The Computer vs. Paper in Animation Production

Pencilvscomputer

While we were working on ‘Three Wombats’ my colorist asked why we weren’t doing everything on paper.  ‘Wouldn’t it be faster?’ she asked.  My first thought was ‘heck no!’ but after thinking through the entire process, using a simple pencil and reams of paper might not be so implausible after all.

 

Put the Pencil to the Paper

Back when animation first began, obviously everything was done on paper.  It was extremely labor-intensive often taking years to complete one film.  The overall process was relatively simple – a group of people would draw the frames, another group would clean everything up into nice neat lines, then the ‘ink and paint girls’ would add color, and finally the cameraman would shoot each frame, one at a time.   No too complicated, but oh, it took a long time!  It took 300 people 3 years to make Disney’s ‘Snow White’.  Not surprising as there were over 60,000 individual frames!

 

“I (heart) my Apple”

When computers arrived on the scene, most people were using them as huge fancy calculators.  It wasn’t until 1961 that MIT student Ivan Sutherland developed the first computer drawing program called ‘Sketchpad’.  Since then, computers have played a monumental role in the development of animation – both 2D and 3D alike.  Computers potentially enable the production process to move much quicker, with greater flexibility for edits.

 

Pencil Pros

There’s no software or technology to learn:  You can get started animating right this minute, with no other skills (other than being able to draw, of course!).

The supplies are easily accessible:  You can get paper, pencils, ink, paint, etc. all from your local convenient store.  It should be said, though, that most traditional animators use pegged paper to help keep all the sheets in proper register.  But, with a three-hole punch and the back of an old three ring binder, you’re right in business!

 

Crayon Cons

It takes a VERY long time: When you have to draw, cleanup, paint and shoot every frame it can take years to complete one project.  Think of every frame as a complete ‘painting’ or illustration in it’s own right.  Most animated films run at 12 frames per second – meaning for every minute of film you see, 720 individual ‘paintings’ had to be created.

Difficult to Edit: With a traditional style animation, it can take weeks in order to see how something turned out.  And if it isn’t right?  Well, then it’s literally ‘back to the drawing board’ for a complete recreation of the scene.

 

Digital Delights

It’s quick and easy to replay a scene and make corrections if needed: With everything right on the computer, creating the frames and playing back your work is a breeze in a variety of software applications.  If any changes need to be made, they can be done immediately, right on the computer, saving valuable production time.  This is actually a HUGE benefit and is the number one reason why most animation is digital today.

You save the rainforests: Creating animation on paper uses up a precious planetary resource – trees!  Moving to a completely digital workflow just makes ecological sense.

 

Tech Torments

Computer Systems can be VERY expensive: If you were to ‘trick out’ your workspace with the latest animation software applications and the hardware to run them, it would cost you well into the range of $10,000 and up.  You also need to know a bit about what the system can do – processing speeds, memory, and especially graphics cards – to make the best economic choices.

The ‘learning curve’ can be steep: Unless you have previous experience with digital editing, learning how to work in a ‘timeline’ and setting ‘keyframes’ can be a bit confusing at first.  It usually takes a few weeks of diligent use to really get a grasp of some of the programs (but of course, it’s well worth the effort!).

 

Other helpful links:

Cartoon Supplies – anything you could need for traditional animation

Toon Boom – one of my favorite 2D animation apps

Wacom – a ‘must have’ for any digital animator

Amazon Reading List – ‘The Three Books You Need to be an Animator’

 

Happy Animating!!

 

 

 

06/16/10 

Filed under  //  animation   production  
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Website Updated

Robot_man

Hey, did you see that we updated our website? Take a look!

http://www.kris10cartoons.com

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Creating Child-Like Text

I do a lot of work that is nostalgic for childhood or intended for children (That probably reflects my current stage of development as a creative animator!).  One thing I like to do, is create text as if a child had written it, using the text as a graphic in the overall design of a piece.  Everyone usually just prints with their weaker hand to get 'scraggily writing', but even when I do I can still see some of the 'adult' peeking through.  I figured out that what makes children's writing so 'cute' is their inexperience at forming the strokes for the letters.  It's not just the weakness in their fine motor skills.  So, in order to 'stoop to their level' so to speak, I had to think of an 'unfamiliar' way to print the letters.

After a few tests and experiments, I figured out I could get that feeling of inexperience by writing the letters backwards.  I don't mean printing them so you can read them in a mirror, but creating the strokes of the letter in a backwards order.  Here you can see a sample line from a primer, showing how children are taught to make their letters.  If I reversed the stroke steps, I got the result I was looking for.

http://www.freshlygroundproductions.com/POSTEROUS/atoz.jpg

Here's a sample video, showing the process of stroking the letters backwards.

Happy Designing!

Filed under  //  art   creative   design   graphics  
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If 'Al' Had a Girlfriend - #ANIMATION

http://www.oktapodi.com/film.html

Click link to watch animation in HD.

Octopi are traditionally thrown onto the ice during the Stanley Cup Playoffs to represent the 8 original teams to compete for the first Cup (the Detroit Red Wings are one of the original 8 teams).   This short, funny, 3D animated piece illustrates the process of getting the 'squid' into the arena, from the octopus' point of view.

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Using the Brush Tool In Flash

Getting the most out of your Brush Tools

One of the things that frustrates me a bit with Flash is how the brush tools react when you zoom in and out. Unlike Photoshop, the brushes in Flash don't adjust to the zoom. For example, let's say you're zoomed into your drawing at 300% and draw a line with the #3 sized pen tool. If you zoom back out to 100% and draw a line with the same size brush, the line will be thicker than the one you just drew.

This is particularly frustrating is you create symbols outside of your stage area, and then use them as instances, only to realize your line thickness doesn't match! Here's an example of this problem in a screen grab from my most recent animation.

The lines on the penguin are much thinner than the lines used for the other elements in his environment, pulling him out of the scene visually. In some animation, this may be something the artist would want to happen as part of their project, but for this piece, a fun poke at the Pittsburgh Penguins hockey team, it is counter productive to the scene.

The trick is to draw the outlines of your symbols right onto the stage to make sure the line thickness is the same as the rest of your animation, and then create symbols from the outlines. Here's how:

 

Step 01

Make sure you're in your main scene and create a new layer for your outline. It helps to lock all the other layers, so you don't accidentally grab anything on them when it's time to make your symbol.

 

Step 02

Choose the brush tool size that matches the thickness of any other lines you've drawn in your animation. If you're just beginning, choose a brush size and make a note of it when you go to create your other symbols.

 

Step 03

Draw the outline of your character or object on the stage. If you zoom in to get detail, don't forget to resize your brush so the line thickness remains consistent. Zooming in - use a larger brush size, zooming out - use a smaller brush.

 

Step 04

When you've got your outline complete, click on the keyframe in your timeline to make sure you've got the whole thing. You can select the drawing itself if it's one solid piece, but clicking the keyframe makes sure you've got every little bit. Notice how your drawing has a pattern on it to show that it's been selected. Make sure all elements of your new drawing have this pattern on them, or they'll be left out when you make your symbol.

Step 05

CNTL + click or right click on the drawing to get the pop-up menu. Select 'Convert to Symbol', and then give it a unique name to add it to the library. If you're doing any coding with this Flash document, you may want to click 'Export for ActionScript' if you'll be dynamically adding this symbol to the stage. But for you animators, just give the drawing a name and make it a 'Graphic'

 

Step 06

You'll see your drawing now has a blue box around it, with the dot representing the object axis point (you can set this to be in 9 different places in your graphic, and that will be the default rotation point for the symbol. We'll talk more about setting the 'center point' in a later blog). It's also now in your library.

If you double-click on this new symbol, Flash will open the symbol into the editing view, with the stage ghosted in the background. What's really nice about this feature is you can see exactly how your new symbol will look on stage, so you can match the colors, layout, line width - everything that has to do with that object to the existing layout.

Maintaining line consistency is a little bit of a chore, but with this 'work around' you'll be able to keep all your lines looking like they belong in the same place.

Happy animating!

 

 

06/10/09

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