1. Single moms are the problem. Only 9 percent of low-income, urban moms have been single throughout their child’s first five years. Thirty-five percent were married to, or in a relationship with, the child’s father for that entire time.
2. Absent dads are the problem. Sixty percent of low-income dads see at least one of their children daily. Another 16 percent see their children weekly.
3. Black dads are the problem. Among men who don’t live with their children, black fathers are more likely than white or Hispanic dads to have a daily presence in their kids’ lives.
4. Poor people are lazy. In 2004, there was at least one adult with a job in 60 percent of families on food stamps that had both kids and a nondisabled, working-age adult.
5. If you’re not officially poor, you’re doing okay. The federal poverty line for a family of two parents and two children in 2012 was $23,283. Basic needs cost at least twice that in 615 of America’s cities and regions.
6. Go to college, get out of poverty. In 2012, about 1.1 million people who made less than $25,000 a year, worked full time, and were heads of household had a bachelor’s degree.
7. We’re winning the war on poverty. The number of households with children living on less than $2 a day per person has grown 160 percent since 1996, to 1.65 million families in 2011.
8. The days of old ladies eating cat food are over. The share of elderly single women living in extreme poverty jumped 31 percent from 2011 to 2012.
9. The homeless are drunk street people. One in 45 kids in the United States experiences homelessness each year. In New York City alone, 22,000 children are homeless.
10. Handouts are bankrupting us. In 2012, total welfare funding was 0.47 percent of the federal budget.
… Because characters are going from ones to twos all the time depending on their respective actions, the twos can go in and out of sync with each other. I don’t think it makes any perceptible difference to the smoothness of the animation whether they’re offset or not, and I doubt it’s usually intentional, because often a different animator is working on each character.
I will take your word for it!!! You are the expert on the topic! It was funny because it seemed to happen constantly, but I must have just happened on an offset scene!
Oh, it does happen constantly, especially if your scene is of any length and has the sort of action in it that might require any sort of ones at all. Which is most of the time.
I gotta say, though, I have HUGE admiration for people who can achieve nice fluid snappy animation on 2s (or less!) just by being clever. You guys rock and I want to learn your secrets. Aaalllll your secrets.
Asked by Anonymous
Yeah that was during the time glen keane had moved to paris. I don’t really know if there are any other movies where this is the case, or if this is the odd one out!
The Paris studio was a satellite studio of Disney; they did work on The Goofy Movie and Runaway Brain before being upgraded to working on real features, and worked on Hunchback and Tarzan at least before getting shut down. (Maybe a bit of Hercules too; there’s a colour/FX model sheet in the art book with Hades’ emotional range labelled in French. They might have done more but I don’t know off the top of my head.)
As far as I know the influence the European animators had on Tarzan was a)a classical art education and b)making it SUPER AWESOME, but I am biased towards European animation. :)
i still don’t really understand the difference between 1’s and 2’s in animation tbh
i think “on 1’s” is like EVERY frame has a drawing whereas “on 2’s” is 1 drawing every 2 frames? When I animate in photoshop though this doesn’t seem to matter much since you can hold a frame for as…
Eh, just gonna chime in and say that Disney traditional animation is actually generally on twos. An example of someone who always works on ones is Richard Williams, (Roger Rabbit, Thief and the Cobbler).
By dint of animation’s nature, however, I can’t say hand-drawn Disney is EXCLUSIVELY on twos - it’s more accurate to say they work MAINLY on twos, and use ones sparingly. Background pans, for instance, need to be animated on ones or else they’ll jitter. Ones are added strategically in an animation that’s otherwise on twos for things like quick actions, smooth transitions, smears, and emphasis. Animating on top of real footage (a la Roger Rabbit) also needs to be on ones to not jitter.
The main reason Disney doesn’t animate everything on ones is because it takes about 900 years. Thief and the Cobbler is famously unfinished for a number of reasons, but the fact that it required double the number of drawings is probably a contributing factor.
Personally, I prefer the look of twos. Ones look floaty and unnaturally smooth to me, and anything higher than three looks a bit too jumpy. But it’s really down to personal preference/how much time you have to draw how many frames.
They did a weird thing in Tarzan where individual characters were on 2s but they were off by one frame so there was actually animation on every frame. IDK why they decided that one or if it happens in any other film, I just went thru a few scenes frame by frame when working on an animation for Jane when I was in school and noticed it.
I think this is just something that happens when one character goes on an odd number of ones for whatever reason so the twos syncopate with the other character’s twos. If I were to approximate an x-sheet, like this:
LAYER 1 LAYER 2
1 (2s) 1 (2s)
3 (1s) 3
etc. Because characters are going from ones to twos all the time depending on their respective actions, the twos can go in and out of sync with each other. I don’t think it makes any perceptible difference to the smoothness of the animation whether they’re offset or not, and I doubt it’s usually intentional, because often a different animator is working on each character.
A is for Agricultural Labourer
I really ought to complete A-To-Z Scientists, but I had a fit of irritation at something that’s been bugging me about fiction set in the Victorian (or alternate-Victorian!) times. And that is, why is every single woman either a ‘Prostitute!’ or a ‘Lady!’ Don’t be boring, fiction writers!
So, based on the 1881 Census, I’m starting an A-to-Z Victorian Working Women!
Guess I will need to go to London one of these days. And now I have this idea about a Tumblr travel guide.
A Tumblr travel guide is the best/worst idea I have ever seen.
Half of it will be in doge —
OH MY GOD I went and googled “doge” to get an image to cover with WOW SUCH BAGEL VERY POTATO MANY CREAM CHEESE and there was ALREADY A DOGE TRAVEL GUIDE IMAGE THERE