Face Setup:How can it be possible to make in anime studio 6?
Waltz With Bashir - How To ?
Moderators: Víctor Paredes, Belgarath, slowtiger
Waltz With Bashir - How To ?
How to setup the character's hierarchy to make an animation like " Waltz With Bashir "
Face Setup:How can it be possible to make in anime studio 6?
Face Setup:How can it be possible to make in anime studio 6?
I think you did not read this Article http://coldhardflash.com/2009/03/an-int ... odman.htmlslowtiger wrote:Read up about "rotoscoping" first.
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AARON: Tell us about the whole rotoscoping confusion…
YONI: Well, Waltz with Bashir has 0% rotoscoping in it. We keep fighting the rumor that we rotoscoped, as many people compared our process to Linklater’s A Scanner Darkly and Waking life, but the whole movie is Flash cutouts. We did have live reference of the interviewees, but we just used it to learn the movements. There was absolutely no tracing over a video.
David has this great dark, graphic novel, contoured look which we really wanted to use, so I had to come up with a technique that we could work with, and still refrain from doing it in traditional animation. Traditional animation features typically employ 200-300 people. There are the keyframers and inbetweeners and colorists and cleanup artists, but we just don’t have enough experienced manpower in Israel, and no budget to outsource it, so we used cutouts instead.
Every drawing made by David was sliced into many pieces in Flash, sometimes counting to 400 pieces per character, and they were set up in different levels of hierarchy. So like normal cutouts in Flash, we split a character into primary pieces – head, torso, limbs etc.. Each of these was symbolized, and inside each symbol we had another set of layers containing the parts it was made of. This complexity didn’t allow us to draw much of anything from scratch, as we were maintaining David’s original line. Eventually was done using 10 animators (including myself).
I stand corrected. Thx for the links, I did some further reading after that.
However, it definitely looks like being rotoscoped. There are scenes, like the soldier dancing around with his machine gun, which can't be possibly created "just through imagination" as the director claims. But I prefer to use the broader definition of rotoscopy anyway, because I don't see a big difference between tracing a piece of film/video frame by frame, or just re-draw every frame, or just enough keyframes from a life action reference. There is the technical process and how much automation might be involved, and there is the artistic choice and the resulting style. IMO the artistic choice should come first (like in "I'd like to get real-looking characters with outlines and shadows moving very smoothly"), and only after that the choice of a ceratin workflow.
Back to your question: I don't think you could use the exact same setup in AS as they did in Flash, mostly because AS doesn't use the "symbol" concept. I can imagine that you can get really close though, with shapes within switch layers and lots of point animation.
Each workflow somehow restricts the possible output in a certain way. Doing 360° turns of characters needs frame-by-frame. The moving shadows need point motion which can get in the way of bone animation.
I think it would be best to have a complete storyboard first, then break down the workflow scene by scene. Which is what I'd prefer over creating such a complicated setup, only to learn eventually that I can't move it around as I need to.
However, it definitely looks like being rotoscoped. There are scenes, like the soldier dancing around with his machine gun, which can't be possibly created "just through imagination" as the director claims. But I prefer to use the broader definition of rotoscopy anyway, because I don't see a big difference between tracing a piece of film/video frame by frame, or just re-draw every frame, or just enough keyframes from a life action reference. There is the technical process and how much automation might be involved, and there is the artistic choice and the resulting style. IMO the artistic choice should come first (like in "I'd like to get real-looking characters with outlines and shadows moving very smoothly"), and only after that the choice of a ceratin workflow.
Back to your question: I don't think you could use the exact same setup in AS as they did in Flash, mostly because AS doesn't use the "symbol" concept. I can imagine that you can get really close though, with shapes within switch layers and lots of point animation.
Each workflow somehow restricts the possible output in a certain way. Doing 360° turns of characters needs frame-by-frame. The moving shadows need point motion which can get in the way of bone animation.
I think it would be best to have a complete storyboard first, then break down the workflow scene by scene. Which is what I'd prefer over creating such a complicated setup, only to learn eventually that I can't move it around as I need to.
thanks for your reply.But I think we can do it with Anime Studio.
Because in this example they are making the cut out style aniamtion too.and make more mimics than the waltz with bashir http://freakishkid.com/?cat=19
Because in this example they are making the cut out style aniamtion too.and make more mimics than the waltz with bashir http://freakishkid.com/?cat=19
No need for cut out style at all from what I can see. As seen on TV was bitmaps so had to be cut out style. You can draw the Bashir style in vectors pretty easy. In AS you have the benefit of making a point animation pass so the results should be much nicer than Bashir. Or at least less time consuming to produce. A great film but sometimes a little ugly.
We did some comic book characters last year, which we cant show, but they were drawn in AS. They looked exactly like the comic book and moved in a very full way. The poor client was very confused. They actually thought it was some clever 3d.
We did some comic book characters last year, which we cant show, but they were drawn in AS. They looked exactly like the comic book and moved in a very full way. The poor client was very confused. They actually thought it was some clever 3d.