I just wrapped up summer quarter at SCAD and I’m doing some catch-up on my blog posts. I’m not posting everything because there are some things I’m saving for special projects that I don’t want to share just yet. But I’ll share a few…here’s the maquette I did for the character design assignment. This is my first time working with Super Sculpey. It isn’t perfectly smooth, but still, it took a long, LONG time to get it to this point. I’m not sure I have the patience to be a sculptor! The design is the fun part for me…the smoothing and perfecting…mmm…not so much. Still, this is a handy skill to have. I’m looking forward to making one for fun, for me, instead of for a grade.
So here is the first layout for my animation class…I used photo reference but only very loosely. Perspective is very challenging for me- I did try to design it so the eye is drawn towards the characters though. What do you think?
A new Don Bluth Animation Masterclass has been scheduled for October 4-8, 2010! As you know, I attended the inaugural class two weeks ago and had a blast. Here’s your chance to meet the legend himself and learn a ton about animation! Whether you are a student, a teacher, or a professional, you will learn a lot and have a blast doing it. Plus, what’s nicer than Arizona in October?
I spent a lot of time figuring out how to assemble this hand-drawn animation I made at the Don Bluth Masterclass, so here’s a tutorial if anyone else is curious too. If you aren’t aware of how the animation palette works, this short video can get you started. The instructions below will take you from paper animation to film in Photoshop CS3 Extended:
1. Scan all of your drawings. (This is faster on an autofeed scanner like the Brother MFC-6490CW.) Set the scan resolution relatively low (150 DPI Grayscale is what I used), and name them according to the frame number.
2. Adjust your images in Photoshop as needed. I had to rotate all of the drawings 90 degrees CCW and adjust the brightness to -120 and the contrast to +100.
3. Scan your layout. If it is bigger than your scanner size, assemble it in Photoshop. Ensure that the size and resolution matches your animation drawings EXACTLY, or you may need to adjust it.
4. Use “Place” to import all of your drawings as separate layers in Photoshop. Set each frame to “multiply” to see through to the background. Move the frames around to align with your layout. The layers will show the title of each file, which should be the frame number.
5. Open the Animation menu (under Windows) and switch to “timeline” mode (the tiny button on the lower-right of the palette).
6. Using the top-right pulldown from the Animation menu, change the document settings to 12 fps if you animated every other frame (on 2′s), and 24 fps if you animated every frame (on 1′s). Set the length accordingly.
7. Select all of your animated frames (not the background), and using the same pulldown, choose “make frames from layers.” You’re almost there! Preview using the “play” button if you like, and make sure to save!
The next steps involve creating a panning action in the video window. You may skip to step 10 if you don’t need it.
8. Reduce your resolution to 72 dpi for on-screen viewing and change the size of the canvas to a standard video window size (I used 480p: 480 x 848 pixels; save a copy at a larger resolution if you want to use it later). Notice that this clips off the edges of your canvas, but the rest of the image is still there. Link your layers using the pulldown in the layers menu. On the animation palette, click on the position stopwatch for EACH LAYER (You must do this because you are changing the position of all of the layers, hence animating the animation).
9. Now, if you want to the pan to be even you can set a keyframe for the first and last position of the pan and you’re good. However, if you want the animation to remain in the center of the window as the image pans, you need to drag the window to where you want it for EACH FRAME. Yeah, fun times. Registration marks on your paper will help with this process. Move the playhead to the next frame and reposition the artwork. A keyframe will be created automatically. Holding the shift key will help you maintain your vertical position as you slide the image from right to left. Press play to check that you’ve done everything right before you get too far.
10. To finish your video, Select Edit>Export>Render Video. Select Quicktime options and change compression to MPEG-4. After your video renders, watch it to make sure everything worked! Wow, maybe not the easiest way to do it, but definitely the cheapest if you only have Photoshop!
I hope this tutorial was helpful. If anyone has suggestions or shortcuts to improve the above, please let me know!
Last week I was fortunate enough to attend the very first Don Bluth Animation Master Class! Now, if you are not familiar with Don Bluth, take a moment to consider his body of work. A top animator at Disney, he learned animation from the Nine Old Men themselves. While at Disney, he contributed to the films 101 Dalmations, The Fox and the Hound, Sleeping Beauty, The Sword in the Stone, Robin Hood, The Rescuers, Winnie the Pooh, and Pete’s Dragon. In 1979 he left Disney to form his own studio, where he created such classics as The Secret of Nimh, An American Tail, The Land Before Time, All Dogs Go to Heaven, and Anastasia, among others. Gaming fans may also remember his work in the classic arcade games Dragon’s Lair and Space Ace. His style is unmistakable, and he breathes life into his characters like few others.
Photo courtesy Keith Osborn
I have been a fan since before I knew his name. I have had the Secret of Nimh comic book since I was 10 years old, and I’m pretty sure his films are what made me love animation. So when the opportunity to learn animation from the man himself arose, I couldn’t book my flight to Scottsdale fast enough. I’d never really gotten beyond doodles when it came to animation, so I was very nervous about this class. But Don made everyone feel at ease with his warm personality and conversational style. Everyone was given a choice of four scenes to animate, all involving a bird character named Jake. Two scenes involved flying, and two involved hopping. I ended up with a flying scene. It all looked very hard to begin with but as the week went on things slowly came into focus. He showed us how to start with a layout of the scene as a rough guide, and how to plan for a panning move with the camera. Most importantly, he explained the use of the X-sheet for planning. To my surprise this was new even to the CG animators in attendance. I guess it’s just as well that I didn’t know any better, because it all started making sense immediately (In flying, we do a flight plan on paper, plan for fuel, work out timing- it’s actually very similar).
Click to play the scene I animated!
By the end of the week we had all finished a 3-4 second animated scene- WOW! It was really amazing to see my drawings MOVE! Don was so encouraging, I have the confidence to try more of this animation thing! I really love drawing, so it’s natural that I would prefer traditional animation. But even the CG students admitted that they learned a ton at this workshop. In summary, I would highly recommend considering attending this class not only to meet a master of traditional animation, but to improve your own animation and maybe even learn some skills that are quickly becoming a lost art.
Welcome to the home page of Sabrecat, a webcomic about fencing! The comic is currently taking a break while I learn more about cartooning at the Savannah College of Art and Design! New readers can catch up here. Blog posts update regularly with news and artwork, so please stop by often!
All images and text are copyright 2008 M. D. Randazzo or their respective owners. To purchase use of text or images in traditional print media or for any commercial licensing rights, please email me for permissions.
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