Alright,是 so the fourth animation principle is called Straight Ahead and Pose to Pose
This term describes two methods used to animate drawings.
The first method, straight ahead, is where you draw the first drawing,
and then you draw the second drawing, and then the third drawing, and so on.
It's basically animating as you go.
The second method, Pose to Pose, is where you draw the beginning and end of each main pose
and go back later to fill in the drawings in between.
So there are benefits to both methods.
Pose to Pose is generally better for most actions because it gives you the most control.
you have a good idea of what the action is gonna look like very early in the process
So instead of worrying if the character is going to end up in the right place,
you decide where they end up from the beginning and work backwards.
Also, using straight ahead animation can lead to the character changing size
or being on a different level from beginning to end.
Pose to Pose can save you a lot of work.
If you were to animate a whole sequence straight ahead
and then realize that one pose is off, you would have to change several drawings to fix that one pose.
But with pose to pose, you do the main poses to see if it feels right
and you can catch problems early on.
Straight Ahead animation, on the other hand, is good for animation that is unpredictable.
Some examples of this include fire,
water particles,
clouds of dust,
explosions.
The reason why Straight Ahead works well is because
there are laws of physics that work at a constant rate
and it's hard to predict how it will work pose to pose.
So when animating fire, for example, you just go with the flow based on what you know about fire
and let the fire kind of create itself.
If we were to look at the beginning and end,
we wouldn't even know how to in between it.
However, you can still use pose to pose to make the general shapes
and fill it in between to make it smoother.
Another example of unpredictable animation is overlapping action,
which will be covered in depth in the next video.
Let's say that a character has floppy ears
You could draw a figure with his ears for each pose and just draw the in betweens accordingly
But another method is to animate the figure using pose to pose without the ears
and then going through an adding in the years using straight ahead.
This is good because you can focus on the figures movements without the distraction of having to do his ears
And you can also focus on the physics of his ears without the distraction of his body's movement.
This also applies to hair, tails and other appendages.
When you work pose to pose there's some vocabulary that goes into it
There are main poses called Keys,
secondary poses called Extremes
and further broken down poses called Breakdowns.
Make the keys first, perfect them,
then decide the farthest to character will go in each direction using extremes
and then decide how you want the extremes to connect, using breakdown poses.
At this point you can start in-betweening.
Working with the sort of hierarchy will give the most control
as opposed to doing your pose to pose straight ahead, so to speak.
This is like pose to pose within pose to pose, because you're perfecting the poses at each level
before moving down to the next level.
So that's all I&#39;ve got for Straight Ahead and Pose to Pose,
the next principle is called Follow Through and Overlapping Action.
Thanks for watching and I'll see you guys in the next video!