Blender Basics for Animation: Graph Editor for Smooth Motion and Ease

Why the Graph Editor Matters

The Graph Editor is where you polish motion by shaping F-curves (function curves). Each animated channel (Location X, Rotation Z, etc.) becomes a curve that describes how that value changes over time. If the Dope Sheet is about when keys happen, the Graph Editor is about how the motion travels between them: acceleration, deceleration, overshoot, and settle.

F-Curve Anatomy (What You’re Actually Editing)

Axes and Key Elements

• Horizontal axis (X): time (frames).
• Vertical axis (Y): value of the channel (degrees for rotation, Blender units for location, etc.).
• Keyframes: points on the curve. The curve between keys is the interpolation.
• Handles: tangents that control the slope leaving/entering a keyframe. Slope equals speed; changing slope changes easing.

Reading Motion from the Curve

• Steep slope = fast change (high speed).
• Flat slope = slow change (ease or stop).
• Constant slope (straight line) = constant speed.
• Curve that goes past the target value = overshoot (may be desired for bounce, or unwanted).

Interpolation vs Handle Type (Two Different Controls)

Interpolation determines the general behavior between keys (e.g., Constant/Linear/Bezier). Handle type determines the shape of Bezier interpolation at each key. Most polishing happens with Bezier curves and handle edits.

Handle Types You’ll Use Constantly

Auto (Automatic)

Blender tries to make a smooth curve through the key. Great for quick smoothing, but it can introduce overshoot or unwanted drift because it prioritizes smoothness over “staying put.”

Aligned

Handles stay in a straight line through the key, but you can change their length. This keeps the incoming and outgoing direction consistent, which is useful for controlled, natural easing without sudden direction changes.

Vector

Handles become straight, creating sharp corners (a more “linear” feel at the key). Use Vector when you need a crisp change in speed or direction, or when you want to remove a rounded ease that causes floatiness.

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How to Set Handle Type (Practical)

1. Open the Graph Editor.
2. Select one or more keyframes.
3. Press V to open the Handle Type menu.
4. Choose Automatic, Aligned, or Vector.

Tip: You can mix handle types across keys in the same curve. For example, keep Auto in the middle of a move, but use Vector on a “hit” frame.

Easing Concepts (Ease-In, Ease-Out, and “Hits”)

Ease-Out and Ease-In in Curve Terms

• Ease-out (starting a move): curve leaves the first key with a gentle slope that gets steeper (accelerating).
• Ease-in (ending a move): curve approaches the last key with a steep slope that flattens (decelerating).

What a “Clean Stop” Looks Like

If an object should stop at a keyframe, the curve should become flat at that key (slope near zero). If the curve is still slanted at the stop frame, you’ll see drift (continued motion).

Controlling Settle (Small Overshoot on Purpose)

A controlled settle is a deliberate overshoot followed by a return to the final value. In the Graph Editor this is a small bump: the curve passes the target slightly, then comes back and flattens. The key is small amplitude and quick damping so it feels intentional rather than wobbly.

Removing Unwanted Overshoot (Common Problem, Fast Fixes)

Why Overshoot Happens

Auto handles can create a curve that swings past a key’s value to keep the curve smooth. This can cause an object to go beyond its intended pose or slide after it should have stopped.

Fix 1: Change Handle Type at the Problem Key

1. In the Graph Editor, select the keyframe where the motion should “hit” or stop.
2. Press V and choose Vector for a crisp corner, or Aligned for controlled smoothness.
3. Scrub the timeline to check if the curve still crosses past the target value.

Fix 2: Flatten the Stop (Remove Drift)

1. Select the keyframe where the object must stop.
2. Ensure you can see handles (toggle handle display if needed).
3. Scale handle length down or rotate handles so the curve is horizontal at the stop.
4. Confirm the curve after the stop is flat if the value should hold.

If the value should hold perfectly after the stop, consider adding a key a few frames later with the same value and flattening both, so the curve cannot “tilt” into drift.

Fix 3: Clamp the Curve (Prevent Crossing the Target)

If you see the curve crossing above/below the target value near a key, reduce handle length on the neighboring keys or switch those keys from Auto to Aligned. The goal is to keep the curve within the intended value range.

Common Fix: Stopping Drift (When a Pose Won’t Stay Put)

Drift usually means the curve has a slope when you expect a hold. Even if your key values are correct, Bezier interpolation can create motion between keys.

Step-by-Step Drift Stop Recipe

1. In the Graph Editor, isolate the channel that’s drifting (e.g., Rotation Z).
2. Find the frame where the object should be fully settled.
3. Select that keyframe and the next keyframe (if any).
4. Make the settle key flat (horizontal tangent). If there’s a later key, ensure the curve between them is flat too.
5. If the hold is long, add a duplicate-value key later in the hold to enforce stillness.

Diagnostic tip: If the curve is not flat, the object is still “moving,” even if it’s subtle.

Common Fix: Clean Arcs Using Rotation Curves (Avoiding Wobbly Paths)

Many wobbly arcs come from animating Location channels when the motion is really a rotation around a pivot (like a swinging arm, head turn, or hinged object). A clean arc often comes from letting rotation do the work and keeping the rotation curve simple.

Practical Approach

1. Identify whether the motion should be an arc around a pivot (common in limbs, doors, pendulums, props).
2. Prefer animating the primary Rotation channel(s) rather than pushing the object through space with Location keys.
3. In the Graph Editor, keep the main rotation curve readable: one clear ease-out, one clear ease-in.
4. Remove tiny “correction” keys that create micro-bends in the curve unless they are intentional secondary motion.

Rule of thumb: if the curve looks like noisy zig-zags for a simple swing, the motion will look like a wobble.

Consistent Speed with the Graph (Even Motion on Purpose)

Sometimes you want a move to travel at a steady rate (camera slide, conveyor-like motion, mechanical parts). In the Graph Editor, consistent speed is a straight line between keys (constant slope).

Step-by-Step: Make a Segment Constant Speed

1. Select the two keys that define the start and end of the constant-speed section.
2. Set interpolation to Linear for that segment (or use Vector handles to approximate a linear feel while keeping Bezier elsewhere).
3. Check the curve: it should be a straight line between those keys.
4. Scrub playback: the motion should feel even, without easing.

Mixing is normal: you can ease into a linear section, travel at constant speed, then ease out.

Demonstration: Turning Stepped Blocking into Smooth Motion

This section assumes you already have blocked poses (stepped/constant interpolation) from earlier workflow. The goal is to keep the timing and poses, but replace the “snap” between poses with controlled easing.

Step-by-Step Smoothing Workflow

1. In the Graph Editor, select the animated channels you want to polish (start with the primary control: often a root, torso, or main object rotation).
2. Change interpolation from Constant (stepped) to Bezier so Blender can create in-betweens.
3. Play/scrub: you’ll likely see floatiness or overshoot at first. That’s expected.
4. Set handle types on key “hits”: use Vector for crisp contacts or sharp direction changes; use Aligned for controlled smooth transitions.
5. Shape easing: for each major move, ensure the curve leaves the starting key gently (ease-out) and approaches the ending key gently (ease-in).
6. Remove drift: flatten tangents at keys that must hold.
7. Check overshoot: if the curve crosses past a target pose unintentionally, shorten handles or switch Auto to Aligned/Vector.

What to Look For While Polishing

• Readability: curves should have clear intent (one main hump for one main move).
• Hits: important frames should feel decisive; the curve should support that with sharper tangents or flatter stops.
• Consistency: similar actions should have similar curve shapes (e.g., two identical turns should accelerate/decelerate similarly).

Exercise: Polish the Previous Action with Deliberate Ease and Controlled Settle

Use your action from the previous chapter (the same timing and poses). Your goal is not to add new story beats, but to improve motion quality using the Graph Editor.

Exercise Goals

• Add clear ease-in/ease-out to the main movement.
• Remove unwanted overshoot and drift on holds.
• Create a small, intentional settle at the end (one controlled overshoot and return), if appropriate for the action.

Step-by-Step

1. Pick 1–2 primary channels to polish first (commonly a main rotation axis or a root control). Avoid polishing everything at once.
2. Convert to smooth interpolation: ensure these channels are using Bezier so you can shape easing.
3. Establish the main ease: on the starting key, reduce the outgoing slope (gentle start). On the ending key, reduce the incoming slope (gentle stop).
4. Lock the holds: wherever the pose should be still, flatten the curve at that key and add a same-value key later in the hold if needed.
5. Add a controlled settle (optional but recommended):
   • Add a keyframe a few frames after the final pose that overshoots slightly (small value change).
   • Add another keyframe shortly after returning to the final value.
   • Shape the curve so the overshoot is small and the final key is flat (no drift).
6. Check for unwanted overshoot: if any channel swings too far, switch the problem key to Vector or shorten handles until the curve stays within your intended range.
7. Consistency pass: if the action has repeated moves (two similar turns, two similar lifts), compare curve shapes and adjust so the acceleration/deceleration feels matched.

Self-Check (Use the Curve as a Checklist)

• Do any curves cross past a value that should be a firm limit? If yes, clamp by reducing handle length or changing handle type.
• Do any holds have a slanted curve? If yes, flatten tangents and/or add a reinforcing key.
• Do the main moves have one clear acceleration and one clear deceleration? If not, simplify by removing unnecessary micro-keys.
• Does the settle end with a flat tangent? If not, it will keep drifting.