Timing - Initial Research

Timing can have a dramatic effect on the look and feel of an animated scene. The lengthening or shortening of poses, the amount of inbetweens, the spacing, all of these affect timing.

To start with, I am going to look at Disney's 'The Illusion of Life':

When talking about timing (p64/5), the authors, Frank Thomas and Ollie Johnston, give a great example of just how the much of an effect on the movement the timing of inbetweens can have.

Talking about two drawings of a head, 'the first showing it leaning toward the right shoulder and the second with it over the left and its chin slightly raised.' (p64), they state how large a 'multitude of ideas' the inbetweens can communicate:

No inbetweens - The character has been hit by a tremendous force. His head is nearly snapped off.

One inbetween -  . . . has been hit by a brick, rolling pin, frying pan.

Two inbetweens  -  . . . has a nervous tic, a muscle spasm, an uncontrollable twitch.

Three inbetweens -  . . . is dodging the brick, rolling pan, frying pan.

Four inbetweens -  . . . is giving a crisp order, "Get going!" "Move it!"

Five inbetweens -  . . . is more friendly, "Over here" "Come on-- hurry"

Six inbetweens -  . . . sees a good-looking girl, or the sports car he has always wanted.

Seven inbetweens -  . . . tries to get a better look at something.

Eight inbetweens -  . . . searches for the peanut butter on the kitchen shelf.

Nine inbetweens -  . . . appraises, considering thoughtfully.

Ten inbetweens -  . . . stretches a sore muscle. 

This perfectly illustrates how much a matter of inbetweens can affect the movement of a character. Within nine frames, a character could have gone from being hit by brick, to instead stretching a sore muscle.