May 31, 2020
18 drawings
seen from Türkiye
seen from United States
seen from Türkiye
seen from China
seen from Russia
seen from United States
seen from United States
seen from Japan
seen from Germany
seen from Malaysia
seen from Yemen
seen from United States
seen from Türkiye
seen from Canada
seen from Germany
seen from Hong Kong SAR China
seen from Türkiye
seen from United States
seen from Malaysia
seen from Japan
18 drawings
ARTV2615: Final Render (Version 2: All Frames)
Heres the second “final render”. XD All frames are included, but the last 340 frames are still only 720p.
I also did a little bit of colour correction in Premiere Pro.
The final and refinded version of the rotoscoped Wip from my previous post cause tumblr didn’t let me put these two videos together :/ 20 frames in total Reference footage was found on Adobe Stock.
“Peacock Dreams” animation sequence from The Power of the Crimp, THE MIGHTY BOOSH, 2007 Animated by “Nipple”, Ivana Zorn and Nigel Coan.
I’ve always had a fascination with the animated sequences from the TV series The Mighty Boosh, the painterly style combined with the “paper doll”-esque animation has a unique effect.
some select backgrounds from my animation for my animation elective class!
“basic” tips. But GREAT!
InBetweening - How to do proper in betweening
This piece was produced by Serene Teh, she’s artist that specializes in real-time paper flip animation. The way how she’s able to take paper-flip animation out of being confined in a flip-book was already quite astounding; laying various folded pieces of paper in a particular pattern in which opening a fold would slightly alter the picture in focus. Of course, the subject that she’s trying to surmount is putting the Assassin’s Creed genre into a 2D animation while making use of 3D space. Because of this, she’s able to achieve a lot of the cinematic effects which normally is unthinkable for a typical flip book. Like the instance in the 10th second where the character is able to toss out a blade out to the camera (with a detachable piece of paper) as he leaps onto the roof, which he then gracefully slides down on with a paper-based sliding mechanism. The second set of roof tiles that he slips on is different in the sense that he’s the one at rest while the background is being pulled at an angle to achieve the effect. But as the character continues to climb the building, we see a bit of the environment from which the animation is set on (the side of a table-top). When he reached the top, the animation continues on top of the table, this time instead of the animation going forward with paper flips, the paper is discarded for a swift transition that is fitting to convey the movements of a leap down to a pile of hay.