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 Animation Process

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AuteurMessage
Lun'wi
Piece of Cake.


Messages : 299
Date d'inscription : 28/07/2014
Age : 23

MessageSujet: Animation Process   Mar 24 Jan - 0:02

Animation Process

Nov. 23, 2016

The 5 second animation test I did back in November went very well ; I animated only the flames using sand, keeping in mind the rest would be digital. I tested the camera settings a little and I discovered how to import video footage in Dragonframe in order to have reference videos.

Dec. 2, 2016

The under-camera room I was using had settings I struggled with. The actual camera wouldn't focus on the sand box. I tried moving it up, since it was too close to focus, but by moving it up, the dirty edges of the sand box were showing up on the picture shot. I asked Luigi to help me fix the settings ; we manually changed the focus on the actual camera (which we usually don't touch) and everything started working again. Luigi also helped me figure out the best camera settings (that I can change inside Dragonframe) for my sand animation.

1/30
5.6
ISO 500
Neutral
SRAW + Small1 Fine JPG
Color Temperature
5000 K
Ext. Flash Off
Stretch None
Exposure Preview 0

I can then batch process the raw .CR2 files in Photoshop to modify the colors, the temperature look, etc. I can also crop them (since they are larger then 2K) in Photoshop, but I might try bringing them into After Effects as an image sequence and crop them there.

Dec. 5, 2016

I did a little bit of rough animation with the sand box already set up in the camera room (from Dec. 2). I decided earlier to do all my animation in sand, so I had to bring reference videos with me to animate the humans. I will maybe need to add eyes and maybe hair or other face features in post-production in order to make the action and emotion more clear. Right now, I only animated the silhouettes of the action.







Dec. 16, 2016

Importing the .JPG images I had shot earlier directly into TVPaint, I realized I didn't really like the colors. Maybe it's because the photos are also combined with sketchy digital drawings? I'm not sure, but I want to try and edit the raw images eventually. Right now, I just imported them as they are. However, I am pleased with the animation.

Jan. 10, 2017

Luigi asked if I would use colored sand ; i decided not to, because I felt it would be more work and less sand to work with. Cleaning up the colored sand would also mean to lose it, since it would be all mixed colors. However, some suggested I add colors with alpha channels in post-production, and I think I would like to do that. Colors don't have to be too precise for my sand and the aesthetic I am going for.

Jan. 28, 2017

I went back to animating in the 328-2 under-camera room, and I tried doing the reaction shots. This was a little scary at first because I wasn't sure how to approach it. I did some test shots where I drew in the eyes and the mouth, but it was too different from the other shots. After some feedback from class and Luigi, I decided to make the reaction shots silhouette-only, just like the rest of the film. The sound effects and the body language already helped telling the story, so I realized I didn't even need to add eyes during the production or the post-production.

During the animation process I mostly used my hands to move the sand, but sometimes I used a plastic fork to add details, for example when an object (like the flame) crossed in front of another silhouette. I also used a toothbrush and a paintbrush to feather the edges of the sand in some of the shots.



Feb. 3, 2017

I had some issues with Dragonframe at first, but by this point I realized that I was comfortable with the software, I was able to import reference videos into Dragonframe and animate on top of them. I kept the same camera settings as well, in order to have the different shots consistent throughout the film.



Feb. 22, 2017

By this point I had to book a different under-camera room for the first time. 330 was a new experience in that the animation looked a little different from what I had done in 328-2. I used the same camera settings, but the sand box was different, the Oxberry table had a similar but new set-up, and the under light gave a less greenish look to the animation then 328-2. Some color correction is needed to even out the shots.

Working in this new under-camera room was especially unusual since I wasn't alone, I was with someone else working on a different movie, on a different Oxberry table. However, it was very easy to get used to working with this person, because we figured out an ideal light setting we never changed (she used the actual lights over her Oxberry table, whereas I was using the under light for my Oxberry table). We also agreed to listen to some music while working, this wasn't different from me working alone, she had a similar working style. The only thing that somewhat bothered me at first was the noise from the under light. 328-2 didn't have this kind of constant noise so I had to get used to it, but eventually I forgot about it and the music also helped.

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