Topic pour conversations diverses.

J'ai reconduit aujourd'hui, pour un dépannage sur site. Pas de stress, rien, tout va bien finalement ^^

Hi everyone! No it isn't rotoscoping, Jasen, it's all hand-drawn, not traced! Pretty amazing huh! Your question was good because his animation is so good, so fluid from years of his experience as an effects animator and as a fantastic story-board artist that it LOOKS fluid and real! He has a professional way of clearly capturing the human figure and he knows the potential arcs and volumes and limits to extended movement backwards. He knows the animation principles backwards. This work is his move away from the professional slickness/proficiency (I'm not using that word in a deragotary way)that is necessary to be an employed storyboard artist and animator where clarity is paramount. This work comes out of a perfect marriage of his working discipline and professionalism infused with his love of his family, his dancing daughters and wife and a need to express his emotional response to the song which made him think of them, as they are his :stability in a " spinning world". I'll have to look again but he may be using Toonboom because there is a Toonboom product like Flipbook....but you could do this in Flash. What does everyone else think? It may seem incredible to us now that someone is this good at depicting movement but it is possible and we can all trust that as we animate more and more and we start to get a feel for movement and develop a professional practice: and read lots of animation info readily available on the web such as on the ARC, we can trust our brains that if we put in all the right stuff, sooner or later we'll start to get a clearer sense of animating.The reference he uses would be to create Key poses.
He would then be like any good animator and also a choreographer, experimenting and creating a succession of key story-telling poses that began to express in their sequence the emotion he wanted to express. Some of his Key poses would be Extremes and he would use them to emphasise an extreme of an arc of movement at a point where you'll notice the body becomes a fluid or transforms. He would space the keys then with a bit of a fore-knowledge of where he wants the breakdown images...he'd space them to match the music AND the feeling. So don't think linear like rotoscoping, think of a moving painting where he must match the key poses to the feeling he wants to express, he experiments and changes until he gets the right feel. From then on with the right spacing of the keys he can draw breakdown poses which may be straightforward or may be points of change between movements. He'd go over the sequence multiple times to get the feel right and he might change the timing to suit. Your question really got me exploring so it was awesome. Now I'm looking at this again and really questioning how much more life drawing I need to do and how much more I need to grasp how the human body moves, so I really appreciate you guys making me think more and explore.This is how you'd explain his animating process Frank? Isn't it? What do you think? And what program?

Vieille courte animation

policenauts a écrit:ok, c'est vrai que dès qu'il y a une animation du tonnerre, je ne peut
m'empêcher de penser à rotoscopie