Pratica di Shadowing: Animation Basics in 14 Minutes (6 Big ideas for beginners) - Impara a parlare inglese con i video

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Hi, welcome to Animation For Anyone, my name is Alex.

Today's lesson is a bit of a crash course in animation.

We'll start with how animation works, and then I'll share with you the six ideas

that I think are the most important to understand when you first start animating. And after

that, I want to show you my thought process for how we can use multiple animation ideas at the same time.

Let's jump in.

I think the easiest way to understand how animation is working is by looking at a flipbook.

If you're anything like me, you might have made little animation flipbooks out of your exercise books at school.

You draw a picture, and then a slightly different picture, and you keep going until you flip through your pages and see your pictures move.

This is how pretty much all animation works.

Recreate still images and play them back quickly to create the illusion of motion.

If you've never tried it, maybe spend a few minutes now.

It's pretty fun.

Flipbooks are a good way to visualize animation, but they're a little bit hard to demonstrate the ideas i want to explore today

so instead i'm going to use a coin and capture the visuals digitally

that lets me play back the animation at a constant predictable

speed of 24 frames per second in future videos i'll show you how to do this

but for now we're really just looking at the ideas behind the animation

and how to plan out the movement so

if i want to animate this coin moving from one side

of the piece of paper to the other i take a picture of it move it a little

and then take another picture and then keep going until I get to the other side.

Now, when I play the images back, it feels as though the coin is moving across the screen.

Looking at it though, I think it feels a bit weird.

I think the most important question you can ask yourself while you're animating is how does this motion feel?

This is my guiding principle while I animate.

All of the fundamentals we talk about today and in future lessons really come back to this one question.

So if I ask myself, how does this motion feel?

I'd probably describe it as jumpy or jittery.

Let's look at why that might be happening.

Below the coin, I've illustrated the exact spacing of each of the frames.

You can see that it's not very even.

There are frames that are really close together and there are frames that are really far apart from each other.

And that's because I've not been very deliberate about how far I move the coin each time.

So if this motion feels jumpy or jittery now, I think we can make the motion feel a bit smoother

by making the spacing between the coins a little bit more even.

Now that I've evened up the spacing, you can see that the coin moves a little bit more consistently across the screen.

There's no more jumpiness.

At the moment, the coin moves across the screen in one second, or 24 pictures.

Let's see what happens if I move it across the screen in less time.

I think we can see two really clear things here.

The coin moves much faster, and the spacing between the coin is much larger than before.

Let's see what happens if we make the coin take longer to cross the screen.

Okay, I think that the results here are pretty clear as well.

The coin feels like it's moving more slowly, and the spacing between the coin is much closer than before.

So this is the first big idea in animation I wanted to show you.

Things feel fast when they're far apart, and slow when they're closer together.

So if I ask myself now, how does this motion feel, I'd say smooth or consistent, but maybe a little unnatural.

The coin starts moving suddenly and then stops moving suddenly.

So if we wanted to make a more natural feeling, the coin could start moving slowly, speed up in the middle, and then slow down at the end.

We start slow by having the coins closer together, and then gradually get further and further apart,

and then we slow the coin down by making the spacing closer and closer until we come to a stop.

I think that's starting to feel a bit more natural.

For this next step I'm going to loop the animation so

that the coin travels from the left of the screen to the right and then back again, using the exact same spacing.

For this next step I'm going to exaggerate the speeding up and slowing down a little.

You can see that the spacing's changed, so the parts that were close together before are even closer together now, and the parts that are far apart are even further apart.

Let's see what happens if we exaggerate it even more.

You can see now it feels a bit more lively or zippy.

We don't always have to start slow and finish slow either.

Here's an example of how changing the acceleration can entirely change the way the motion feels.

In this example, I have a coin that slowly speeds up, gets really fast, and then changes direction suddenly.

This gives us a kind of bouncy feeling.

One thing that I think is quite important to mention at this point is that these motions all feel quite different, but they have the exact same timing.

They all take 24 frames to get from one side of the screen to the other.

All of the difference in the way that they feel comes from the amount of space we put between the frames.

So this is the second big idea I wanted to show you.

If we want to make things slow down or speed up, we gradually get closer and closer together or further and further apart from each other.

This is called acceleration and deceleration.

Some people call it easing.

Or you can just call it speeding up and slowing down.

So far, all of our animation has been done using a coin, which doesn't change shape.

I'm going to start using a cutout piece of paper so that we can change the shape as we animate.

In this first example, I'm going to take the fastest frame of animation and stretch the frame out a little.

This changes the feeling of the animation.

I think it feels a little less rigid, maybe more zippy, more lively.

Let's try changing the shape again, but this time we'll squash it.

I think the best example to demonstrate squash would be our bouncy animation.

I'll start by stretching out the frame where we're moving the fastest and then squash it where we change direction.

This is going to make it feel a little bit more like a bouncing ball.

Squash and stretch is the third big idea I wanted to share with you.

It's great for adding a little bit of life to your animation and making it feel less rigid.

It also really helps the audience understand what the object is made of.

This coin doesn't squash or stretch as it bounces, so it feels quite hard, whereas a rubber ball might squash and stretch heaps, which is what makes it feel rubbery and stretchy.

So that's three big ideas covered, and I've got three more I want to show you.

The first is anticipation.

Anticipation is a really important part of animation, but it's something that's easy to forget about when you're first starting out.

Anticipation does two key things.

It builds up energy and it also gives the audience an indication that something's about to happen, which really helps with clarity.

When I think of anticipation, I think of a spring.

It builds up energy in one direction and then releases it all at once in the opposite direction.

You might like to think of someone jumping.

Before they jump up in the air, they often move down to build tension in their body this

downwards motion is the anticipation in this example i have a ball

that moves quite suddenly

and then slows down to make it feel more natural i

could add a little bit of squash to anticipate the movement this makes it feel like we're building up energy

and releasing it all at once the fifth idea i'd like

to talk about is overshoot overshoot is like a mirror image to anticipation.

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Imagine you have a really big movement, go too far and then bounce back.

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Overshoot helps add weight or springiness to your animation.

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In this example I've added a double overshoot to the ball as it springs back into place.

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You might have noticed that all of our motion so far has been along a straight line.

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The last idea I'd like to talk about today is arcs.

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Things in nature don't usually follow a perfectly straight line.

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More often than not, natural movements follow some sort of arc.

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Arcs tend to add flow to your motion.

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In this example, I've taken our coin, and rather than moving it directly across the page, I've swung it down like a pendulum.

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This gives it an entirely different feeling.

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Okay, so those are the six big ideas I wanted to talk about today.

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Let's have a bit of a recap.

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Our first idea was about speed.

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If we make things closer together, they move more slowly and if we make them further apart, they move more quickly.

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Our second idea is about spacing and acceleration.

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If we gradually get closer and closer together or further and further apart, things feel like they're slowing down or getting faster.

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The third idea is about squash and stretch

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and how using it can add a bit of life to your motion

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and also give the audience a sense of what your objects are made of.

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The fourth idea is about adding anticipation to your motion this will help build up energy

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and sometimes add clarity our fifth idea is overshoot this is

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where we let objects bounce back after a big movement

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and our sixth idea is about arcs this is where we decide

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if we want our motion to follow a straight line

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or a more natural flowing arc through space

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so the question is how do we use all of these ideas at the same time

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if you're working on an animation you can ask yourself how does this motion feel?

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The answer could be anywhere from it's great I love it to could be better

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or it could just be this feels wrong.

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If your answer is anything other than great I love it you can use these ideas to start asking questions

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that will help improve your animation.

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Does the speed feel right?

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Should we change the spacing to adjust the acceleration?

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Should we be using some squash or stretch?

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Or maybe we need some anticipation?

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Are the arcs working well?

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Or do we need some overshoot to help sell the weight?

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I'm going to walk through a simple animation now

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and use these questions to help push our animation to the great I love it part of the graph here.

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So for this animation, I'm trying to make a ball jump in the air

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and land on the other side of the screen.

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Let's just move the ball upwards, upwards, upwards, and then come back down again.

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It takes 1 second or 24 frames to get to that point, and let's play it back at full speed.

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Now if I ask myself how does this motion feel, I'd say not that great.

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It feels unnatural, it feels stiff, it doesn't have any weight to it.

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So this is where we can start asking those questions and apply those animation ideas that we've been talking about.

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I'll start with the most obvious thing, to me at least.

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I think this motion could use an arc.

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If I imagine a cannibal flying through the air, I don't imagine a straight line up and a straight line down.

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I picture more of an arc.

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This is because it's being affected by gravity.

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So let's add an arc to this motion.

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Okay, so I think that's starting to feel better straight away.

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Let's see what other ideas we can start working into this animation.

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I think we could use some squash to create an anticipation

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so it feels like the ball is building up energy before the jump I think

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that we could exaggerate the acceleration by using a couple of

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frames of stretch in the fastest part of the motion

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And we could also use a bit of squash to create an overshoot

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when the ball lands This will give it a bit more weight and make it feel a bit more springy Okay,

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I think that's looking even better.

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It's a totally usable piece of animation.

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But if I ask myself one more time, how does this motion feel, I'd say it falls into this area here.

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So if I look at these ideas again, I can think about which ideas I could exaggerate even more.

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I think that we could push the anticipation even further, so it feels like it's shaking and building up energy just before it jumps.

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I think that I could fine -tune the spacing a little bit more

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so that the acceleration is clearer as it leaves the ground, and I think that I could exaggerate the overshoot even more by adding a stretch frame.

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This means that it'll have a kind of double overshoot, making it feel really springy.

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And this is the final result.

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I think that it's got a lot more energy and personality now.

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And that's it, six of the biggest ideas in animation

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and how to start applying them to any animation you want to make.

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Thanks for sticking with me.

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Now for some homework.

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Choose an animation medium, It could be anything from a flipbook to a program

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that you're learning and take one of the six ideas we've talked about here today, like anticipation or arcs, and create a short animation based on that,

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maybe one to two seconds long.

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Then take a different idea, maybe squash or stretch, and create a second animation, once again, one to two seconds long.

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And lastly, create a short animation that uses both of these ideas at the same time.

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Hopefully you've enjoyed this crash course.

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We'll be looking at these individual ideas and many more in future episodes.

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See you next time.

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Questo video contiene 181 frasi e 2455 parole da ripetere con lo shadowing. Il parlato dura 13:10. Chi parla va veloce, circa 186 parole al minuto: aspettati suoni legati e ridotti. Il 83% delle parole rientra nelle 3.000 più comuni dell’inglese; conviene studiare le altre prima di iniziare.

Vocaboli chiave di questo video

15 parole del video che vale la pena imparare, con pronuncia e significato:

Parola	Pronuncia	Significato
animation sostantivo	/ˌæn.ɪˈmeɪ.ʃən/	ravvivamento, animazione
coin sostantivo	/ˈkoɪ̯n/	moneta
squash sostantivo	/skwɔʃ/	zucca
anticipation sostantivo	/ænˌtɪs.əˈpeɪ.ʃən/	anticipazione
stretch verbo	/stɹɛt͡ʃ/	tendere
acceleration sostantivo	/əkˌsɛl.əˈɹeɪ.ʃən/	accelerazione
arc sostantivo	/ɑɹk/	arco
bounce verbo	/baʊns/	rimbalzare
gradually avverbio	/ˈɡɹæd͡ʒuəli/	gradualmente
lesson sostantivo	/ˈlɛs.ən/	lezione
smooth aggettivo	/smuːð/	facile, dolce
demonstrate verbo	/ˈdɛm.ənˌstɹeɪt/	dimostrare
clarity sostantivo	/ˈklæɹ.ɪ.ti/	chiarezza
lively aggettivo	/ˈlaɪv.li/	vivace, brioso
rigid aggettivo	/ˈɹɪd͡ʒ.ɪd/	rigido

I phrasal verb che sentirai

Parola	Pronuncia	Significato
build up verbo		accumulare
slow down verbo		rallentare, decelerare
speed up verbo	/spiːdˈʌp/	stringere i tempi
come back verbo		tornare
line up verbo	/laɪnˈʌp/	allineare

La grammatica di questo video

Le strutture che chi parla usa di più, con le parole esatte del video:

Struttura	Nel video
Present perfect have/has + participio passato — un’azione passata che conta ancora adesso	you've never tried · I've illustrated · I've not been
Forma passiva be + participio passato — conta ciò che accade, non chi lo fa	is called · has been done · is made

Pronuncia a cui fare attenzione

Chi parla usa 50 contrazioni e forme ridotte, come I'm, I've, I'd. Pronunciale nella forma breve, così come le senti.

I suoni “th”: smooth /smuːð/, sixth /sɪksθ/
I suoni “sh” e “zh”: animation /ˌæn.ɪˈmeɪ.ʃən/, squash /skwɔʃ/, anticipation /ænˌtɪs.əˈpeɪ.ʃən/, acceleration /əkˌsɛl.əˈɹeɪ.ʃən/, capture /ˈkæp.(t)ʃɚ/
Parole lunghe — attenzione all’accento: animation /ˌæn.ɪˈmeɪ.ʃən/, anticipation /ænˌtɪs.əˈpeɪ.ʃən/, acceleration /əkˌsɛl.əˈɹeɪ.ʃən/, fundamental /ˌfʌn.dəˈmɛn.təl/, consistently /kənˈsɪstəntli/

Come esercitarsi con questo video

Ascolta tutto il video una volta senza parlare e annota le parole che non conosci.
Inizia a velocità 0,75×, fai shadowing frase per frase e torna alla velocità normale quando diventa facile.
Registrati e confronta con l’originale, facendo attenzione a parole come animation, coin, squash.

Cos'è la tecnica dello Shadowing?

Shadowing è una tecnica di apprendimento delle lingue supportata da studi scientifici, originariamente sviluppata per la formazione dei traduttori professionisti e resa popolare dal poliglotta Dr. Alexander Arguelles. Il metodo è semplice ma potente: ascolti un audio in inglese di madrelingua e lo ripeti immediatamente ad alta voce — come un'ombra che segue il parlante con un ritardo di solo 1–2 secondi. A differenza dell'ascolto passivo o degli esercizi di grammatica, lo shadowing costringe il tuo cervello e i muscoli della bocca a elaborare e riprodurre simultaneamente i modelli di discorso reale. La ricerca dimostra che migliora significativamente la precisione della pronuncia, l'intonazione, il ritmo, il discorso connesso, la comprensione dell'ascolto e la fluidità del parlato — rendendolo uno dei metodi più efficaci per la preparazione alla prova di speaking dell'IELTS e per la comunicazione reale in inglese.

Tecnica dello shadowing: leggi la guida completa passo dopo passo →

Pratica di Shadowing: Animation Basics in 14 Minutes (6 Big ideas for beginners) - Impara a parlare inglese con i video

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