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Inbetweening

Inbetweening, also known as tweening, is a core process in animation that involves generating intermediate frames, or "inbetweens," between established keyframes to create the illusion of smooth, continuous motion.^[1] This technique divides labor in production pipelines, where senior animators draw the primary keyframes defining key poses or actions, and junior artists or assistants handle the inbetweens to fill in the transitions, ensuring fluid movement at standard frame rates like 12 or 24 frames per second.^[1] Originating in the early 20th century, inbetweening emerged as an efficiency-driven innovation in traditional hand-drawn animation, allowing studios to scale output without sacrificing quality.^[2] The method was pioneered in the 1920s at Fleischer Studios by animator Dick Huemer, who formalized the workflow, with Art Davis credited as the first official inbetweener assisting on key sequences.^[2] This system quickly proved vital for high-volume production, enabling animators to focus on expressive extremes while inbetweeners maintained timing and continuity.^[2] This practice was adopted and refined by studios like Disney during the Golden Age of animation in the 1930s and 1940s.^[3] At Disney, inbetweeners specifically created drawings between the extremes set by lead animators, assistant animators, and breakdown artists, contributing to the studio's signature polished style in films such as Snow White and the Seven Dwarfs (1937).^[3] Over time, inbetweening evolved from laborious manual drawing to computer-assisted and automated techniques, particularly with the rise of digital tools in the late 20th century. Software like Adobe Animate now automates much of the interpolation for motion, shape, and color tweening, though human oversight remains crucial for artistic nuance in complex scenes involving occlusions or non-linear motion.^[1] Today, advancements in AI-driven inbetweening further streamline workflows in both 2D and 3D animation, reducing production time while preserving the technique's foundational role in achieving lifelike fluidity.^[4]

Fundamentals and History

Definition and Purpose

Inbetweening, also known as tweening, is the process of generating intermediate frames, referred to as inbetweens, between two complete keyframes in animation to simulate smooth transitions and natural movement.^[5] This technique involves interpolating positions, shapes, or other attributes from the starting keyframe to the ending one, creating the illusion of continuous motion when the frames are played in rapid succession.^[6] The primary purpose of inbetweening is to bridge the major poses or actions defined by key animators, thereby reducing the overall workload in production while ensuring visual continuity and realism in the final animation.^[7] Unlike keyframing, which focuses on establishing the critical points of change or significant poses to outline the sequence's structure, inbetweening fills the gaps through interpolation to achieve fluid progression between those points.^[5] Inbetweening is applied in both 2D and 3D animation to transform static images into dynamic sequences, such as smoothing a character's walk cycle or a camera pan across a scene.^[8] In 2D contexts, it typically involves drawing additional artwork to match the style of the keyframes, while in 3D, it often relies on computational methods to interpolate object transformations.^[5]

Historical Development

The earliest precursors to inbetweening can be traced to the pioneering hand-drawn animations of the early 20th century, such as Émile Cohl's Fantasmagorie (1908), where the film's fluid transformations were achieved through frame-by-frame drawing on paper, with over 700 individual images double-exposed to simulate motion on a blackboard-like surface.^[9]^[10] Although this process involved creating every frame manually without a formalized division of labor, it implicitly laid the groundwork for generating intermediate drawings to produce smooth motion between poses.^[11] Inbetweening emerged as a distinct technique in the 1920s at studios like Max Fleischer's in New York, where animator Dick Huemer formalized the division of labor by creating key drawings that assistants would fill with intermediate frames, significantly boosting production efficiency.^[12]^[2] Art Davis, working as Huemer's assistant starting in 1923, is recognized as the first dedicated inbetweener in American animation, tasked with drawing the intervening poses to connect Huemer's extremes in early Out of the Inkwell shorts.^[12]^[2] This system allowed lead animators to focus on character acting and timing while inbetweeners handled the labor-intensive interpolation, marking a shift from solitary frame creation to collaborative workflows. During the Golden Age of American animation from the 1930s to the 1950s, inbetweening became integral to the assembly-line production models at major studios, including Warner Bros. and MGM, where it enabled the rapid output of hundreds of shorts featuring refined, personality-driven motion. At Disney, which influenced industry standards, inbetweening departments grew to employ dozens of artists who interpolated between keyframes, allowing animators to produce more complex sequences under tight schedules; similar hierarchies at Warner Bros. and MGM streamlined gag-driven cartoons like those from Tex Avery's unit.^[13] This era solidified inbetweening as a core specialization, with young artists often entering the field as inbetweeners before advancing, contributing to the era's technical innovations in squash-and-stretch and overlapping action. The transition to digital precursors occurred in the 1990s, building on earlier computer-assisted systems developed by researchers like Nestor Burtnyk and Marceli Wein at Canada's National Research Council, whose keyframe interpolation software from the 1970s evolved into tools for automating intermediate frame generation.^[14] In 1997, Burtnyk and Wein received an Academy Scientific and Technical Award for their pioneering software techniques in computer-assisted animation, which facilitated scan-and-paint processes that digitized hand-drawn cels and enabled electronic inbetweening in early productions.^[15]^[16] Their work bridged traditional methods with digital workflows, reducing manual labor while preserving artistic control over motion fluidity.

Traditional Inbetweening

Workflow and Process

In traditional hand-drawn animation, the workflow commences with key animators sketching the primary keyframes that define the essential poses and movements of a character or scene. These rough drawings establish the core action and timing for the sequence. Assistant animators then add breakdown drawings, such as extreme positions or additional intermediate poses, to provide clearer guidance on the path of motion and to highlight key transitions.^[17] Inbetweeners subsequently create the majority of the frames by filling in the gaps between these established drawings, ensuring fluid progression from one pose to the next. Their role emphasizes precise timing, spacing of drawings along motion paths, and easing—in which acceleration and deceleration are applied to mimic natural physics—resulting in realistic arcs and overlapping elements like limbs or accessories. This labor-intensive division of labor allows lead animators to focus on creative expression while inbetweeners handle the technical volume of production.^[17]^[3] To achieve smoothness, inbetweeners rely on exposure sheets (X-sheets), grid-based planning documents that detail frame-by-frame timing, exposures, and synchronization with audio cues. These sheets enable adjustments for secondary actions, such as the subtle sway of hair or fabric, which enhance the lifelike quality of the animation. Challenges in this process include maintaining uniform line weight, consistent perspective, and proportional accuracy across numerous frames, frequently requiring several rounds of revisions to align with the director's vision.^[18]^[19]^[20] The structured role of inbetweeners in this pipeline originated in early 20th-century studios, including Disney's, where division of labor streamlined production during the 1920s expansion of animated shorts.^[21]

Tools and Materials

In traditional animation pipelines, the primary tool for manual inbetweening is the animation light table, a specialized backlit desk that illuminates transparent celluloid sheets, or cels, from below to facilitate accurate tracing and overlaying of drawings while maintaining consistent poses across frames.^[22] This setup allows inbetweeners to align intermediate drawings with key frames, ensuring smooth transitions in motion.^[23] Essential materials include peg bars, which feature pins that fit into pre-punched holes on paper or cels to secure alignment and prevent shifting during the inbetweening process; these were patented by animator John Randolph Bray in 1915 to standardize registration in hand-drawn animation.^[24] Pencils, often soft grades like 2B for creating rough sketches of inbetweens, are used alongside inks for clean outlining and paints—typically acrylic or cellulose-based—for applying color to the reverse side of cels.^[22]^[25] To verify motion fluidity, animators employ flipbooks, which rapidly cycle through drawn sequences to simulate playback and identify adjustments needed in the inbetweens.^[26] Key accessories encompass rotoscopes, devices that project live-action footage onto a surface for frame-by-frame tracing to inform realistic inbetweening, invented by Max Fleischer in 1915 and patented in 1917.^[27]^[28] Multiplane cameras further enhance inbetweening of layered elements by positioning multiple cels on separate planes to create depth effects through differential movement, with an early design developed by Ub Iwerks in 1933 and refined by Bill Garity for Walt Disney Studios in 1937.^[29] The evolution of these tools progressed from rudimentary wooden desks in the 1920s, which provided basic drafting surfaces for early inbetweeners, to more advanced pegged animation stands by the 1930s, incorporating mechanical registration for precise frame-to-frame consistency and supporting the growing complexity of cel-based workflows.^[23]^[30] These innovations, including Raoul Barré's introduction of mechanical pegbar registration in 1914, were crucial for scaling production in studios like Disney and Fleischer.^[23]

Timing and Frame Rates

Standard Frequencies

In traditional film animation, the standard frame rate is 24 frames per second (fps), which determines the frequency of inbetweens needed to create fluid motion. Animators adjust the exposure—how long each drawing is held—resulting in conventions like "on ones" for rapid action, requiring 24 unique drawings per second, or "on twos" for standard dialogue and movement, using 12 drawings per second by holding each for two frames. This approach halves the workload compared to full exposure while maintaining the 24 fps playback rate. Slower timings include "on threes," with 8 drawings per second for subdued scenes, and "on fours," employing 6 drawings per second particularly for static or background elements to optimize production efficiency. An early illustration of on twos appears in Émile Cohl's Fantasmagorie (1908), where 700 drawings were double-exposed at around 16 fps to produce a two-minute sequence. Television animation typically operates at 30 fps but is commonly shot on twos to balance budget and schedule, resulting in 15 unique drawings per second.^[31]

Impact on Motion

In animation produced at the standard 24 frames per second baseline, the choice of inbetweening frequency—such as on ones, twos, or threes—fundamentally shapes the smoothness and perceived realism of motion by determining how many unique drawings are held per frame.^[32] Animating on ones, where each frame features a new drawing, produces hyper-fluid and realistic motion, particularly suited to fast-paced action sequences that demand crisp detail and lifelike flow.^[33] In contrast, on twos—using one drawing for every two frames—provides sufficient smoothness for most scenes, imparting a subtle stylized bounce that balances natural movement with production efficiency.^[33] On threes, with one drawing held for three frames, introduces deliberate choppiness that emphasizes key poses or achieves economy without sacrificing stylistic intent.^[34] These effects stem from perceptual principles rooted in visible persistence and motion fusion, where the human visual system merges successive images to create continuity; however, lower rates like on threes or fours increase the risk of flicker or stroboscopic artifacts if below critical fusion thresholds around 50-60 Hz, though animation's motion blur often mitigates this.^[35] At such reduced frequencies, the extended hold on each inbetween enhances timing exaggeration, allowing principles like squash and stretch to amplify impact through prolonged deformation and recovery, thereby heightening dramatic or comedic emphasis in character actions.^[34] In style-specific applications, limited animation techniques pioneered in 1960s television productions, such as those by Hanna-Barbera, frequently employed on fours—holding one drawing for four frames—to minimize costs, resulting in jerkier motion that contributed to a bold, minimalist aesthetic distinct from fluid cinematic styles.^[34] Conversely, full animation in Disney classics prioritized on ones and twos to achieve lifelike flow, enabling nuanced weight shifts and organic progression that conveyed emotional depth and realism in character performances.^[33] Higher inbetweening rates, such as on ones, permit more granular adjustments during the inbetweening process, allowing animators to refine easing in and out with precise spacing—starting slow and accelerating, or vice versa—to modulate acceleration and deceleration for greater control over rhythm and weight.^[20] This finer easing influences emotional pacing, as extended inbetweens can build anticipation or sustain tension, tailoring the motion's feel to narrative intent without abrupt transitions.^[20]

Digital Inbetweening

Automated Tweening Techniques

Automated tweening techniques represent a shift from manual inbetweening to algorithmic generation of intermediate frames in digital animation, enabling efficient creation of smooth motion between keyframes. These methods rely on mathematical interpolation to compute positions, transformations, and shapes at intermediate times, reducing the labor-intensive process of hand-drawing each frame. Early implementations focused on basic linear approaches, evolving to incorporate non-linear curves for more realistic dynamics. The core technique in automated tweening is linear interpolation, often abbreviated as lerp, which calculates intermediate values for properties such as position, rotation, and scale between two keyframes. The formula for linear interpolation is given by:

\text{value}(t) = (1 - t) \cdot \text{start} + t \cdot \text{end}

where t is the normalized time parameter ranging from 0 to 1, start is the value at the initial keyframe, and end is the value at the final keyframe. This method produces uniform motion along a straight path, forming the foundation of keyframe-based systems developed in the early 1970s. Pioneering work by Nestor Burtnyk and Marceli Wein introduced computer-generated keyframe animation using such interpolation to compute inbetween frames in real-time, marking a significant advancement in vector-based systems from the 1970s through the 1990s, including scan-and-paint processes for artwork integration.^[14] Their contributions were recognized with an Academy Award for Technical Achievement in 1997.^[14] Their approach utilized interactive skeleton techniques to enhance motion dynamics, allowing animators to define key poses while the system interpolated transformations automatically. For more natural motion simulating acceleration and deceleration, advanced interpolation employs Bézier curves to achieve non-linear easing effects, such as ease-in or ease-out. Cubic Bézier curves generalize traditional easing functions by defining control points that adjust the curve's shape, enabling precise control over velocity profiles in animations. This technique allows for smooth transitions that mimic physical behaviors, like gradual starts and stops, and has become a standard for refining tweened paths beyond simple linearity. Spline-based interpolation extends these methods to handle complex trajectories, using piecewise polynomial curves to connect multiple keyframes smoothly. Splines ensure continuity in position, velocity, and acceleration, making them ideal for curved paths or irregular motions that linear methods cannot capture effectively. Automated tweening encompasses distinct types tailored to different animation needs. Motion tweening interpolates the path of an object along a defined trajectory, applying transformations like translation and rotation to maintain consistent movement. In contrast, shape tweening facilitates morphing between vector shapes by interpolating corresponding points or features, creating fluid transitions from one form to another. Classic shape tweening often requires manual hints—user-specified guides for overlapping elements or feature correspondences—to prevent distortions during interpolation, ensuring accurate and visually coherent morphs. These techniques collectively automate the inbetweening process, contrasting with traditional hand-drawn workflows by leveraging computational precision for efficiency and scalability.

Software and Implementation

Adobe Animate, formerly known as Flash, is a prominent software for 2D vector tweening, utilizing timeline-based keyframing to generate smooth transitions between poses.^[36] In this tool, animators define keyframes at start and end points, allowing the software to interpolate intermediate frames for properties such as position, scale, rotation, and opacity.^[37] Toon Boom Harmony serves as a professional-grade alternative, supporting cut-out animation and frame-by-frame workflows with built-in auto-inbetweening capabilities, including morphing tools that automatically generate drawings between vector keyframes to streamline production.^[38] The implementation workflow in these tools typically begins with setting keyframes on the timeline to establish primary poses. Animators then apply tween spans across the desired frames, adjusting properties like position, opacity, or color to guide the interpolation. For curved or guided motion, motion paths or guides can be added to direct object trajectories, followed by exporting the sequence as video files, interactive SWF media, or image sequences for further integration.^[39] These steps enable efficient creation of inbetweens without manual drawing of every frame, though manual refinements are often necessary for stylistic control. Key features enhance usability, such as onion skinning, which overlays semi-transparent previous and upcoming frames for precise previewing of motion continuity in both Adobe Animate and Toon Boom Harmony.^[40] Additionally, auto-lip sync integration analyzes audio tracks to automatically generate mouth shape inbetweens aligned with phonemes, facilitating dialogue animation in tools like Harmony and Animate.^[41]^[42] For accessible options, open-source software like Synfig Studio provides free vector-based interpolation, supporting bone systems and parametric animation to create inbetweens through waypoint-driven timelines.^[43] Post-2020 developments have introduced hybrid workflows, with tools like Blender incorporating cloud rendering integrations for 2D grease pencil animations, allowing distributed processing of complex inbetween sequences via services such as AWS Deadline Cloud.^[44] These updates enable scalable rendering for professional pipelines while maintaining compatibility with traditional 2D tweening. Interpolation techniques, such as Bezier easing, can be applied in these software to refine acceleration and deceleration for more natural motion.^[45]

Advanced Methods

3D and Motion Capture Integration

In 3D animation, inbetweening relies on skeletal rigging, where a hierarchical skeleton of virtual bones is embedded within a character model to control deformations of the surrounding mesh. Animators set key poses by defining bone rotations and translations at specific frames, after which the software interpolates intermediate poses using techniques like linear or spline-based interpolation to ensure smooth transitions. This process allows for precise control over complex movements, such as limb articulations, by binding mesh vertices to one or more bones via skinning weights, which determine how much each bone influences nearby geometry during interpolation.^[46]^[47]^[48] Software such as Autodesk Maya facilitates this through inverse kinematics (IK) and forward kinematics (FK) solvers, which compute joint rotations to achieve desired end-effector positions during inbetweening. IK solvers propagate constraints backward from the limb's tip to the root, enabling natural posing like foot placement on uneven terrain, while FK allows direct rotation of individual bones for broader swings, with blending attributes mixing the two for seamless transitions between frames. These tools automate much of the limb inbetweening, reducing manual adjustments while preserving animator intent through curve editors that refine interpolation curves.^[49]^[50] Motion capture (mocap) integration enhances 3D inbetweening by recording real-world performances from actors equipped with sensors or markers, capturing key poses as raw data streams of joint positions and orientations. Software then processes this data to generate inbetweens via spline interpolation, fitting curves to the captured points for fluid motion while allowing refinements like exaggeration for stylistic emphasis, as seen in James Cameron's Avatar (2009), where performance capture on virtual sets drove character animations with added procedural tweaks for Na'vi expressiveness. This approach bridges live action and CGI, with tools editing mocap clips to remove noise or blend cycles before spline-based filling of gaps.^[51]^[52]^[53] For facial inbetweening, blend shapes—pre-defined mesh deformations representing expressions like smiles or frowns—are interpolated between targets to create nuanced transitions, often layered atop skeletal rigs for comprehensive control. Animators weight and blend these shapes over time, using software deformers to interpolate vertex positions smoothly, which is particularly effective for subtle micro-expressions in character performances.^[54] Physics simulations further automate secondary inbetweens for elements like cloth and hair, where rigid body dynamics or cloth solvers compute interactions post-keyframing to generate realistic trailing motions without per-frame manual posing. These simulations apply forces such as gravity and collision detection to particle systems or mesh subdivisions, producing emergent details like fabric folds or strand dynamics that enhance primary animation realism.^[55]^[56] Compared to traditional 2D methods, 3D inbetweening offers advantages like real-time previews in viewport rendering, allowing immediate iteration on interpolated poses, and procedural generation via rigs and simulations that minimize manual labor for repetitive tasks. This efficiency supports higher frame rates, typically 24 fps for film on "ones" (full keyframes per frame) up to 60 fps for games, enabling more dynamic output with less artist intervention.^[57]^[58]

AI-Assisted Inbetweening

AI-assisted inbetweening leverages machine learning models, such as generative adversarial networks (GANs) and diffusion models, to predict intermediate frames from sparse keyframes while maintaining style consistency through training on large animation datasets.^[59] These models go beyond linear interpolation by incorporating contextual elements like motion physics and character dynamics, enabling more natural and expressive animations.^[60] Key developments include the 2025 update to EbSynth 2, which integrates AI-powered keyframe generation using the SDXL 1.0 model alongside its traditional style transfer for propagating changes from keyframes, facilitating efficient inbetweening for hand-drawn animations.^[61]^[62] In 2023, Adobe integrated Sensei AI features into its Animate software for automated frame generation, particularly in lip-sync and motion tasks, enhancing workflow automation.^[63] More recent advancements in 2024 and 2025 have focused on diffusion models for procedural motion, such as the Flexible Motion In-betweening framework, which conditions generation on sparse keyframes to produce diverse, physically plausible sequences.^[64] Additionally, Cascadeur 2025.1 introduced an AI-powered inbetweening tool that generates realistic poses between keyframes, accounting for human anatomy and balance.^[65] The typical process begins with inputting keyframes into the AI model, which then interpolates intermediates with awareness of contextual factors like physics or emotional intent, followed by optional human refinement for artistic adjustments.^[66] This approach automates repetitive frame creation in professional studios. In applications, AI-assisted inbetweening supports video game development through plugins for engines like Unity and Unreal, where tools like Cascadeur enable rapid character animation prototyping and integration.^[67] In visual effects (VFX), it fills gaps in hybrid workflows by generating fluid motions for digital creatures or crowd simulations, streamlining post-production in films and series.^[68]

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Turn on the IK Solver (Key > IK/FK Keys > Enable IK Solver). Manipulate the IK handle and use Set IK/FK Key as desired for the frames between the bounding keys.
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Oct 16, 2020 · RECORDING PHYSICS FOR SECONDARY MOTION. Using Unity Version 2019.4. Secondary motion is one of the most difficult areas of keyframe animation.
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Apr 17, 2024 · We'll take a look at two recently published papers on animation “inbetweening” – the automatic generation of intermediate frames between given keyframes.Missing: scholarly | Show results with:scholarly
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EbSynth - Transform videos by changing one frame
Change your video by editing one frame · Paint over Videos. Turn your performance into hand‑drawn animation. Just paint the keyframes, EbSynth will do the rest.
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Adobe Animate's Auto Lip-Sync feature matches mouth poses to sound inflections – a quick and easy time-saver for animators.Animate Characters With Auto... · Draw Mouth Shapes · Select Lip Syncing
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Incorporating spatial constraints such as keyframes into motion diffusion models can be done through two distinct approaches: 1) Training a diffusion model ...
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Cascadeur 2025.1 introduces AI Inbetweening
Powered by AI, the new Inbetweening Tool generates motion between poses. Improved AutoPosing: Enhanced AutoPosing ensures greater stability and improved pelvis ...
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Nekki releases Cascadeur 2025.1 with AI-based Inbetweening
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AI-Assisted Inbetweening: Automatically generates frames between your key poses, creating fluid motion with minimal manual effort. Ideal for productions ...