes from 2D flash and limited animation TV productions, as you say. We work tight deadlines, and lipsyncing is very regimented and mechanical. We only have certain shapes to work with, and sometimes we can't finesse the lipsync to the degree you do in feature 3D animation, so we have to use some shortcuts and cheats to get it looking ok.
I got some of these advise from some of my teachers in college. Especially the one that " Dont post your work on social media" For a good while I had the mind set that I could only post on linked in and Vimeo to be a professional 3D animator. Ohh boy was i wrong. Im so glad I dont have that mind set anymore.
This is great! Totally agree with this! You got me with the sound. I choose my music to match the mood of the shot I am animating, like already having the film music underneath to get myself as connected to the shot as possible. I normally chose film music since it’s about 2 hours undisturbed music... and because it’s matching what I do :)
Some...less good advice I've gotten is to ONLY follow the Reference directly and never divert from it. That's more common when trying to create a more realistic digital human (this was in more of a vfx pipeline), but i still think even heavily 'realistic' animation can benefit from the 12 principles and more pushed, dare i say, cartoony sensibilities.
I pretty much agree with you on all these. Techno is usually my music of choice while animating. Most of the time, what I'm listening to doesn't affect my animating in a bad way. 1 peace of advice that I constantly hear is to animate at 60 fps, or that higher frames rates are better. I talk about this in 1 of my videos.
I actually have something on the 2-frame offset for vocal speaking. At the last job I had, my colleagues told me not to use Quicktime for my playblasts, because it had an offset in the audio and the video - like, baked in. No idea why, but apparently it was well-known at that studio to be the case. They used Shotgun's video player instead, RV, and it honestly DID look differently when you played a video in either editor. The 2-frame offset worked in Quicktime, but it felt off in RV - and vice versa. So it might be the case that a workaround for a commonly-used software simply wormed its way into peoples' best practices.
I remember going to the Ottawa film festeval a few years ago and a few showrunners from nickelodeon and cartoon network were doing an open subject Q and A. Someone asked a question about porfolios and whether or not it's acceptable to have reinterpretations of existing designs [fanart] in your work. Of course this being a private portfolio and not a public facing one. One guy came out swinging about how it showed off a lack of creativity and demonstrating a naive reading of the industry; that is "oh you're just gonna be drawing cartoon characters all the time and never thinking critically about your own work" But then someone else on the stage said they liked seeing it [depending on the intent of course] because it showed the artist's ability to understand the context behind design choices which would inevitably lead to less mistakes/ need for re-takes and re-draws while boarding. It also shows that they might be able to work under other aesthetics and design languages easier and can handle being moved from project to project within a studio. Then they kinda duked it out for about three minutes but I think the lady on the side of the latter swayed the dude on the side of the former a little bit.
Being a 3D artist, I can't agree more with you on point no. 1! I almost never work without any kind of music on and when I read that part in the book, I was really puzzled, even tried for a few days when I was in college but didn't work out. Can't even create a basic cube polygon without music in my ears! (Well that last bit might have been an overstatement, but you get the idea.)
music affects your mood. if you are making choices about the character's attitude and performance then you are going to be affected by the emotional and psychological qualities of the music. the 2 frame delay thing is in Illusion of Life and it does work in my experience. It's a good general rule but it does not apply when the dialogue is very fast of very slow (when you need even more antic for the mouth shapes).
Just to add to the preparing of the mouth shapes part - I feel it's especially important before starting to talk, showing the mouth gearing up to speak. Worst advice I ever received was to block everything out pose to pose with held frames. I struggled to tell how much time was passing with still images so my timing was always off so I started doing pose to pose with interpolation and then mixing pose to pose with straight ahead animation and that worked for me. When I read the Animator's Survival Kit I was happy to see Richard Williams had a similar take on that.
Great stuff, man! I definitely remember being told to shift lip sync 2 frames forward from one of my mentors at AM. Then the next semester being told not to do that.
Holy cow this is helpful. Just started reading Animators Survival Kit and struggled with the music part. And have also been questioning how heavily I rely on video reference. Really really appreciate the encouragement, Sir Wade!
@14:30 As time goes on, I'm seeing more and more people get scouted via things like say, DeviantArt. suddenly a blog update from someone I've been followed posting " Oh yeah, I did models for the new Spyro game". I seems to happen more and more.
I'm an inventor and writer and I fully agree to distraction. I have grandchildren, a son-in-law that moved in that took me awhile to realize he really moved in. The hardest thing is going back to a final copy to grab dialog or a character and I find a misspelling and have to reread the whole story making a ton of corrections. Not cool. I once blew the roof off the garage because my young daughter asked me a question and when I returned to the garage I primed the input and BLOOEY! The new roof is much better.
Whenever I work on an important project I make a playlist of music that makes me "feel" how the scene is supposed to make the audience feel. This helps me set the tone a lot better, although I do scenery/environment modelling so slightly different workflow.
That Richard Williams advice was allwaaayys so annoying to me haha. For my entire time in school I'd listen to podcats and youtube videos while I animated... my brain just can't focus unless my ears have something to absorb as well as my eyes lol. Even now I'm animating at a studio while listening to this video!! My animation skills have improved so much since 4 years ago when I started in the industry.. and podcasts & youtube videos definitely didn't interfere haha. I love these points & all of your advice videos! Keep em coming! :D
The brain is massively parallel, and chemical in nature. It can be harder to keep one section active (visual) while another is inactive (auditory and language) than engaging each. Which leads me to another piece of awful advice; fidgeting, pacing, leaning your chair, and doodling are all concentration *aids*. The point to moderate them is if they're distracting others (and it's quite possible a better choice is to reorient the person being distracted).
I felt the same. I couldn’t be left alone with my thoughts. But one day I just shit everything off and started animating in complete silence. It was difficult at first but I quickly saw vast improvement. That’s just my experience though.
Totally agree to the point not to stuck on one genre of animation. Internet is filled with such advices, to stuck with one genre and expertise in that....I had this conflicting thought always, after many years of experience in animation one always like to hop from one genre to another, just to get the chance on variety of different style.
I've taken the comment from the Animator's toolkit to heart and it has working in my favour many times but I do agree that it depends on who you are, I think it also depends on what you're listening too, If I'm about to animate something slow and calm, I shouldn't have the DOOM Eternal soundtrack blasting through my headphones, finding a playlist that fits the mood of the scene can actually help to concentrate too, that's what I've found.
Ive trained myself to have a Pavlovian response to Fingerstyle guitar music by only listening to that when I have to focus on homework or projects. When I hear that music it means it's time to work.
Great stuff! One more angle on the keyframes preceding audio thing is that sounds can happen between 2 frames and its less noticable if the movement is a 1/2 frame too early. I also heard music can impact timing. For instance, listening fast or aggressive music can have a negative impact on animating a romantic scene.
Number one: I agree with that. Or at least - there's two phases to when I animate - first is to figure out the "outline" of the whole motion, second is the fiddling to make the poses right. And in that first phase, figuring out the "outline" of the whole motion, that's the moment where I define the rythm of if. And I literally use imagining sounds in my head as helpers to find the right tempo/rythm, where and how large the ease-in and ease-out phases need to be, etc. And in that phase, obviously, listening to music is disrupting the whole process... Once I have the keyframes properly timed and tempo-ed, however, and the rest is fiddling with the details of the pose, I can listen to music. But yeah, in general, being able to imagine sounds that would go with the animation, and with any (and all) motion in it, is helpful, and I agree that it most likely improves the animation almost automatically. Or, yeah, pausing the music whenever I need is a thing, whereas it wasn't, really, for the guy, in those times. But it still disrupts the flow, at least a bit. So I bet that if i were to work as an animator back then, I would follow that piece of advice religiously.
I tend to be somewhat sensitive to distractions, so there are certain kinds of music that will throw off my thoughts. Those tend to be tracks with lyrics, because my brain assigns a high priority to interpreting spoken word. My brain also sometimes likes to pay more attention than I'd necessarily prefer, to tracks I'm unfamiliar with. So I find it useful to curate my own playlist of music, which has no lyrics (mono and sub-syllabic vocal chops at most), is entirely composed of songs I already listened to more than three times, and which has *no* advertisements. (Advertisements are designed specifically to be attention grabbing. Which is another way of saying "distracting".)
That music advice was troubling me for years! While it is true that I'm more efficient in silence, especially in the morning, there's always a point where I don't really need to concentrate as much and it's more of a grind, so I start listening to stuff while feeling guilty about it. lol
I walked into a comic book store for the first time in my life a couple years back. I looked through various comics looking for good artwork, looking to buy my first comic. literally 4/5 comics I picked up had photo backgrounds that were edited, and traced or edited 3d models for all the characters. As an artist, it felt like none of them had any artistic integrity or sense of craft. They looked like garbage compared to comics I had seen in passing as a kid. It turned me off of comics instantly. So yes, references are good and essential for study, but should not be used as a crutch or a replacement for study.
Couldn’t agree more. I hate modern comic art, absolutely terrible compared to what it once was. How can you tell 3D models are being used for characters?
@@reginaldforthright805 Depends if they use it as shortcut or a crutch. You can usually tell something is a model because the pose is stiff and the perspective, shadows, or lines are too uniform. Art in general has a lot of artistic liberty and exaggeration, and it's very obvious when it's absent. A good artist can use a model as a starting point, and add those elements, but a bad artist won't. There is also bad normal mapping/shadows, even on 3d models, which can make it obvious. The worst ones, though, are were they just take a 3d model and use a filter on it. They usually do that with weapons, vehicles, and rooms (and the worst artists do it with characters too).
I think (at least in my case) when I model or whatever in silence I can’t stop thinking about things but if I listen to music with words I get distracted by that and I’ve found that music with no words like video game sound tracks work best for those kind of situations
that about the silence, I had a boss that loved the silence and the tv show ended animated pretty boring, I think it depends on the project, but I love when I am working for fast pace projects to listen instrumental music or ambience sounds
as 3d character artist i heard some of those bad advices too in my speciality, do realist not only stylized, use references is copy and you are a bad artist, do not learn or rig or animate, if you will never use them (sorry, but I love know how make life easier to my fellow coworkers! if i know what problems they will have i can solve those problem before they happens!) etc- etc
I’m an animation student and we started our first 2D lip sync assignment this week! Most 2D animation is done on ‘2s’ at 24fps, so as you said one drawing held for 2 frames, so 12 drawings in one second. We’re also taught to offset the dialogue animation from the audio by at least 2 frames. It’s something to do with how the brain processes audio faster than visuals, so having them synced makes the animation look delayed. I played around with it myself to see if it was true and I found that it mostly was, lol. Some of my sounds are offset by as much as 4 frames but that’s more of a ‘set up’ for big accent sounds at the beginning of a phrase. We haven’t done 3D lip sync just yet so I’m excited to see how that carries over!
The main way I interpreted the "don't listen to music while animating" advice is "don't listen to music while adjusting your timing." Listening to anything with rhythm while trying to nail the timing of an animation sounds... very difficult. Music can help set the mood when blocking the shot, though.
I do listen to music while animating, it is true that sometimes I stop it, specially when checking if timing works but without music most of the times I would get frustrated and probably would not be able to finish the shot
Wonderful! Took a 1 year diploma 2 years ago and trying to get back in, practice, and learn. Watching your videos are very insightful! Absolutely love this video and definitely value the part of not needing to deal with everything visual in a shot. Was asking my mentors and got mixed answers which left me confused. Think the other mentor was trying to encourage me to keep expanding my mind, but I probably need more animation skills before I look into modeling or lighting. Please please PLEASE, make a part 2! Be nice as well if you can cover what Maya LT vs Maya really is (no idea what it means on Autodesk comparison chart). Resorted to using Maya LT since I have issues with the educational license and LT is manageable oppose to the full subscription for Maya
I love listening to music when working with anything visual. Any random noise in the midst of quiet is far more distracting than rhythms and sounds that you know are coming up. It’s far easier to tune out for me.
Sir Wade your videos are awesome! It is funny because I took Electrical Engineering and now I am about to start my journey at 3D animation, just like you did (except that you also took computer programming before animation)
Great advice bro. Because of you, I found out about Maya Indie. I signed up last week. I'll try them for the year, and if they're no longer offering the program for the same price, I'll start learning Blender. It's going to make me cry, but I can't be in this unstable relationship with Maya. We'll see. Thanks again bro.
I play a lot of fighting games. One thing I learned while practicing hit confirms is that we react to sound faster than visuals. The lip sync advice might be based on that. I guess the 2 frames acts as a buffer window for the mind to process both synchronously.
When I need to get something done quickly, I start the On Her Majesty's Secret Service soundtrack (and replay it) until the work is done. And it gets done.
Extra thought about lipsync: I think it depends more on the sound, there are some sounds we need to pose our mouth before letting the air scapes, and then the sound will happen, for this case, it is nice to anticipate the shape of the mouth (not by 2 frames, rather by the amount of time necessary), other shapes will need more time to the eye register, so I don't think there is a "rule" for this, more like be aware that sounds travel and what it matters the most is how the audience perceive your work.
Thank you very much on your time and energy, I will soon start to make stuff in Maya and beside books now you are mine only mentor. :) Thank you very very much!
4 года назад
cool tips. I would suggest if you can to keep in the video the labels of each tips turning the time you explain it. Visual cue when you scrop in the timeline you can see where you can ear the tip
I noticed a funny habit I have, I always listen to music when working but if something goes wrong and I need to think about it I pause the music without even considering it, and resume it when I know what I want to do. But while I listen to music, I cannot focus on work and a podcast/video at the same time. I'll either be listening to the podcast/video or working and completely miss what is being said.
been stuck on ur channel for the past hour and suddenly a new video appears! woohoo, the animation gods are on my side tonight haha. thanks for the content. very informative, i so far have especially loved your 'my biggest Dreamworks mistake' video. that was really motivating and you had really relatable problems which i felt better having known im not the only one ^-^ have a good night! (its 2am in New Zealand. time to watch ur new video haha)
The lip sync thing with moving the animation 2 frames Before the sound is based on the principle that the speed of light is faster than the speed of sound. So you’ll always see the action before the sound, but I feel like even in 2D on 2s the lipsync isn’t straightforward and some people speak faster and some speak slower and accents can clump up mouth shapes so it’s really just to say that it’s better for the lip sync to happen before the sound if anything
The problem with music while animating is you can be influenced in a bad way by the rhythem in the music specially if is to "square". If personally find the best way is singing while you are animating.
wrt music while animating: the only argument against music i've heard that actually makes sense is that it can mess with your timing. It's certainly something you should keep in mind while working. And also wrt "create your own assets" it kinda depends on where you apply to. Especially in the indie scene being able to rig is a huge factor. Not every studio has their own dedicated TA so sometimes it ends up with you doing it. Also knowing the basics of the different departments is huge when it comes to effective communication and potential problem spotting (Kiel figgings had a bunch of tweets some time ago about armor design and flexibility for example. that's something you can already spot in the concept art but if it goes unnoticed it can really mess with your animation)
I think the two frames issue might have a lot more to do with rendering and encoding an animation to a video format. Some encoders and codecs can shift the audio, including RUclips re-encoding videos.
About music and sound, I found the silence a bit distracting unless I'm trying to think a story or something that requires a little more then just hands on, also shows there are shows I call background shows those are some TV shows I can just alt tab and watch for a while or keep them playing, usually some cartoon ive already seen like Rick and morty or Archer. For showing everything in your reel, even as generalist I don't do all my self, if I'm doing a interior (thats the work I do the most), what matters is usually not the sofa, or a plant, it's the general vibe and style of the place, also Iam not made of time and neither are any of us if you want to be an animator learn how everything else works, modeling, texturing, rigging but learn it, do it a few times and focus on what you want or what's important in the shot if you're generalist like me
Hi sir, I got an advice from a senior that we shouldn't take famous movie or series scenes as reference for the demo reel animation. But I can't get why. Thanks a lot for the video❤️
Sometimes in a busy environment people will interrupt you a lot during work. Sometimes putting a headphone, even if you're not listening to music can help with concentration. It really depends of your surroundings and all.
I've always been curious. What are some actions that are simply skipped altogether because of the amount of work needed to make an action work. I remember once reading that you never see CG characters do something like put on a shirt or a jacket. They just cut and when they come back they already have the article of clothing on. Or maybe we cut back and you seem them finish the action by maybe pulling on the bottom of the shirt or something.
I am someone who likes to listen to music constantly while I work on stuff and the only time it gets in my way is if I need to do lip sync though it's not that I don't mind working in silence it's just having nothing in the background while trying to concentrate can get annoying at times.
The explanation I heard 20 years ago concerning the 2-frame offset was this: Light travels faster than sound, and when you are sitting in a huge movie theater, the picture reaches your eyes slightly faster than the sound hits your ears. Therefore the sound should start 2 frames ahead of the picture. While this is accurate, this advice completely neglected the fact that the people who mix the souna at the end of production are completely aware of this and will - if needed - shift the complete sound as a whole by two frames. So, if you animate two frames ahead this might eventually end up in a four frame offset.
Music: I have adhd and sld. I have serious issues with attention. I was miserable for the most part even after getting a job in animation coz i couldnt concentrate for a long period of time. Until i found binaural beats music. Basically they are specific tones you listen to and your brain is made to go into sertain states. Like concentration, relaxation or sleep. Depending on the frequency. This was like finding a magic potion or spell. I cud finally concentrate and animate for like an hr streight without breaking my concentrate. Its amazing. I also listen to motivate myself . Songs like Scared of the Dark from Spiderverse movie. Coz its really motivational and since its from one of the best 3d animated movies ever its double the effect. Really helps me pick myself up if am having a bad day during work. But there are also times when i just dont listen to anything while working. So i guess it all depends on the person/time/place/mood ect. Reference: for acting shot i almost always make reference myself. For cartoon acting i shoot reference while exaggerating my actions and then i edit the timing of the reference for comedic/exaggerated looks. For action shots i get reference from the internet. Lipsync: almost 99% of the time while lypsyncing you have to anticipate into the mouthshape. So that the viewer already knows the shape of the mouth before the sound is heard. This is only broken while doing extream cartoony lynpsyncs or where the scene specifically require you to do stuttery kind of mouth movements which is super rare.
For #5 (animate two frames ahead of dialogue), when I was learning animation, I was taught that this was to compensate for a rendering issue with Adobe Flash at the time (vers. CS3-CS6). The problem was that, when scrubbing the timeline either manually, or playing the animation without rendering it in the SWF player, Flash would have trouble processing both the vector animation calculations and the sound rendering, and so, if you were testing sound, and animating right on the the wave form, you would actually be two frames behind, or behind enough for the animation and sound to not be interpreted as synchronized. Thus, the safe bet (in addition to establishing a comments layer as your X-sheet) was to animate two frames ahead, just to be safe. I'm surprised that's still a piece of advice, especially given the the decline of Flash/Animate's reputation AND the advances the software has made since then. Also, if anyone else has any corrections, I'd love to read them, because this was hearsay when I learned it, and it might actually be something else entirely.
A widespread screen acting style is to deliver facial emotion/reaction just a small fraction of a second before the spoken word, it allegedly reads better and edits better.
I’ve heard the animate 2 frames early thing as well, I use that as advice to let myself have 2 extra frames to go from one extreme to another if it needs to.
Hey a little late to this, but in my experience timing things to hit a frame or two before the sound is good. Especially in lip-sync. Reason being that light travels faster then sound. Like lightening and thunder. However instead of a few seconds between the light and the sound there is only 1/24th or 1/12 of a second. Also, in lip-sync, it also gives you a frame or two of wiggle room to squeeze in more shapes and/or give them more time to read clearly. I'm saying this with 15years experience in Television animation.
Advice 1: When I draw I put on Winter Soldier's movie soundtrack on loop. It's harder to get distracted by music when there are no words and you don't have to skip songs. And I find the tempos of all the songs to be varying and interesting enough to not get boring or repetitive while also sounding similar enough to not change the overall setting or mood. And the specific song "Captain America" gets looped the most as it is so motivating and makes you feel like doing something. My Spotify showed it was my most listened to song all last year. Advice 4: I was told by a classmate in 6th grade who wasn't an artist that I wasn't a real artist for using reference and for drawing the underlying structures. If I was a real artist I would be able to draw things without all the extra lines. I let that stop me from learning the fundamentals for years and trying to draw what takes professionals years to get to without drawing the basics first.
I need to listen to the rythm of my animation. Audiobooks work as long as I don't need to figure out things. But music just doesn't go well with me trying to feel the timings.
What awful advice have YOU been given? At school? At work? Remember to like the video if we should do a part 2! :)
That i need to buy a tablet
Nice
It was maybe private or unlisted
Great video! Worst advice I was given when I was starting out: don't use a lot of keys. The advice had good intent, the animator was explaining how he'd inherited a scene from another animator and the curves were a mess. But, the way I took it was use the most minimal amount of keys possible and my animation suffered because of it. I didn't have as many breakdowns, micro adjustments like slight weight shifts in the feet, because I thought I was using "too many keys". Lesson I eventually figured out: it's okay to use a lot of keys as long as you know the intent behind it. Also there's no set rule for too much or too little keys. I've heard of some animators who actually animate on 1's. If it's a fast action in a short amount of time, YES there will be a lot of keys. If you're baking keyed animation onto mocap data, YES there will be a lot of keys.
@@scotthuster3531 Yes, it always depends! This topic is so interesting. I got told this, when learning animation and I have to say, for a beginner, it's the perfect constraint to learn curves and interpolation. For example, we had to do a walk-cycle with 3 keyframes and honestly, it's enough if your poses are good.
And that was the thing, I took with me. First, get all of your poses, and then add in-betweens where necessary. It just saves you a whole lot of work.
When animating for video-games, they always get baked to 1's.
4:15 made me pause my work, alt-tab to my browser to check why the video had stopped, which drove home your point perfectly. Well played.
Hahaha that's incredible!! Full credit goes to Alice for adding that in the edit :)
Sir's videos are such a good resource.
Let's get him to 100k subs soon. He's so close!
Hi Ami!!!
He's past that threshold now, and deservedly so. Also, I am like #69... ... Nice.
3 advise i got the most is :
"don't listen to music while animating"
Since in morden time, absolute silence enviroment is almost impossible, thats why i need music to get into the flow
"you have to responsible for all the demo reel assest"
this advise is like tell the psychiatrist to mind reading ( btw no one can't do that )
"video reference is cheating"
Da vinci draw an egg, the egg is the reference
the drawing community also has the "never draw from reference, that's cheating" thing :/
BS of course. Good artists steal the best. It's all about camouflaging your source reference so it is super hard for someone to figure out where it came from. Everything is reference.
@@lgtwzrd that’s even more BS. It’s not about hiding your reference in the slightest. It’s about being able to remix many sources of inspiration, honour them and improve on them instead of just blatantly copying a piece of reference. There’s a difference, since doing what I said inherently makes your reference harder to pin down, but hard to pin down reference doesn’t mean being artistically genuine in that way.
Don't forget about the "don't use grid, it's cheating!" stuff
idk where youve heard this, becasue "use reference" and "copy other artists" is what everyone has told me. its important for getting the big stuff and building your own style and technique
i was just watching your video uploaded 2 years ago...and man you're grown! more confident, more energetic, better presentation
Thank you! :) I really appreciate that! It's definitely a journey, haha.
One bit of advice that really rubbed me the wrong way was from a pretty popular pro animator online. Someone asked him how he recommends dealing with lack of motivation to start working. His advice was basically to consider doing something other than animation since if they're not eager to do it, then they must not like doing it. That just sounds so wrong and discouraging to me. Some of the best artists I've ever known often feel like they need someone to hold a gun to their head in order to start cracking on their next project, so you shouldn't judge yourself and rethink your career path just for not feeling enough "get up and go" to start making an animation. Best alternative advice I can think of is to give yourself small goals to get you started, like just pose a couple key frames per day. If you feel like you wanna do more once you've reached your goal, then great! Keep going!
I don't think you need to be perpetually eager to do the job in order to do it for a living. Everyone deals with Newton's first law at some point and need a little push to get started.
I agree so much with this!
I kind of see his point though. I was a graphic designer before I got into animation and I found that I was having trouble motivating myself. But for my whole life I loved drawing and making little flip books so I decided to start animating and I realized that I don’t even need motivation to do it. It’s just so much fun!
@@fitzhugh7463 it's good to have a job you like doing and look forward to doing, for sure! but even the most fun job in the world can sometimes feel like a JOB. I think it depends on the person too. Personally, I've just been too depressed to do anything creative the past couple months lol
RabidTribble sorry about that man, I have no experience with depression so I can’t really relate
I just wanted to comment about the use of references. The video you posted yesterday or the day before about how to use references showed me a lot, so yesterday I decided to try to record myself doing the movement I wanted to animate and use that. Quite honestly, though the shot is very unimportant as a whole, it's easily the best shot I've ever animated. So thank you for the wonderful advice!
11:20 I was never told to sync up lips 2 frames behind. But I was told that if you can't get it perfect, it's better for the mouth shapes to come early than to come late.
I just want to say THANK YOU for mentioning age. I was in your first Maya workshop and recently moved to London to attend school here in 3-D Digital Animation and VFX. One of my biggest worries has been getting into this career at my age. I know many students will be younger. I'm also uncertain how to look for work as a rigger. This is what I want to do; not the modeling or animation part. I want to be an amazing rigger.
Hi Randolph, you wrote this comment two years ago. I'm very curious, did you manage to find a job in the industry?
@@Animationcafe No, the course I was enrolled in was cancelled because of COVID.
I just listen to lowfi music while working they ain't so distracting
Same!
I mean its different for everyone, I do that too!
I study graphic design at school and our teacher which is a 3D animator, motion designer, graphic designer etc who is like 30 years in the industry puts lowfi music in class for us to listen while we work.
Edit : he told us he also listen to all kind of music while he works.
Yo same
@@PotatoGodzilla That's cool 🌟
Weird. I have been teaching myself lip sync, and quite independently realized that everything I did always seemed about two frames too late, regardless of how technically correct it seemed. Moving it two-ish frames earlier made it work much better nearly every time. I didn't hear that anywhere, it just kind of happened...
Huh.
I heard the first one from Cake Station here on YT and tried it myself. I have to say maybe it works if there is silence, but the unholy constant banshee's screaming of my PC fan convinced me to put on some classical/instrumental music
"Unholy banshee screaming" lmao
OOOOOOOWIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII XD
Have you heard of our saviour Noctua.
Lofi is cool too, I love zelda lofi the first video
I hear advise #3 all the freaking time on portfolio for 3D game art. If I listened to that advise back in the day I would not have my current job.
same! my college teachers are still overdoing on this constantly telling us that we need to learn everything and create everything even if it's not great. they just want generalists instead of specialists.
This is very helpful, the one with Richard Williams shocked me the most, but it’s so true as well. For me when I’m animating or drawing I have music I get distracted by going and back and forth to switch a song I don’t like. I can see where he was coming from. As for reference I agree, it needs to be used, and it’s been my biggest asset in my drawings and animation. BTW like the Dash shirt.
the "no music" tip is so true, I mean your saying about it. When I read it in the "Animator Survival Kit" I gone "WTF??"
100% agree with every word that you said about it.. Silence distracts me so much! I do
have different music garages that work for different "focus types" .
Even inside the field of animation. If I need to plan the main motion or gesture movement, or plan the frames position (I do frame by fame)
then classic or instrumental for "problem solving mode" when everything is set and I just need to put the lines on the frames (in between's) then everything with high tempo goes. classic rock, metal, gangsta rap even psy trance :)
Took me really long time to understand that.. to bad your video wasn't around 5 years ago :D
Love your content
Keep it up :)
Would love to see a part 2. Bad advice 3 is rampant across design and animation.
Diversifying my style is the best thing I did as a motion graphics artist.
The two frame offset is a good rule of thumb, because when a person talks they make the shape with their mouth and then make the sound. I think of it like playing a trumpet you make the shape with your fingers and then blow out to play the note, and like you said it’s better to be too early then too late.
i listen to lo-fi, easy listening/jazz when i’m writing or modeling, it works pretty great for me and helps reduce some stress from the process, personally i recommend any kind of study lo-fi you can find since those mixes do have the most ambient of music so they don’t take away from your attention.
You can't pull from your mental library if it's empty you gotta fill it up with all sorts of reference
As a person with adhd, I find i become super focused if I have some kind of background noise. I’m really glad you brought up that milt thing because I was worried when I read it in the book
For your question about 2D animation and animating at 12fps, yes, that's still absolutely a thing. We call it animating on 2's, since we add a new drawing every other frame. You can also animated on 3's or even 4's. This is actually an aesthetic choice, since with 2D animation, if you animate on every frame, the motion starts looking TOO smooth, kind of like British sitcoms. This is especially important on animation done via Flash/Harmony or any other cut-out style animation, since having all the motion in every frame makes the action look mechanical, what we call "tweeny", since the software generated the animation using linear pathing.
That being said, we totally break that rule all the time and animate on 1's when necessary, since sometimes, especially for quick action, you might need that extra frame to avoid strobing or popping. Of course, a good smear will help with that as well.
As for the lip sync, that probably comes from 2D flash and limited animation TV productions, as you say. We work tight deadlines, and lipsyncing is very regimented and mechanical. We only have certain shapes to work with, and sometimes we can't finesse the lipsync to the degree you do in feature 3D animation, so we have to use some shortcuts and cheats to get it looking ok.
I got some of these advise from some of my teachers in college. Especially the one that " Dont post your work on social media" For a good while I had the mind set that I could only post on linked in and Vimeo to be a professional 3D animator. Ohh boy was i wrong. Im so glad I dont have that mind set anymore.
i just noticed tony starks infinity gauntlet in the back
Fancy seeing you here
good eye sir
That’s actually a bedtime power toy...
oh hey guys lol
@@abstractreality4132 took you 2 months to finally find us in the comments nub
This is great! Totally agree with this! You got me with the sound. I choose my music to match the mood of the shot I am animating, like already having the film music underneath to get myself as connected to the shot as possible. I normally chose film music since it’s about 2 hours undisturbed music... and because it’s matching what I do :)
Some...less good advice I've gotten is to ONLY follow the Reference directly and never divert from it. That's more common when trying to create a more realistic digital human (this was in more of a vfx pipeline), but i still think even heavily 'realistic' animation can benefit from the 12 principles and more pushed, dare i say, cartoony sensibilities.
Finally! Someone else feels this way!
I pretty much agree with you on all these. Techno is usually my music of choice while animating. Most of the time, what I'm listening to doesn't affect my animating in a bad way. 1 peace of advice that I constantly hear is to animate at 60 fps, or that higher frames rates are better. I talk about this in 1 of my videos.
I actually have something on the 2-frame offset for vocal speaking.
At the last job I had, my colleagues told me not to use Quicktime for my playblasts, because it had an offset in the audio and the video - like, baked in. No idea why, but apparently it was well-known at that studio to be the case. They used Shotgun's video player instead, RV, and it honestly DID look differently when you played a video in either editor. The 2-frame offset worked in Quicktime, but it felt off in RV - and vice versa.
So it might be the case that a workaround for a commonly-used software simply wormed its way into peoples' best practices.
I remember going to the Ottawa film festeval a few years ago and a few showrunners from nickelodeon and cartoon network were doing an open subject Q and A. Someone asked a question about porfolios and whether or not it's acceptable to have reinterpretations of existing designs [fanart] in your work. Of course this being a private portfolio and not a public facing one. One guy came out swinging about how it showed off a lack of creativity and demonstrating a naive reading of the industry; that is "oh you're just gonna be drawing cartoon characters all the time and never thinking critically about your own work"
But then someone else on the stage said they liked seeing it [depending on the intent of course] because it showed the artist's ability to understand the context behind design choices which would inevitably lead to less mistakes/ need for re-takes and re-draws while boarding. It also shows that they might be able to work under other aesthetics and design languages easier and can handle being moved from project to project within a studio.
Then they kinda duked it out for about three minutes but I think the lady on the side of the latter swayed the dude on the side of the former a little bit.
Being a 3D artist, I can't agree more with you on point no. 1! I almost never work without any kind of music on and when I read that part in the book, I was really puzzled, even tried for a few days when I was in college but didn't work out. Can't even create a basic cube polygon without music in my ears! (Well that last bit might have been an overstatement, but you get the idea.)
music affects your mood. if you are making choices about the character's attitude and performance then you are going to be affected by the emotional and psychological qualities of the music.
the 2 frame delay thing is in Illusion of Life and it does work in my experience. It's a good general rule but it does not apply when the dialogue is very fast of very slow (when you need even more antic for the mouth shapes).
Just to add to the preparing of the mouth shapes part - I feel it's especially important before starting to talk, showing the mouth gearing up to speak. Worst advice I ever received was to block everything out pose to pose with held frames. I struggled to tell how much time was passing with still images so my timing was always off so I started doing pose to pose with interpolation and then mixing pose to pose with straight ahead animation and that worked for me. When I read the Animator's Survival Kit I was happy to see Richard Williams had a similar take on that.
Great stuff, man! I definitely remember being told to shift lip sync 2 frames forward from one of my mentors at AM. Then the next semester being told not to do that.
Holy cow this is helpful. Just started reading Animators Survival Kit and struggled with the music part. And have also been questioning how heavily I rely on video reference. Really really appreciate the encouragement, Sir Wade!
I'm glad you made the Blender video since I am a Blender user myself and I would not have found this channel otherwise. These are great advice!
Such content and professionalism in your content bro, never stop this
@14:30 As time goes on, I'm seeing more and more people get scouted via things like say, DeviantArt. suddenly a blog update from someone I've been followed posting " Oh yeah, I did models for the new Spyro game". I seems to happen more and more.
I'm an inventor and writer and I fully agree to distraction. I have grandchildren, a son-in-law that moved in that took me awhile to realize he really moved in. The hardest thing is going back to a final copy to grab dialog or a character and I find a misspelling and have to reread the whole story making a ton of corrections. Not cool. I once blew the roof off the garage because my young daughter asked me a question and when I returned to the garage I primed the input and BLOOEY! The new roof is much better.
Whenever I work on an important project I make a playlist of music that makes me "feel" how the scene is supposed to make the audience feel. This helps me set the tone a lot better, although I do scenery/environment modelling so slightly different workflow.
That Richard Williams advice was allwaaayys so annoying to me haha. For my entire time in school I'd listen to podcats and youtube videos while I animated... my brain just can't focus unless my ears have something to absorb as well as my eyes lol. Even now I'm animating at a studio while listening to this video!! My animation skills have improved so much since 4 years ago when I started in the industry.. and podcasts & youtube videos definitely didn't interfere haha. I love these points & all of your advice videos! Keep em coming! :D
The brain is massively parallel, and chemical in nature. It can be harder to keep one section active (visual) while another is inactive (auditory and language) than engaging each. Which leads me to another piece of awful advice; fidgeting, pacing, leaning your chair, and doodling are all concentration *aids*. The point to moderate them is if they're distracting others (and it's quite possible a better choice is to reorient the person being distracted).
I felt the same. I couldn’t be left alone with my thoughts. But one day I just shit everything off and started animating in complete silence. It was difficult at first but I quickly saw vast improvement. That’s just my experience though.
Totally agree to the point not to stuck on one genre of animation. Internet is filled with such advices, to stuck with one genre and expertise in that....I had this conflicting thought always, after many years of experience in animation one always like to hop from one genre to another, just to get the chance on variety of different style.
Reference is key, reference is love, reference is life
I've taken the comment from the Animator's toolkit to heart and it has working in my favour many times but I do agree that it depends on who you are, I think it also depends on what you're listening too, If I'm about to animate something slow and calm, I shouldn't have the DOOM Eternal soundtrack blasting through my headphones, finding a playlist that fits the mood of the scene can actually help to concentrate too, that's what I've found.
Ive trained myself to have a Pavlovian response to Fingerstyle guitar music by only listening to that when I have to focus on homework or projects. When I hear that music it means it's time to work.
Great stuff! One more angle on the keyframes preceding audio thing is that sounds can happen between 2 frames and its less noticable if the movement is a 1/2 frame too early. I also heard music can impact timing. For instance, listening fast or aggressive music can have a negative impact on animating a romantic scene.
Number one: I agree with that. Or at least - there's two phases to when I animate - first is to figure out the "outline" of the whole motion, second is the fiddling to make the poses right. And in that first phase, figuring out the "outline" of the whole motion, that's the moment where I define the rythm of if. And I literally use imagining sounds in my head as helpers to find the right tempo/rythm, where and how large the ease-in and ease-out phases need to be, etc. And in that phase, obviously, listening to music is disrupting the whole process... Once I have the keyframes properly timed and tempo-ed, however, and the rest is fiddling with the details of the pose, I can listen to music. But yeah, in general, being able to imagine sounds that would go with the animation, and with any (and all) motion in it, is helpful, and I agree that it most likely improves the animation almost automatically.
Or, yeah, pausing the music whenever I need is a thing, whereas it wasn't, really, for the guy, in those times. But it still disrupts the flow, at least a bit. So I bet that if i were to work as an animator back then, I would follow that piece of advice religiously.
I tend to be somewhat sensitive to distractions, so there are certain kinds of music that will throw off my thoughts. Those tend to be tracks with lyrics, because my brain assigns a high priority to interpreting spoken word. My brain also sometimes likes to pay more attention than I'd necessarily prefer, to tracks I'm unfamiliar with.
So I find it useful to curate my own playlist of music, which has no lyrics (mono and sub-syllabic vocal chops at most), is entirely composed of songs I already listened to more than three times, and which has *no* advertisements. (Advertisements are designed specifically to be attention grabbing. Which is another way of saying "distracting".)
That music advice was troubling me for years! While it is true that I'm more efficient in silence, especially in the morning, there's always a point where I don't really need to concentrate as much and it's more of a grind, so I start listening to stuff while feeling guilty about it. lol
I walked into a comic book store for the first time in my life a couple years back. I looked through various comics looking for good artwork, looking to buy my first comic.
literally 4/5 comics I picked up had photo backgrounds that were edited, and traced or edited 3d models for all the characters. As an artist, it felt like none of them had any artistic integrity or sense of craft. They looked like garbage compared to comics I had seen in passing as a kid. It turned me off of comics instantly. So yes, references are good and essential for study, but should not be used as a crutch or a replacement for study.
Couldn’t agree more. I hate modern comic art, absolutely terrible compared to what it once was. How can you tell 3D models are being used for characters?
@@reginaldforthright805 Depends if they use it as shortcut or a crutch. You can usually tell something is a model because the pose is stiff and the perspective, shadows, or lines are too uniform. Art in general has a lot of artistic liberty and exaggeration, and it's very obvious when it's absent. A good artist can use a model as a starting point, and add those elements, but a bad artist won't. There is also bad normal mapping/shadows, even on 3d models, which can make it obvious.
The worst ones, though, are were they just take a 3d model and use a filter on it. They usually do that with weapons, vehicles, and rooms (and the worst artists do it with characters too).
I think (at least in my case) when I model or whatever in silence I can’t stop thinking about things but if I listen to music with words I get distracted by that and I’ve found that music with no words like video game sound tracks work best for those kind of situations
The animation preceding the audio is from Richard William's book! In it he suggests that it's not always necessary. Excellent vid, thank you!
that about the silence, I had a boss that loved the silence and the tv show ended animated pretty boring, I think it depends on the project, but I love when I am working for fast pace projects to listen instrumental music or ambience sounds
I love your channel dude!!
I am planning to open my own work office, your all videos too helpful, Sir, thanks a lot.
as 3d character artist i heard some of those bad advices too in my speciality, do realist not only stylized, use references is copy and you are a bad artist, do not learn or rig or animate, if you will never use them (sorry, but I love know how make life easier to my fellow coworkers! if i know what problems they will have i can solve those problem before they happens!)
etc- etc
I’m an animation student and we started our first 2D lip sync assignment this week! Most 2D animation is done on ‘2s’ at 24fps, so as you said one drawing held for 2 frames, so 12 drawings in one second. We’re also taught to offset the dialogue animation from the audio by at least 2 frames. It’s something to do with how the brain processes audio faster than visuals, so having them synced makes the animation look delayed. I played around with it myself to see if it was true and I found that it mostly was, lol. Some of my sounds are offset by as much as 4 frames but that’s more of a ‘set up’ for big accent sounds at the beginning of a phrase. We haven’t done 3D lip sync just yet so I’m excited to see how that carries over!
When you told on Twitch that your mailing this video . I was excited from that moment now finally I watched it and I 100% agree with you
The main way I interpreted the "don't listen to music while animating" advice is "don't listen to music while adjusting your timing." Listening to anything with rhythm while trying to nail the timing of an animation sounds... very difficult. Music can help set the mood when blocking the shot, though.
I do listen to music while animating, it is true that sometimes I stop it, specially when checking if timing works but without music most of the times I would get frustrated and probably would not be able to finish the shot
Lets get Sir Wade to 100K subs! So close dude! Also I too would recommend the animator’s survival kit, it has saved my life many times!
Wonderful! Took a 1 year diploma 2 years ago and trying to get back in, practice, and learn. Watching your videos are very insightful! Absolutely love this video and definitely value the part of not needing to deal with everything visual in a shot. Was asking my mentors and got mixed answers which left me confused. Think the other mentor was trying to encourage me to keep expanding my mind, but I probably need more animation skills before I look into modeling or lighting.
Please please PLEASE, make a part 2! Be nice as well if you can cover what Maya LT vs Maya really is (no idea what it means on Autodesk comparison chart). Resorted to using Maya LT since I have issues with the educational license and LT is manageable oppose to the full subscription for Maya
I love listening to music when working with anything visual. Any random noise in the midst of quiet is far more distracting than rhythms and sounds that you know are coming up. It’s far easier to tune out for me.
Sometimes I match the music to the subject matter and it really helps me keep the momentum going
the 2 frames before sound, definitely a big mistake I stick to before, once I follow the sound to do lipsync, it becomes much making sense
Sir Wade your videos are awesome! It is funny because I took Electrical Engineering and now I am about to start my journey at 3D animation, just like you did (except that you also took computer programming before animation)
About the first part: I animate while watching (well basically listening) your video's. Basically like a sort of podcast
Great advice bro. Because of you, I found out about Maya Indie. I signed up last week. I'll try them for the year, and if they're no longer offering the program for the same price, I'll start learning Blender. It's going to make me cry, but I can't be in this unstable relationship with Maya. We'll see. Thanks again bro.
Alternative Title: Animation Badvices.
I play a lot of fighting games. One thing I learned while practicing hit confirms is that we react to sound faster than visuals. The lip sync advice might be based on that. I guess the 2 frames acts as a buffer window for the mind to process both synchronously.
When I need to get something done quickly, I start the On Her Majesty's Secret Service soundtrack (and replay it) until the work is done. And it gets done.
Extra thought about lipsync: I think it depends more on the sound, there are some sounds we need to pose our mouth before letting the air scapes, and then the sound will happen, for this case, it is nice to anticipate the shape of the mouth (not by 2 frames, rather by the amount of time necessary), other shapes will need more time to the eye register, so I don't think there is a "rule" for this, more like be aware that sounds travel and what it matters the most is how the audience perceive your work.
Thank you very much on your time and energy, I will soon start to make stuff in Maya and beside books now you are mine only mentor. :) Thank you very very much!
cool tips. I would suggest if you can to keep in the video the labels of each tips turning the time you explain it. Visual cue when you scrop in the timeline you can see where you can ear the tip
I noticed a funny habit I have, I always listen to music when working but if something goes wrong and I need to think about it I pause the music without even considering it, and resume it when I know what I want to do. But while I listen to music, I cannot focus on work and a podcast/video at the same time. I'll either be listening to the podcast/video or working and completely miss what is being said.
been stuck on ur channel for the past hour and suddenly a new video appears! woohoo, the animation gods are on my side tonight haha. thanks for the content. very informative, i so far have especially loved your 'my biggest Dreamworks mistake' video. that was really motivating and you had really relatable problems which i felt better having known im not the only one ^-^ have a good night! (its 2am in New Zealand. time to watch ur new video haha)
The lip sync thing with moving the animation 2 frames Before the sound is based on the principle that the speed of light is faster than the speed of sound. So you’ll always see the action before the sound, but I feel like even in 2D on 2s the lipsync isn’t straightforward and some people speak faster and some speak slower and accents can clump up mouth shapes so it’s really just to say that it’s better for the lip sync to happen before the sound if anything
the 3 frames thing for dialogue is included in the book called Timing for animation by Harold Whitaker
The problem with music while animating is you can be influenced in a bad way by the rhythem in the music specially if is to "square". If personally find the best way is singing while you are animating.
Other people: only listen to instrumental music
Me: The words are just non-descript human noises now. I have entered *t h e z o n e.*
wrt music while animating: the only argument against music i've heard that actually makes sense is that it can mess with your timing. It's certainly something you should keep in mind while working.
And also wrt "create your own assets" it kinda depends on where you apply to. Especially in the indie scene being able to rig is a huge factor. Not every studio has their own dedicated TA so sometimes it ends up with you doing it. Also knowing the basics of the different departments is huge when it comes to effective communication and potential problem spotting (Kiel figgings had a bunch of tweets some time ago about armor design and flexibility for example. that's something you can already spot in the concept art but if it goes unnoticed it can really mess with your animation)
I think the two frames issue might have a lot more to do with rendering and encoding an animation to a video format. Some encoders and codecs can shift the audio, including RUclips re-encoding videos.
About music and sound, I found the silence a bit distracting unless I'm trying to think a story or something that requires a little more then just hands on, also shows there are shows I call background shows those are some TV shows I can just alt tab and watch for a while or keep them playing, usually some cartoon ive already seen like Rick and morty or Archer.
For showing everything in your reel, even as generalist I don't do all my self, if I'm doing a interior (thats the work I do the most), what matters is usually not the sofa, or a plant, it's the general vibe and style of the place, also Iam not made of time and neither are any of us if you want to be an animator learn how everything else works, modeling, texturing, rigging but learn it, do it a few times and focus on what you want or what's important in the shot if you're generalist like me
Hi sir, I got an advice from a senior that we shouldn't take famous movie or series scenes as reference for the demo reel animation. But I can't get why. Thanks a lot for the video❤️
Sometimes in a busy environment people will interrupt you a lot during work. Sometimes putting a headphone, even if you're not listening to music can help with concentration.
It really depends of your surroundings and all.
I've always been curious. What are some actions that are simply skipped altogether because of the amount of work needed to make an action work. I remember once reading that you never see CG characters do something like put on a shirt or a jacket. They just cut and when they come back they already have the article of clothing on. Or maybe we cut back and you seem them finish the action by maybe pulling on the bottom of the shirt or something.
"An artist without their tools is just a skilled laborer" WORST THING I EVA HEARD
What is it even supposed to MEAN?
I am someone who likes to listen to music constantly while I work on stuff and the only time it gets in my way is if I need to do lip sync though it's not that I don't mind working in silence it's just having nothing in the background while trying to concentrate can get annoying at times.
Listen to what he said here: 8:26
Isn't it wholesomely encouraging?
One of my things to do while working is to have a Sir Wade video on in the background :P
The explanation I heard 20 years ago concerning the 2-frame offset was this: Light travels faster than sound, and when you are sitting in a huge movie theater, the picture reaches your eyes slightly faster than the sound hits your ears. Therefore the sound should start 2 frames ahead of the picture. While this is accurate, this advice completely neglected the fact that the people who mix the souna at the end of production are completely aware of this and will - if needed - shift the complete sound as a whole by two frames. So, if you animate two frames ahead this might eventually end up in a four frame offset.
I think the animating without a reference thing probably came from people saying "Try animating using as little reference as possible as an exercise"
Music: I have adhd and sld. I have serious issues with attention. I was miserable for the most part even after getting a job in animation coz i couldnt concentrate for a long period of time. Until i found binaural beats music. Basically they are specific tones you listen to and your brain is made to go into sertain states. Like concentration, relaxation or sleep. Depending on the frequency. This was like finding a magic potion or spell. I cud finally concentrate and animate for like an hr streight without breaking my concentrate. Its amazing.
I also listen to motivate myself . Songs like Scared of the Dark from Spiderverse movie. Coz its really motivational and since its from one of the best 3d animated movies ever its double the effect. Really helps me pick myself up if am having a bad day during work. But there are also times when i just dont listen to anything while working. So i guess it all depends on the person/time/place/mood ect.
Reference: for acting shot i almost always make reference myself. For cartoon acting i shoot reference while exaggerating my actions and then i edit the timing of the reference for comedic/exaggerated looks. For action shots i get reference from the internet.
Lipsync: almost 99% of the time while lypsyncing you have to anticipate into the mouthshape. So that the viewer already knows the shape of the mouth before the sound is heard. This is only broken while doing extream cartoony lynpsyncs or where the scene specifically require you to do stuttery kind of mouth movements which is super rare.
For #5 (animate two frames ahead of dialogue), when I was learning animation, I was taught that this was to compensate for a rendering issue with Adobe Flash at the time (vers. CS3-CS6).
The problem was that, when scrubbing the timeline either manually, or playing the animation without rendering it in the SWF player, Flash would have trouble processing both the vector animation calculations and the sound rendering, and so, if you were testing sound, and animating right on the the wave form, you would actually be two frames behind, or behind enough for the animation and sound to not be interpreted as synchronized. Thus, the safe bet (in addition to establishing a comments layer as your X-sheet) was to animate two frames ahead, just to be safe.
I'm surprised that's still a piece of advice, especially given the the decline of Flash/Animate's reputation AND the advances the software has made since then. Also, if anyone else has any corrections, I'd love to read them, because this was hearsay when I learned it, and it might actually be something else entirely.
A widespread screen acting style is to deliver facial emotion/reaction just a small fraction of a second before the spoken word, it allegedly reads better and edits better.
Amazing master, Sir Wade! 100K now!
I’ve heard the animate 2 frames early thing as well, I use that as advice to let myself have 2 extra frames to go from one extreme to another if it needs to.
Hey a little late to this, but in my experience timing things to hit a frame or two before the sound is good. Especially in lip-sync. Reason being that light travels faster then sound. Like lightening and thunder. However instead of a few seconds between the light and the sound there is only 1/24th or 1/12 of a second. Also, in lip-sync, it also gives you a frame or two of wiggle room to squeeze in more shapes and/or give them more time to read clearly. I'm saying this with 15years experience in Television animation.
Advice 1: When I draw I put on Winter Soldier's movie soundtrack on loop. It's harder to get distracted by music when there are no words and you don't have to skip songs. And I find the tempos of all the songs to be varying and interesting enough to not get boring or repetitive while also sounding similar enough to not change the overall setting or mood. And the specific song "Captain America" gets looped the most as it is so motivating and makes you feel like doing something. My Spotify showed it was my most listened to song all last year.
Advice 4: I was told by a classmate in 6th grade who wasn't an artist that I wasn't a real artist for using reference and for drawing the underlying structures. If I was a real artist I would be able to draw things without all the extra lines. I let that stop me from learning the fundamentals for years and trying to draw what takes professionals years to get to without drawing the basics first.
I need to listen to the rythm of my animation. Audiobooks work as long as I don't need to figure out things. But music just doesn't go well with me trying to feel the timings.
I do 2D animation and we are always told to do the audio 2 frames before because you make the mouth shape before you make the sound