| When referring to the principle of timing in animation the conversation steers almost certainly into the topic of frames. How many frames are we using for this scene, that movement or the fall of this or that object? Indeed timing can be the difference between the correct representations of mood to the natural representation of a walking cycle. Timing, not the pen or the computer or the plasticine, is the animator’s main tool. Johanna Quinn: Britannia: Timing is used effectively to transform and distort, squash and stretch the character in a relentless debacle that adapts perfectly to the subject matter treated. Her use timing is frenetic and pulse pounding which grabs the viewer and never let go. Ryan Woodward: Thought of you: Here Ryan Woodward uses timing to invite the viewer to an emotional connection with the dancers. Even though he makes use of squash and stretch, boils and morphing, the timing obtains a different flavor to Joanna’s work because the timing is used to convey mood and subtlety. It is a quieter, more intimate affair. |