Here's what Tim had to write when he sent me this...
I found that page of Goldberg Notes. I remembered them as being a
little more in depth than they are. Probably because they accompanied
The idea behind the timing chart is that instead of spending two
frames of the same drawing in the middle of a fast action, spread it
out into three drawings on ones, thus making the action snappier.
Then go back to 2's because the drawings are so close together,
drawing on 1's becomes overkill.
You should go through his genie animation frame by frame sometime.
It's really amazing. He'll have a character hit a pose very quickly,
then spend 6 to 8 frames for the rest of the body to catch up and
another 6 frames to totally settle in. Very snappy and natural looking.
(In Disney animation, drawings are numbered to the frame, not just
1,2,3... then shot on ones or twos. If drawing 112 is held for 18
frames, the next drawing is number 130. Oh, and the numbers for keys
are circled, breakdowns are underlined, inbetweens are left alone.)
Eric always analyzed action and timing like this. He wanted to make
sure each drawing had maximum impact, not so you'd notice the drawing
itself, but so the action would be clear and entertaining. You may
ask, "can one frame make that much difference?" And I will ask you,
"Do you know the difference between a gold and silver medal?" Split
seconds, that extra umph, mean everything!
Great stuff and three cheers to Tim for sharing with te rest of the class. Be sure to go check out Tim's site. He's got lots of goodies there. I really love his John Henry drawings. Lots of talent that Mr. Hodge.
ps: Oh, and if anybody finds my posting of these notes to be bothersome to you, just drop me a line. My email link is on the side. If it's a big problem I can take these down. Hopefully that's not going to be the case, though.