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Description
So our assignment this week was actually about learning to shoot a traditional moving background. There was a lot of maths needed in order to figure out how far the background had to move each frame, and how fast the character had to run, how fast their foot needs to slide with each step in order to make his presence in frame feel believable. Don provided all of this, we simply listened in to how the math was done, and had to follow his instructions to create the shot. It was good practice for a very realistic studio scenario, but I really hope I retained some of the technical information, because there was a lot, and panning shots are very common in 2D animation. they really add a nice quality.

We were told that panning shots should always be animated on 'ones', not 'twos', less they risk looking jaring. This means that, if a smooth affect is desired, all animation on top of a moving background should also be animated on ones. Animating on ones did take a little getting used to, since it slightly altered the timing plan we've been getting used to the past couple weeks, which only made it better practice.
I prefer the look of this animation when it's reduced down to 'twos', the slower look (used for the preview of this animation), but it was not the asignment to do it this way, it had to be a very fast run.

One big piece of feedback I'd give myself, the facial proportions of the character jump all over the place, in some frames the snout is short, in others, long. I'll be more careful to avoid this in future, as it makes the character's face particularly hard to read.

Description
So our assignment this week was actually about learning to shoot a traditional moving background. There was a lot of maths needed in order to figure out how far the background had to move each frame, and how fast the character had to run, how fast their foot needs to slide with each step in order to make his presence in frame feel believable. Don provided all of this, we simply listened in to how the math was done, and had to follow his instructions to create the shot. It was good practice for a very realistic studio scenario, but I really hope I retained some of the technical information, because there was a lot, and panning shots are very common in 2D animation. they really add a nice quality.

We were told that panning shots should always be animated on 'ones', not 'twos', less they risk looking jaring. This means that, if a smooth affect is desired, all animation on top of a moving background should also be animated on ones. Animating on ones did take a little getting used to, since it slightly altered the timing plan we've been getting used to the past couple weeks, which only made it better practice.
I prefer the look of this animation when it's reduced down to 'twos', the slower look (used for the preview of this animation), but it was not the asignment to do it this way, it had to be a very fast run.

One big piece of feedback I'd give myself, the facial proportions of the character jump all over the place, in some frames the snout is short, in others, long. I'll be more careful to avoid this in future, as it makes the character's face particularly hard to read.