Don Bluth's Classical Animation
 
Films Contact Us Animation Academy Back to Index page



storyboard
layout
bg
animation
inbetween
clean up
efx
editing
xsheet


Don Bluth's Animation Academy


Special Effects Inbetweening


INTRODUCTION: SPECIAL EFFECTS INBETWEENER
To create a full, fluid look of "classical animation", extraordinary attention must be paid to each and every drawing that comprises the animated film because the drawing count is so immense (drawings are often required for each of the 24 frames that run by each second). The Animators suggest the action with "extreme" action poses that must be filled in with the drawings that will come "in between" those extremes. The "Inbetweener" is responsible to understand and remain faithful to the action of the Animator's extremes and follow the timing guidelines which the Animator has set down. Inbetweening is no small task. It can make or break each scene and will determine the quality of the final product.
Special Effects Flowchart
     A Special Effects Inbetweener adds the last drawings that complete an animated scene. Usually, these drawings are an intermediate step in a moving action between two completed drawings. Hence the term "Inbetweener".
EQUIPMENT
  1. PENCILS.
    (Hardness and color determined by what the Assistant Animator has used to complete the "extreme drawings".) These are usually B pencils, blue and heliotrope. The colored pencils are for sketching and shading areas as indications for color keying.
  2. ERASERS.
    • Kneaded eraser.
      • This is the most essential eraser to use. It lifts off the graphite without damaging the paper.
    • White Staedler.
      • Useful for larger areas.
    • Try NOT to use the eraser on the end of your pencil. It is too harsh and damages the paper surface.
  3. ELECTRIC PENCIL SHARPENER.
    You may find you prefer keeping some pencils exclusively with rounder tips for drawing. Do not sharpen your pencil to a fine point. It will score the paper. Keep your black line soft, your blue a bit sharper.
  4. PEG HOLE REINFORCEMENTS.
    For strengthening the holes in the animation paper to keep registration jitter to a minimum.
  5. PUNCHED ANIMATION PAPER.
    (As determined by the need of the scene:)
    • Standard
    • Wing
    • scope
      • Note: See below for example of above three types of animation paper.
    Paper Sizes
  6. CARDBOARD SUPPORTS AND RUBBER BANDS.
    For packaging and protecting a scene.
  7. ANIMATING DISK AND PEG BAR.
    Has frosted glass for backlighting and two peg bars, top and bottom, with increments for pan movements.
  8. BACKLIGHT
    • For very tight inbetweens and double checking volume changes.
    • DO NOT use your backlight as a crutch. Learn to FLIP.
  9. LAMP.
    For illuminating drawing surface.
  10. GLOVES.
    Wearing a painting glove with the thumb and first two fingers cut off on your drawing hand to help keep your drawing clean. NEVER wipe your hand or finger across a drawing while shooting or handling a scene. The oil from your hands will smear the graphite.
  11. MODEL SHEETS.
    Model sheets are essential in accurately drawing a character. They will show paper size, construction and detail for any given character in the film from many different angles.
  12. XSHEET (camera exposure sheet).
    The x-sheet is the record of the scene and must remain with that scene. All important information and the names of people who work on the scene are recorded there.
  13. PAN STICK.
    Useful for lining up drawings whose peg holes do not correspond because of a pan movement.
DESK ORGANIZATION
Animation is an art form which, by its nature, propels the Artist into logistics problems. The number of drawings needed for an animated cartoon forces the Artist to use a number system to keep track of the many drawings and a sense of orderliness so as to be efficient as possible.

The inbetweener must organize the working space so a scene is always kept orderly. The drawings being inbetweened would be stacked in an inverted position so the low number would be on top with the blank side of paper up. This stack of drawings should be placed within easy reach in front of the Inbetweener. A stack of clean paper of appropriate size should also be placed within arms reach as well as the pencil sharpener. It's important that an Inbetweener develops a work system so as not to be delayed by unnecessary searching for tools and drawings. He can then concentrate his energy on the creative process of completing the inbetween drawing of an animated scene.

HELPFUL INFORMATION
THE INBETWEENER
  1. Adjust desk and chair so drawing angle and chair height is comfortable.
  2. Arrange tools and clean paper in most convenient manner.
  3. Place drawings to be inbetweened in an accessible spot in an order described earlier (after flipping through the level of drawings and learning the action).
  4. Beginning with the lowest numbered drawings, the Inbetweener places the first two extremes on the animation disk registering them on the pegs.
  5. After placing a clean sheet of paper on the pegs over the two extremes, the Inbetweener will "flip" the drawings so as to be able to see the action of the extremes.
    Flipping is accomplished by holding the top sheet of paper (the inbetween) at the upper left corner (upper right for the lefties) between the thumb and index finger and holding the top extreme between the middle and fourth fingers. The drawings are lifted so the eye can see the first extreme (the one laying flat on the disk) and then the two drawings held by the hand - the top extreme and inbetween are laid down to cover the first extreme as the eye jumps from first extreme to inbetween. The inbetween is then lifted with the thumb and index finger as the eye is moved to the top extreme -1,2,3.
  6. As the "flipping" continues, the Inbetweener will start to draw an inbetween which will appear to be completing the action of the two extremes as the eye moves from extreme (#1) to inbetween (#2) to extreme (#3).
  7. After the inbetweener completes all the required drawings in a scene, a line test is shot to be viewed by the Director for approval.

The video approval is the signal which propels the Inbetweener into the last flurry of responsibilities which is just as important as the artistic effort. The following are more extensive method analyses on both the inbetweening and line testing procedures.

METHOD ANALYSIS - SPECIAL EFFECTS INBETWEENING
  1. Report to Supervisor and collect scene.
    Scene consists of: Animator's rough drawings, bluesketch of background and exposure sheet (x-sheet).
  2. Return to your desk.
  3. Open scene by removing rubber bands and cardboard. Place to one side.
  4. Sign name on outside of x-sheet in "inbetweener" box.
  5. Clip x-sheet (opened) to desk.
  6. Go through scene, drawing by drawing, and make sure any drawing number written in black pencil on the x-sheet.
    Drawing #1 should be on the bottom, highest number on top.
  7. Using timing charts on drawings, make sure that all missing drawings are written in blue pencil on x-sheet.
  8. If there are any extremes (those drawings with timing charts on them) missing, go to the Animator and have him/her supply them.
  9. If there is no bluesketch (copy of the layout - usually included with scene), do the following:
    • Go to Layout Dept. and find background (BG) layout that corresponds to your scene. SIGN IT OUT. If there is no layout for the scene yet, make a note "no blue BG" and tape it to the outside of the x-sheet.
      Do not leave layout in scene.
    • Get piece of pan paper from Layout.
      Same size as BG layout
    • Return to desk.
    • If blue BG (bluesketch) can be done in xerox, you must chart a path of action on a separate piece of paper. If you are doing bluesketch yourself:
      • Turn on backlight
      • Label peg holes (A,B,C, etc...) to correspond to layout.
      • Using Animator's roughs, define area (in blue pencil) on paper followed by character action, moving pan bar to correct increments if there is a pan on x-sheet.
        Put Animator's drawings under your bluesketch.
    • Bring layout and action chart to xerox.
    • When xerox brings finished bluesketch and layout to you, bring layout back to Layout Dept., file it, and sign it back in.
    • If doing blue BG yourself, trace backgroung lightly from layout.
    • When complete, rub down blue BG where character's path of action is to allow character to show through in camera.
      This area will then be wiped off by xerox to allow character to show through in camera.
    • Return layout to Layout Department, file it and sign it back in.
    • Never put layouts inside a scene.
  10. Label each drawing with sequence, scene and drawing number in black pencil. Example:
    Label Your Drawings
    It is a good idea to put on a glove with the thumb and first two fingers cut off to keep drawings clean.
  11. Pull through the entire scene to see the action and familiarize yourself with it. At this point, it is a good idea to check with the Animator for any special instructions. If in doubt, ask questions.
    If you have questions at any time or do not understand something in your scene, go to your Animator. This is the only way you will learn.
  12. Turn scene over so that blank side of #1 is facing up.