In BetweeningEdit
In betweening is the process of generating the intermediate frames that connect key poses in animation. It is the craft that makes motion feel cohesive, weighty, and readable, turning a sequence of still drawings or digital poses into the illusion of living movement. Historically central to 2D hand-drawn work and increasingly integral to hybrid and fully digital pipelines, in betweening relies on a combination of trained artistry, practical timing, and increasingly sophisticated software tools. The result is motion that reads clearly to audiences, whether in a short cartoon or a feature production, and it rests on a body of technique and discipline that has shaped the animation industry for decades. In betweening sits at the intersection of craft and efficiency, a balance that has long been prized in competitive media markets. Animation Keyframe Tweening The Illusion of Life
History
Early practice and consolidation
From the dawn of motion studies in the early 20th century, animators worked with key poses and the drawings that filled the gaps between them. As productions grew more ambitious, studios developed formal workflows in which a dedicated team, often termed the in-betweeners, would translate broad, stylized poses into the fluid motion of the final piece. This division of labor allowed artists to specialize and scale projects, while ensuring consistency of line, weight, and timing across scenes. Notable early creators and studios helped establish the practical norms of the craft, and the discipline of in-betweening was repeatedly refined through long-form shorts and early features. Windsor McCay Disney Walt Disney The Illusion of Life
The Disney standard and the rise of formal pipelines
The golden age of classic American animation solidified many conventions around key poses, timing, and the responsibilities of the in-between artist. In large studios, a multi-stage pipeline preserved a clear hand-off from concept and keyframe drawing to in-betweening, ink-and-paint, and final compositing. The process aligned with the broader Disney approach to animation, which emphasized clear silhouettes, readable movement, and the deliberate pacing behind each action. The result was a reproducible workflow that could sustain long productions and protect the economic model of feature animation. The Illusion of Life Disney Walt Disney Animation
Digital transformation and new tools
In the late 20th and early 21st centuries, digital tools transformed in-betweening without eliminating its core human role. Software such as Toon Boom Harmony and Adobe Animate introduced automated interpolation and tweening, while still requiring skilled artists to supervise, adjust timing, and preserve the expressive responsibilities of the characters. In many productions today, the in-betweening task blends traditional drawing sensibilities with computer-assisted methods, leveraging stronger frame-rate control, non-linear editing, and more precise control over easing and motion curves. Tweening Digital animation Animation
Techniques and workflows
Manual in-betweening: An artist studies the key poses, then draws the frames that bridge them, preserving consistent line weight, weight distribution, arcs, and anticipation. This traditional approach is valued for its tactile sense of character and motion. Inbetweener Keyframe
Automated interpolation (tweening): Software generates frames between two specified frames. The artist guides the result through timing adjustments, easing curves, and manual tweaks to retain expressive nuance. This speeds production and enables consistency across scenes. Toon Boom Harmony Adobe Animate Frame rate
Timing and spacing: The rhythm of movement depends on how often frames are shown (timing) and how the motion is distributed across each frame (spacing). Terms like ease-in, ease-out, and variations in spacing help produce natural acceleration and deceleration. These concepts are fundamental to the craft and are discussed in core animation literature. The Illusion of Life
On twos and on threes: In some workflows, a single drawing is shown for two or three frames before the next drawing, a convention that affects how motion reads on screen and how labor is allocated in a studio pipeline. Animation
Style and linework: In traditional hand-drawn animation, in-betweening must align with the established line art, shading, and color decisions for a scene. In digital workflows, these concerns transfer into clean-up, paint, and compositing steps, but the principle—creating believable motion—remains constant. Ink and paint Digital animation
Roles, industry structure, and economic considerations
In traditional studios, in-betweening has often been a stepping-stone role that trains artists in the language of movement, timing, and character appeal. As the industry migrated toward digital pipelines, many studios adopted a hybrid model that combines in-house artistry with outsourced or offshore production steps, all aimed at maintaining quality while controlling costs. The market dynamics emphasize skilled labor, efficient workflows, and the ability to adapt to evolving technology without sacrificing craft. Training programs and vocational pipelines remain important to keep the discipline alive, especially for studios that prize distinctive animation personalities and hand-drawn character appeal. Outsourcing Vocational education Animation
Controversies and debates
Automation versus craft: A major point of debate centers on how much of in-betweening can or should be automated. Proponents of automation point to cost efficiency, faster turnarounds, and the ability to scale productions for streaming and box-office demands. Critics worry about the erosion of traditional drawing skills and the risk that automated tools dull the subtlety of weight, pull, and personality that trained in-between artists bring to scenes. The sensible position in many industry contexts is to view automation as a complement that frees artists to focus on higher-value tasks while preserving the core expressive discipline of hand-drawn motion where that craft matters.
Globalization and labor markets: The practice of outsourcing segments of production—especially labor-intensive steps like in-betweening—has been defended on grounds of efficiency and comparative advantage, while criticized for transferring jobs away from domestic studios. In a competitive media climate, the best outcome is a transparent pipeline with clear standards, strong IP protections, and pathways for workers to upskill into higher-value roles such as keyframe design, timing strategy, or animation direction. Outsourcing Globalization
Representation and critique: Some cultural critics argue that the craft and its media output should reflect a broader range of voices and experiences. Critics of this line claim that animation should primarily serve storytelling and entertainment merit, with technical excellence driving success, while others urge broader inclusion to reflect society. From a pragmatic, market-oriented perspective, the focus remains on quality storytelling, audience reach, and the protection of intellectual property, with supporters arguing that high standards and robust pipelines enable more people to tell compelling stories effectively. In this frame, concerns framed as identity-focused can be seen as secondary to the legitimate aims of craft, efficiency, and economic viability. Where debates become heated, proponents of traditional workflows argue that the best path forward emphasizes training, merit, and fair competition rather than sweeping ideological agendas. If critics frame every animation decision through a political lens, supporters contend that it undermines the practical goals of delivering reliable, entertaining content at scale.
Woke criticisms (and why some see them as misguided in this arena): Some critics argue that advocacy around representation and social issues should drive technical practices in animation. From a conservative-leaning, market-focused view, the argument is that the most powerful driver of success is the ability to tell good stories well, with efficient production and strong IP protection. The claim that technical decisions in in-betweening are primarily about identity politics is judged by supporters as a distraction from the craft, timing, and business realities that historically determine whether a project succeeds. In this view, skepticism of politicized critiques is not about rejecting fairness or inclusion but about prioritizing a robust, economically viable creative ecosystem that rewards skill and results.