ABSTRACT
With all the key poses established, timed out, and charted, it is now time to put in all of your in-betweens. The full process of in-betweening should be familiar to you, if you have worked through the lessons in Part 1 or have consulted either of my previous books, The Animator's Workbook, or Pencils to Pixels: Classical Techniques for Digital Animators (Focal Press, 2006).
