Editing this commentary down to the basics. I've brought this up again because it serves as the basis for a segement of animation in HTF's latest short animated film, Kumo Kuro. Keep an eye out for it.
At any rate, I'm fairly satisfied with this segment, enough to call it finished. Let me know if you think there's anything that still needs attention (besides the very opening cut... I know, it's fast, but I kinda like it that way for now).
Total time taken for this was about 12-16 hours of solid work... I wasn't keeping super-close track, but I busted out about 3-4 hours a night over 4 nights to get to this point. All Easytoon and 4x5 tablet.
I see it again, I think the only little suggestion I can propose is the last part, where the samurai got kick into the air. When he land, he should have some couching when he sliding away. So that he won't look so robotic. and few more frames on the villain pro get hold of the samurai's sword. Make it as if they were fighting a bit of strength on the arms, in stead of like: my combo is finish, now is yours.
really a brilliant work. It's must be really hard to draw all this in 24fps rate. I salute for your effort and excellency.
It's not a dumb question at all, it's perfectly reasonable.
In regards to how long it takes to draw a frame: it varies; for roughs, it can be anwhere from a couple minutes up to ten... if it's taking longer than ten minutes to draw out a key frame, it's probably too complex and I need to rethink it. For tweens, which is almost mathematical drawing, usually a couple minutes.
This still means I can only animate a few seconds a day, at most. It's slow, but luckily I have partners who help speed it along by parallel processing.
In regards to the onion skin being distracting or misleading: No, not usually. It takes practice to get used to seeing through the lines, of course, but the onion skinning is your guide... without it, you can't tell where you've been or where you're going. If it becomes distracting (and it can be) then you turn it off, or at least turn off some of them. But ultimately it's serving the same purpose as a traditional light table. I rarely get mislead, 'cause my previous frames are blue and my following frames are red, and so long as I remember that blue moves into red, I'm good. In that regard, it beats the old days when I animated straight to paper.
Timing is one of those things that's hard to work out, but it's also the most important thing in animation. You pick it up over time with practice... Easytoon is pretty good for that. Remember to work out your keyframes first, then your breakdowns... the number of frames it takes to go between 'em determines how many tweens you need.
Thanks a lot (and sorry for another question) but how do you actually create your fight scenes, like this one and that epic "Overviolent" one? Do you just go straight ahead drawing frame after frame or do you draw your keys, then your extremes, then passing positions etc.?
Because I once tried to use that pose-to-pose method (That might be what it's called) but I failed miserably at it.
I find it hard to know where to place the keys, extremes etc. because I usually leave myself with too much space in between 'em. I especially find it hard with EasyToon. But I guess it's to do with timing, as you said.
Oh and one last question (I promise), do you have any tips for good blood effects? My blood doesn't look liquidy at all, he-he.
The answer is both... again, this is one of those things you get over time, as you practice the craft, until eventually it "clicks".
It's easier to start by key-to-key. You set up your first keyframe (the beginning of any particular action) and you set up your second key (the end of that same action) and then you make a guess as to how many tweens you will need. Ideally you test that guess in a timeline, by placing the keys your estimated distance apart and playing it back to see how it feels, but if you can't use a timeline then you can just wing it, and over time you get a feel for it that improves your estimations.
With sufficient experience in timing you get better at animating "straight forward", wherein you just draw one frame after another. But without the timing experience, it's all too easy to go long or fall short... the latter isn't so bad, 'cause you can always add tweens, but the former means time wasted.
Play back your actions often to avoid putting in too many drawings. Check your timing as you go, and you'll get better at controlling it.
Remember that the keys are the extremes of the motion, the farthest points of the action, the drawings that define everything else that follows. They're the framework for the construction, and it's not as though they're set in stone.
As for blood, remember not to make it too blobby (which is the mistake I see most often). Until it congeals, it's as dynamic a fluid as most, and so it will splatter and smear and fleck and soak and run downhill, just like most liquids.
Study the motion of liquids in general. Spill some water or some juice and watch how it splats and runs and gathers. Take the time to see how drops plop, reverberate and ripple. Watch hi-speed video of liquids in action (search em out online, there's plenty out there) and see how the liquids stretch and snap and rebound based on surface tension.
With most anything, the more you watch and study it, the better you understand it. And when you understand it, you can draw it.
these are simply my
opinions and are not
meant to imply that
you should agree or
disagree nor should
these prove to be
offensive in any
way; if I do come
then you have my
Magepresented by the
This article came
about after a
requested that we
write ten clear,
simple tips for
information can be
very useful, but
it down into
chunks is so much
easier. So without
further ado plea...
This feature is for
all the happy
couples in the
world, the love
shared in families,
and for the good
friends.What I see
in these pictures..
The love, the
tenderness.. This is
what I search for. I
really hope I will
find someone like
you already did.Look
upon the sunand
think of that...
`anmari has been spreading her infectious positivity throughout our community for over 6 years. Throughout this time Ana has been at the core of all things devious, passionately developing an eclectic gallery, helping organise devmeets, participating in chat events and also recently completed dedicating her time as a Community Volunteer. We are absolutely delighted to bestow the Deviousness Award for May 2013 to `anmari, congratulations! Read More