 Welcome back to another FNA and this is part 7 of the most common animation mistakes and today I'm going to talk about repetition. I want to talk about repetition in terms of position and timing. So what you want to avoid is repeating yourself in terms of where the character goes and comes back and the same thing with your timing. Of course, unless that's your point in the story. There's always an exception. So let's pretend you're blinking. Let's go through this example here. If you are blinking and it's the same timing, you can see how I'm going down. Let's count this. This is one, two, three, four, one, two, three, four. It makes it all very robotic. When you offset the timing, you have offset in general posing, but you can see that you have somewhat one, two, three, four, and then one, two, three, four, five, six, seven, eight, nine, eight. So you can watch this again in comparison. So you have even timing and then change in timing where the closing is faster than the opening. And this is just for the list. There's nothing else, I didn't make it except the eyeballs, but you can see the slight difference in how you start, how you ease in, you offset the lids and you ease into that stop. Again, comparison, even and with a slight change in timing. So in case of blinking, you don't want to be mechanical and robotic and closing and opening like this. Same thing if I would say yes, it wouldn't be yes like this. You would have potentially down over whatever, 10 frames and then up over 12 and then maybe down over seven and then maybe 11. I don't know, but every time you go somewhere, you will change your timing. If I grab my phone, you don't want to do 12 frames, whatever, and then back 12 frames, right? So it has to be some sort of a maybe again, depending on your emotion and the action and the intent of the character. It could be a fast and then slow bringing back. It could be slow and fast, but if you do something that's exactly the same timing, it's going to feel weirdly robotic and not organic because it's too even. Same thing with the position. What you want to avoid is let's pretend I want to grab my phone. It wouldn't be here, which I'm going to call position A and then going there, which position B and then going back to A. You want to do something where it's A to B to C and this could be, again, whatever position you want that fits the emotion of the character, the intent, the action, the wants, whatever is in your scene. But you want to make sure that the position is different A to B to C to D and so on and so on. And also the timing is different. And you don't have to apply this to complex animation, complex characters with, you know, crazy facial stuff and body mechanics, all kinds of things. This can go all the way back to bouncing balls. So if you are a new student and you're thinking about going to do a bouncing ball, that's my exercise, and maybe it's a bit more character driven and the ball goes from A to B up onto a bigger position, a higher position. Then think about the offsets in terms of timing and position. So I can show you an example. You will see here that on purpose, I really made sure that the timing is super even. We can go in here and count. So it's one, two, three, four, five, six. One, two, three, four, five, six. So you have repeated timing and it's a bit of a very even kind of a boring jump. Of course, the height will make the whole thing different types of timing since that's a long distance and that's a shorter distance. But you can see that when the ball bounces, we're starting exactly here. This is position A and then as the ball goes up, we end up here and it's A that's position B. So if I put on onion skinning, you can see I'm going all the way down back to A and then all the way up back to B again and then into this. But you might argue, well, it's kind of boring. There's no squash and stretch. There's nothing interesting there. And it's going to be different once you add a bit more flourish to it. But even with flourish and squash and stretch and some changes there, it's still going to feel too CG, too computer-y, too repetitive. It doesn't have that organic feel that kind of imperfection that life has. So even with tweaks, you can see that it's going to look somewhat like this, right? So let's go back. You got the same amount of timing. You got a bit of change. I changed the timing of the hang time at the end for the drop. But you can see that we're still going A to B back to A into the jump. So if we are going to change this, it's going to look like this. That is somewhat the end result that I want you to think about. So as we go back here, you can see again that we're starting here. So that's your A position. And then the ball goes up to here and that's your B position. And let's go back with onion skinning and then land somewhere else. So now this is your C position. And then as the ball goes up again, we're somewhere else. This is your D position. And then we go back getting ready for the big jump. That is your E position and up into this, right? And again, a bit of flourish at the end, slight change. You want to have a little bit of extra bounce. But if you look at this here, let's go back. You can see that A to B to C to D and E. So if you go back, it's not only the position where we start on A. But you can see here that this is the height. And as we go down and up again, the height is different. And then we go back here and then we have, of course, the main jump. So the contrast is all over the place. So it starts in a specific position, like I said. And you might see maybe like the beginning jump is up here. And as it lands, you can see that it's a bit higher. And even here we got this height and then it goes off. And it's going to be a bit higher because it's a higher jump. There's more energy there. And even my arc is different where if you look at where we start, the ball starts here and maybe around here is the apex. And we land, let's say around here is. And as I go back, you can see now this is somewhat the highest point here. But I'm landing at a much shorter distance because I want this to jump and I want the ball to really come down as if the ball is wanting to go down. It's pulling itself down for the biggest patient for the jump. So you can see that the distance between here and go back here and here is different. This is slightly longer than this. So watch this again without any of my scribbles. You have all the differences of the height, the spacing, the position, the timing. All of that adds more life to this compared to this. Again, you can go through all the stages. This in comparison looks really, really boring. This is slightly better, but you can push that even more. You can change all of this for something a bit more interesting and a bit more organic. Organic is the key because you are going to deal with humans, with creatures. Of course, even if you have a robot arm that turns around, even then you don't want it to be super even unless that is the point unless you want it to be even again for whatever reason because of contrast of timing, once you are not even. So as always, anything, there's always an exception to everything that I say. But generally as you do your animation, if you think about, again, eyes closing or saying yes or saying no or grabbing something, maybe even a couple steps or character steps one way and then the next, maybe that step is just slightly shorter than the other. So try to avoid repetition because it is going to help you make the animation not look CG and computer-y and too even and just not organic and lifelike. Again, lifelike doesn't have to be for real. This goes also for more exaggerated and stylized and cartoony actions. Speaking of actions, if you want to take action because you love this and you love the content and you love to work with me, I'm trying to find a segue at the end, but if you feel like this is helpful and you want me to help you with your shots and make them even more awesome, I have workshops as always, link in the description and you can sign up at any time. And if you just want to watch the things that are uploaded, you can subscribe and hit that bell button because I do upload a lot and you will get notified about all of my uploads. And if you're still watching, of course, thank you so much for your patience and I will see you in my next upload. Actually, I won't see you, but you'll see me, but you know what I mean, right? So thank you and, you know, turn this off and all that good stuff.