and it tends to be the longest and most important part of an action. Remember to select all of a until it begins accelerating again in the opposite direction. You can use in-betweens to define your motion arcs, add overlapping action, When all of your poses are finally in Maya, you can begin timing them out. As the ball starts to fall and picks up speed, the ball will stretch out just before impact. volume. The same idea applies to the motion of full characters. directs attention to where the movement will take place, so that once the action happens the viewer will better understand what is going on. The Motion Command Panel, coupled with the Track Bar and Time slider, provides a simpler version of the Track View Editor in the main max interface. to how the tail moves. Notice that both the feet and the head move along their To change any animation in the Track View Editor, you have to select the specific parts that you want to change in the hierarchy list of animated elements. The assignment is simple: Represent a ball but a simple circle, and than have it drop to the ground, hit the ground and bounce back into the air, while repeating the same process. In the one with overlapping action, the lower segments lag behind the upper ones. After the first frame is defined, subsequent frames are completed one at a time until the Learning how to use these effectively can save you a lot of time by allowing max to help you create your repeating cycles. One or two frames can make the difference between too fast and jumpy or too slow and floaty. The movement from one drawing to the next becomes the very essence of animation. Click on the plus sign next to Objects to open it up, and click on the subsequent plus signs that open next to Ball and Transform to open them up as well. After youcomplete the animation of the primary up/down movement of the ball, you'lladd the squash and stretch animation to give the ball its bounce. For a more detailed description of them Take a moment now and try out each range type to see the effect they have on your ball bounce. You'll see the ball squash in the z-axis, creating the proper form that it needs when it is in contact with the ground. The Absolute: World Z value for this position is15—the same as the beginning position. a two level preparation for a run (stepping back then peddling mid-air), and then finally darting forward and jumping. Even between jumps, the hips always move in arcs. Anticipation is the preparation, As drawings added or removed during different stages of the ball (either as he was squashed, or falling or stretching or even staying on the ground) could give weird effects. As these techniques started to sink in the old and new animators, they immediately tried to outdo each other in making drawings with more life like conditions, slowly pushing those principles to the very limits of their character's capabilities. In 3D animation, squash and stretch is a technique that is applied to an animated or in-motion characters to give them a more exaggerated movement. Take a look at this Squash and stretch. The most important animation principle is called squash and stretch. As gravity overtakes the pendulum it begins to slow down to a brief stop, After you get timing that looks correct, start adding in-between poses. Researching the actions you are trying to animate will both make the process easier and improve the final product. It is almost impossible to get it right on the first try. Squash and stretch is the exaggeration of a non-rigid body's deformation as it moves. example above, when the ball squashes it scales down in addition to expanding outwards, thus retaining the same Squash and stretch is debatably the most fundamental principle. When a character's main body stops, their limbs, hair, and clothing continue moving. This applies not only to broader movements, but to how parts of a character move in relation to the rest of their body. afterward in anticipation of the dive. Instead of translating directly from to point to point in straight lines, they should move in arcs. The easiest way to understand how squash and stretch work is to look at a bouncing ball. Move the Time slider to frame 45, create another Scale key, and change the value to 35%. clip from the 2006 Animation Mentor highlight reel (0:50-1:04).