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Several up and downs are happening by squashing and stretching only the torso, with no relation to the legs and rest of the body. If you want to continue exploring the concept, I recommend you put attention to the movement, amount of bounciness and the character's structure. I think your test is good and goes in the right direction. And animators at Disney are of course experts on that (I also have the luck to work with many incredible animators and I'm always impressed about how good they are). Good animation is very hard to do and I have always admired the people who can give life to the characters with elegance, humor and subtlety. I think this approach gives enough control and automation, but also allows us to be very specific with what we want on every frame. Once that is done, we adjust the details by animating the vector layers. At Cartoon Saloon, many times we use meshes and bones to define the general movement and arcs. In my experience, specially if I'm working for a movie, I tend to prefer having simpler rigs with not many layers or bones and do a lot of the work 'by hand'. First is to have a flexible rig that can be as expressive as possible. In my opinion, there are two things to consider.
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There are fantastic lip-syncing tools that automatically analyse sound files, enabling you to quickly set up the right phonemes for your characters, and there are some great tools for chopping up and animating pre-drawn characters.įinally, excellent export features, including Flash pre-loaders and the ability to embed your movie in an HTML file (as well as export directly to Flash, QuickTime DV Stream or image sequence), make for not a massively feature-laden upgrade, but a very impressive app, nonetheless.I think it's an interesting test! Creating rigged characters that could share screen with hand-drawn is something we are always trying to push here.
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You also use pegs to animate individual elements within an animation (an arm moving, So, for a walk cycle, you'd set up a character, animate his limbs so they are moving correctly, and then use the peg to create the motion path. Pegs in TBS work in a similar fashion, acting as a kind of container for your separate animated elements in a scene. These take their name from a traditional animation tool used to register all frames of, say, a walk cycle as the character moves - so the arms, legs, head, etc, don't get left behind or slip out of position. To make your characters move throughout your scene, you use pegs. Improved onion skinning (being able to see the previous and next frame as you work) is also a welcome addition in version 4. Also, this method eliminates the need to simulate the effect of distance, and makes it easy to animate cameras to fly through your scene, and so on. You don't have to worry about layer positioning you can just drag your elements in front of, or behind, each other. This is useful when building up a multi-layered background with many trees, bushes and buildings. They enable you to plan your scene in a 3D space, using top and side views to correctly position your elements. On the subject of scenes, Toon Boom's Scene Planning tools are superb. You should have an Exposure Sheet/Timeline for each scene.
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The idea is that you use theExposure Sheet and Timeline in tandem, refining your animation and perfecting your timings (and using the Function Editor to fine-tune). You'd also create your background/foreground images - and any other elements you'd like to feature in your animated scene. Then you'd use the Exposure Sheet to place the different positions within cells (corresponding to frames on the Timeline) to create a rough animation. Then you draw the different positions of those elements as necessary (repeating certain positions - you don't need to draw every single frame to create a convincing animation, as frames can be reused). So, if you were animating a person, you'd draw all the separate elements (arms, legs, head, body and so on, grouping them into layers). They serve a similar purpose here, enabling you to manage all of your assets and make sure everything flows correctly from the offset. In the days before digital animation tools, an Exposure Sheet contained all the details of a specific scene - order of composition, timings, transitions and so on.
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The Exposure Sheet enables you to order drawings correctly and generally plan your animation. Next you'd create basic timings using the Exposure Sheet.