Name: 【TED-Ed】動畫基礎知識：時間和間距的藝術 (【TED-Ed】Animation basics: The art of timing and spacing - TED-Ed)
Uploaded: 2022-09-29T21:01:30.000Z
Duration: 6 min 43 s

Norman McLaren, the great 20th century pioneer of animation technique, once said,

Norman McLaren 是二十世紀偉大的動畫技術先驅，他曾說：

基礎被動語態

"Animation is not the art of drawings that move, but the art of movements that are drawn. What happens between each frame is more important than what exists on each frame."

「動畫不是會動的繪畫藝術，而是畫出律動的藝術，每一格之間的變化比每一格中畫出的內容更重要。」

Well, for an object to appear in motion, it necessarily has to change in position over time.

一個移動中的物體隨著時間改變，它的位置會改變。

If time passes and no change in position occurs, the object will appear to be still.

如果時間改變而它位置沒變，這物體是靜止的。

This relationship between the passage of time and the amount of change that occurs in that time is at the heart of every time-based art form, be it music, dance, or motion pictures.

時間流逝和當時發生的變化量之間的這種關係是每一種基於時間的藝術形式的核心，無論是音樂、舞蹈還是電影。

Manipulating the speed and amount of change between the frames is the secret alchemy that gives animation the ability to convey the illusion of life.

操控每一格間的速度和其改變的程度就是讓動畫賦予生命錯覺的秘密。

In animation, there are two fundamental principles we use to do this: timing and spacing.

動畫有兩個基本原則，通常是時間和間距。

To illustrate the relationship between them, we'll use a timeless example: the bouncing ball.

為了解釋兩者間的關係，我們用一個永恆的例子——跳動的球為例。

One way to think about timing is that it's the speed, or tempo, at which an action takes place.

一個思考時間的方法是在一個動作發生的時候考慮它的速度或節奏。

We determine the speed of an action by how many pictures, or frames, it takes to happen.

多少圖像或多少格決定了一個動作的速度。

The more frames something takes to happen, the more time it spends on screen, so the slower the action will be.

越多格在銀幕上出現的時間越長，動作越慢。

The fewer frames something takes to happen, the less screen time it takes, which gives us faster action.

越少格在銀幕上出現的時間越短，看起來動作越快。

The timing is about more than just speed, it's also about rhythm.

Like a drumbeat or melody only exists when a song is being played, the timing of an action only exists while it's happening.

就像鼓聲或旋律只在播放歌曲時存在一樣，動作的時機也只在它發生時存在。

You can describe it in words, say, something will take 6 frames, 18 frames, or so on.

你若用文字描述可以說 6 格，18 格等等。

But to really get a sense of it, you need to act it out or experience it as it would happen in, well, real-time.

但是要真正了解它，需要將其表現出來或體驗它，因為它會實時發生。

Now, the timing of an action all depends on the context of the scene and what you're trying to communicate.

動作的時間性取決於場景的內容，還有你想表達的東西。

是什麼造成這些動作，還有為什麼？

The action we're talking about here is a result of interacting physical forces, a moving ball's tendency to stay in motion, or its force of momentum vs. the constant force of gravity bringing it back down Earth.

我們在這裡談論的動作是相互作用的物理力的結果，一個移動的球保持運動的趨勢，或者它的動量力與將它帶回地球的恆定重力。

The degree to which these invisible forces apply, and the reason why the ball behaves the way it does, all depends on the physical properties of the ball.

這無形力量作用的程度和球本身運動方式取決於球本身的物理性質。

高爾夫球是小的、硬的、輕的。

A rubber ball is small, soft and lighter.

橡皮球是小的、 軟的、更輕的。

And a bowling ball is large, hard and heavy.

而保齡球是大的、硬的、重的。

So, each ball behaves very differently, according to its properties.

所以根據其性質，每種球表現不同。

Let's get a sense of the visual rhythm of each.

讓我們感覺一下每一個球的視覺律動感。

Each ball plays its own beat and tells us something about itself and the time it takes to travel across the screen.

每種球有其不同的跳動方式，還有它通過銀幕所需時間，這都告訴了我們它的特性。

The visual rhythm of these hits is the timing.

Okay, let's start animating our ball, bouncing up and down with a simple cycle of drawings.

好，我們來模擬這顆球用圓圈上下跳動來表示。

We'll draw a circle here, call it point A, our starting point.

我們畫個圓，稱它為 A 點，這是起點。

We'll have it hit the ground here, point B.

Let's say it takes about a second to hit the ground and come back up again.

Our spacing is where we position the circle in the frames between point A and B.

圓圈在 A 點和 B 點間的來回是我們的間距。

If we were to move our ball in evenly-spaced increments, we'd get something like this.

若將球在均勻間距中跳動，我們會看到像這樣，

It's not really telling us anything about itself.

Is it a bouncing ball or a circle on an elevator?

只不過是個跳動的球，或是電梯上下移動。

Let's look at our footage again and think about what's going on as each ball bounces.

讓我們再看看我們的影像，想想每個球反彈時發生了什麼。

Following each impact with the ground, the ball's upward momentum is eventually overcome by gravity.

每次與地面撞擊之後，球反彈向上的動力終究抵抗了地心引力。

As things change direction, the motion is slowest.

當方向改變時，速度是最慢的。

We see here the successive positions of the ball are close together.

我們在這裡看到球的連續位置很接近。

The ball then speeds up as it falls, and is at its fastest when it's approaching and hitting the ground.

然後球在下墜時加速，並且在接近並撞到地面時速度最快。

We can see here each position is further apart.

我們在這裡可以看到每個位置都相距更遠。

The change in position between frames is the spacing.

The smaller the change, the slower the action will appear.

The greater the change, the faster it will appear.

變化越大，出現的速度就越快。

For an action to decelerate, each change in position must be less than the change before it.

對於減速的動作，位置的每次變化都必須小於之前的變化。

Likewise, for an action to speed up, or accelerate, each successive change must be greater.

同樣，對於加速的動作，每個連續的變化都必須更大。

Let's change the mechanical spacing of our animated bounce to reflect what we observed in the footage.

讓我們更改動畫反彈的機械間距以反映我們在鏡頭中觀察到的內容。

Slow at the top, fast when it's hitting the ground.

Simply by adjusting the spacing, we've succeeded in suggesting the forces of momentum and gravity at play and achieved a much more realistic motion.

只需調整間距，我們就成功地暗示了動量和重力的作用，並實現了更加逼真的運動。

Same timing but different spacing gives us vastly different results.

同樣的時間但不同的間距會有相當不同的結果。

And in reality, as a ball bounces, the physics of gravity eventually defeat the tendency of the ball to stay in motion.

實際上，當球反彈時，重力的物理特性最終會擊敗球保持運動的趨勢。

You can see this here in the decreasing height of each successive bounce.

你可以在每次連續反彈的高度降低中看到這一點。

However, again, this decrease varies according to the properties of the ball.

然而，同樣，這種減少會根據球的特性而變化。

Even though these circles are the same size here, they're each telling us a different story about themselves, purely in how they move.

儘管這些圓圈大小相同，但它們都在向我們講述關於自己的不同故事，純粹是它們的移動方式。

The relationship between these principles of timing and spacing can be applied in countless ways and used to animate all types of action:

這些時間和間隔原則之間的關係可以以無數種方式應用，並用於動畫所有類型的動作：

動畫是一種與時間相關的藝術型態。

It may incorporate the aesthetic elements of other graphic arts, like illustration or painting,

它可能包含其他圖形藝術的美學元素，如插圖或繪畫，

but what sets animation apart is that, here, what you see is less important that what you don't see.

但動畫的不同之處在於，在這裡，你看到的不如你看不到的重要。

An object's superficial appearance only tells us so much about itself.

一個物體的表面外觀只能告訴我們很多關於它自己的信息。

It's only when it's in motion that we really understand its nature.

只有當它在移動時，我們才能真正了解它的本質。