 Welcome back it is Friday that means FNA Friday and today it's gonna be part two of the most common Animation mistakes and today we're gonna talk about ease in and ease out now if you pick up Illusion of life you have on page 47 the principles of animation and then on page 62 it talks about slow in and slow out So some people call it slow in and slow out ease in and ease out easing in easing out There are different examples of different terms Then you can also look at this book The Animator Survival Kit and on page 50 it starts to talk about slow in ease in and slowing out and easing out so Lots of literature by the masters so you might be used to specific terms and definitions and kind of how you want to Apply those terms and everything and just so I don't confuse people the way I use it is I ease into a stop I ease into a pose or I ease out of a pose so as I'm going to keep on talking That's kind of how I use it now generally you can ease out by just flattening your tendons if you're in Maya You have your character or your object a ball or an arm whatever it is You can move that you can flatten the tangents and you can have a very quick ease in or you can have a very long Drawn out ease in by adding more keys or having weighted tangents and manipulating the tangents like that now But I'm not here to talk about the general definition of easing in and out What are the most common animation mistakes? Well, the very specific thing about ease in and out is that students start and stop an object or Character or a limb or something without really adding the proper ease in and out now Why is that a problem the problem is that the sense of weight will be gone now Of course, this all depends on the object the limb the weight and the style There are many many factors where you can kind of change the way things ease in and out by even one frame That's solely fine. But the problem is that if you have a character that just stands and suddenly the arm just moves or the head Just turns or a foot just gets up because things just suddenly start and stop. There is no emotion behind it There's no character behind it There's no way behind it and that a lot of times comes from doing either step mode or a linear type of blocking and then just Either not splining it or not really thinking about well How is this going to actually move and how is that movement going to affect the audience in terms of our Perceiving a specific weight or specific emotion. My head turn is slow. My head turn is fast Is the character alert or not now again depending on the style and the object you can have something where like my fingers They can wiggle they can start and stop pretty fast because it is small It's a muscles in here and tens and everything I can move this really quickly now. There's difference between this Versus this Versus that like how fast I can move my body left and right me going to the left and then going to the right There's a certain amount of momentum where I have to ease in it takes a while for that momentum to stop and then the inertia and the Weight and the muscles will bring you back over there and the way I explain it to my students And hopefully this is an example that will make sense to you is that imagine you have a car and you push that car from A to B and as you start pushing it's a heavy car So you're gonna push this I'm gonna take a long time it starts going and then you want to change direction You're gonna run to the other side of the car. That's the car goes this way You're gonna stop it and push the other way to change direction and go the other way now if this car is a real car It's gonna take a long time to push and then to stop and change direction If this is a tiny little Lego car, then you can just take a finger push it so it starts going You can push it to have a go the other direction So you really have to think about the objects the size the weight the intent the style But you can't just have everything start and stop on one frame you can take this example If I have a basketball, I can just push this with my finger because it's pretty light now I have another ball. That's kind of a weight ball a couple pounds I push this with my finger and nothing happens. I can try with two fingers and it's harder I have to push really hard to get this going and you can try this at home with all kinds of examples of a foam Rolling type of tube roll of tape everything that's kind of light You can see that you can just push and stop and change of direction manipulate the whole thing without any problems But when it comes down to animation, you have to really think about each part of the body again Fingers totally different than the roots and going back to the topic the most common problem to me actually two things about easins and Outs is that you have sun starts so an arm suddenly starts or head suddenly turns or just Body parts that just go from one frame to the next. There's no ease out of that There's no sense of weight So that's one of the first problems that if something just starts or just suddenly stops a sense of weight is gone Now the exception of course is that if you have something going and there's a wall and suddenly stops That's an outside object could be an outside force if you do something and someone pushes you then you're gonna have a sudden move That doesn't ease out. It's going to be driven by that outside force There are always of course exceptions to that ease in and out so with those common mistakes again within that two things You have the sudden start and stop and the second one where I say this a lot is having no ease in and out with the root That's a super super common thing So if you have a character where that's either one step or a side step or a couple steps and comes to a stop That stop has to ease in but it's even worse when the characters only stops and then goes the other way So that change of direction without the proper ease in and out kills the sense of weight So if a character sits down or gets up Whatever motion you have with your route you have to think about the inertia the movement the Mentum the weight how long is going to take for the roots to come to stop change direction And of course all that's going to be influenced by the actual character the emotion the acting choices But just from a technical point of view watch out for your spacing to really properly convey the weight through ease in And ease out so make sure that you act things out or shoot reference and study that material But if you just act it out on your own you can tell that when you move how things work and how quickly you can change Your body change direction again totally different if you have the root or fingers or head or even the jaw all of that There's way to it. So pay attention to sudden starts and stops. It will kill your animation boom That's it ease in and out. I hope that was helpful If you have questions about this comments are open Let me know if you have examples where you've seen this somewhere else or you want me to take a look at something Let me know the comments as well. Speaking of taking a look I do have workshops. So if this was helpful and you want me to incorporate this into your shots You can sign up. Of course, my workshops are always open link in the description with all the information And as always if you watch this whole thing till the very end I do appreciate it and if you want to get notified about all the things that I'm doing Subscribe and hit that bell button so you get the notification of all my uploads They're almost every day except weekends, but that is it. I'm gonna stop now and I will see you next week