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Now it's white's turn to do an ENTIRE verse. This took many ustream sessions. I think it turned out pretty well though. Kerfling! :D
I love how the little giggle turned out! n_n
CITRAPOP borrows from the following sources:
"Lollipop" by Mika (Universal Music Group / Casablanca Records)
"Citra" character designs/concept by
zaush
Animation by me.
Now it's white's turn to do an ENTIRE verse. This took many ustream sessions. I think it turned out pretty well though. Kerfling! :D
I love how the little giggle turned out! n_n
CITRAPOP borrows from the following sources:
"Lollipop" by Mika (Universal Music Group / Casablanca Records)
"Citra" character designs/concept by
zaushAnimation by me.
Category Flash / Doodle
Species Vulpine (Other)
Size 720 x 480px
File Size 793.8 kB
Listed in Folders
Also, why do 12/24 and not 15/30?
Well for one, smooth movement is not simply justified by how many frames you have placed in it.
I've had my teacher Lee Crowe look at this
(for referrence http://www.imdb.com/name/nm0971816/ )
"It would be interesting to see this done on 2's in 24 frames per second. While the poses and extremes are great it looks both sluggish and jittery."
As I was discussing this before I replied to your comment, we had talked about as to why. It was mainly because most classic Disney Movies and all Pixar movies are shot at 24 frames per second. Why is this?
Remember while live action is shot at 30 frames per second, you are shooting drawings. They had found back in the olden days ( 1930's) that audiences received better to 24 frames per second because there was more of an emphasis on the extremes that the characters had reached. Remember as an animator, you are achieving believability, not reality. This will also aid you in your dialogue work. A lot of how people register mouth movements isn't by how many frames are in it, but where the lips are when they begin, finish, as well as hitting all the strong consonants as well as any or all vowels.
I think this particular piece as well would benefit. If you finish it out on 30 frames per second, it may come out looking like Ralph Bakshi's "Lord of the Rings" and have a very crummy surreal look. And I wanna see you bring out all you can out of this, I mean you have this planned out and it's just simply not half bad.
Well for one, smooth movement is not simply justified by how many frames you have placed in it.
I've had my teacher Lee Crowe look at this
(for referrence http://www.imdb.com/name/nm0971816/ )
"It would be interesting to see this done on 2's in 24 frames per second. While the poses and extremes are great it looks both sluggish and jittery."
As I was discussing this before I replied to your comment, we had talked about as to why. It was mainly because most classic Disney Movies and all Pixar movies are shot at 24 frames per second. Why is this?
Remember while live action is shot at 30 frames per second, you are shooting drawings. They had found back in the olden days ( 1930's) that audiences received better to 24 frames per second because there was more of an emphasis on the extremes that the characters had reached. Remember as an animator, you are achieving believability, not reality. This will also aid you in your dialogue work. A lot of how people register mouth movements isn't by how many frames are in it, but where the lips are when they begin, finish, as well as hitting all the strong consonants as well as any or all vowels.
I think this particular piece as well would benefit. If you finish it out on 30 frames per second, it may come out looking like Ralph Bakshi's "Lord of the Rings" and have a very crummy surreal look. And I wanna see you bring out all you can out of this, I mean you have this planned out and it's just simply not half bad.
Live action is not strictly shot on 30.
Live action is shot on whatever the intended medium is. If it's being shot for film, it's shot on 24 (and in fact, very expensive film video cameras nowadays can be set to record at 24 fps for film).
For NTSC video, it's shot at 30 fps.
For PAL video, it's shot at 25 fps,
"HD" variants of each format typically double the framerate (ie, 48fps for IMAX HD, 60fps for HD NTSC video).
Of course, at a cinematic studio like WDFA, a 24 fps x-sheet is going to be the rule.
In fact, I would not be surprised if that's common for animation studios, simply because 24 fps is going to be fewer drawings, and hence cheaper to produce.
I'm not interested in cutting corners, and I am interested in keeping the framerate aligned to the medium it will be distributed on. (not all monitors are set to 60Hz, but I set mine to that, and most TVs that would be displaying this are a multiple of 30).
But anyways...
The real reason that I don't want to change this right now, is that it'd be more work to reanimate what I have done right now at 12/24, than to do it as-is. This thing has 3500 images drawn so far for it, and that number is still growing. The difference is a total of 540 frames more over the course of the animation. Maybe on the next one.
That said, 12/24 does have quite a bit going for it. It breaks down quite nicely into powers of 2, and thirds. I bet that makes the timing charts easier - I have quite frequently run into issues where I have to fill in an action with four frames between the planned drawings - not a lot of fun.
But honestly? If you're seeing issues with the timings and speeds of this character, it's probably because I'm not very good at this yet. During orange's "boy like me" shot, that was pretty much the first animation loop I've ever had to use. I've made them before, but that was the first time where the shot actually called for it. When red and white look up on the shot before, that was pretty much the first time I've needed to use holds. So my apologies if the timing bits don't quite look right yet.
At any rate, if you'd like, you can see the latest WIP reel here
Live action is shot on whatever the intended medium is. If it's being shot for film, it's shot on 24 (and in fact, very expensive film video cameras nowadays can be set to record at 24 fps for film).
For NTSC video, it's shot at 30 fps.
For PAL video, it's shot at 25 fps,
"HD" variants of each format typically double the framerate (ie, 48fps for IMAX HD, 60fps for HD NTSC video).
Of course, at a cinematic studio like WDFA, a 24 fps x-sheet is going to be the rule.
In fact, I would not be surprised if that's common for animation studios, simply because 24 fps is going to be fewer drawings, and hence cheaper to produce.
I'm not interested in cutting corners, and I am interested in keeping the framerate aligned to the medium it will be distributed on. (not all monitors are set to 60Hz, but I set mine to that, and most TVs that would be displaying this are a multiple of 30).
But anyways...
The real reason that I don't want to change this right now, is that it'd be more work to reanimate what I have done right now at 12/24, than to do it as-is. This thing has 3500 images drawn so far for it, and that number is still growing. The difference is a total of 540 frames more over the course of the animation. Maybe on the next one.
That said, 12/24 does have quite a bit going for it. It breaks down quite nicely into powers of 2, and thirds. I bet that makes the timing charts easier - I have quite frequently run into issues where I have to fill in an action with four frames between the planned drawings - not a lot of fun.
But honestly? If you're seeing issues with the timings and speeds of this character, it's probably because I'm not very good at this yet. During orange's "boy like me" shot, that was pretty much the first animation loop I've ever had to use. I've made them before, but that was the first time where the shot actually called for it. When red and white look up on the shot before, that was pretty much the first time I've needed to use holds. So my apologies if the timing bits don't quite look right yet.
At any rate, if you'd like, you can see the latest WIP reel here
I'm not interested in cutting corners, and I am interested in keeping the frame rate aligned to the medium it will be distributed on. (not all monitors are set to 60Hz, but I set mine to that, and most TVs that would be displaying this are a multiple of 30).
But anyways...
Umm that's not the case at all. 24 frames per second is common, not because it's easier but because that's just how it's been done. There's nothing inexpensive about what went into Bolt ( scrapping an already well animated work in progress that was 2d to go to 3d ) both of which mind you are done in 24 frames per second. It's not cutting corners to use less frames per second. Any animator in the business could tell you that, from Glenn Keane to my teacher Lee Crowe who was basically an effects animator.
As we previously stated, your drawings and timing are fine. I mean you have the work and with just simple minor adjustments to already done frames and taking away unnecessary frames you could have far more believable and well timed animation. Like I said it would make it better, you wouldn't be cutting corners. Cutting corners is looping a badly animated flag, or a walk cycle along with a cycled background. You don't have to trust me man but Lee's been working in the industry for 20 years, you can trust her. (Anyone who works on the super realistic bear at the beginning of brother bear will now what smooth animation is)
But anyways...
Umm that's not the case at all. 24 frames per second is common, not because it's easier but because that's just how it's been done. There's nothing inexpensive about what went into Bolt ( scrapping an already well animated work in progress that was 2d to go to 3d ) both of which mind you are done in 24 frames per second. It's not cutting corners to use less frames per second. Any animator in the business could tell you that, from Glenn Keane to my teacher Lee Crowe who was basically an effects animator.
As we previously stated, your drawings and timing are fine. I mean you have the work and with just simple minor adjustments to already done frames and taking away unnecessary frames you could have far more believable and well timed animation. Like I said it would make it better, you wouldn't be cutting corners. Cutting corners is looping a badly animated flag, or a walk cycle along with a cycled background. You don't have to trust me man but Lee's been working in the industry for 20 years, you can trust her. (Anyone who works on the super realistic bear at the beginning of brother bear will now what smooth animation is)
Not that the animation isn't fine but you may end up suffering from Richard Williams syndrome ( that and the theif and the cobbler and what happened there) If you could put it on 24 frames per second and shoot on 2's you'd be able to capture more movement and worry less about fidgety lines. I mean don't get me wrong your gestures and stuff are great but I really think you can bring a lot more OOMF to them if you do that. But that's just a suggestion.
Is it gonna stay sketched?
This is taking me long enough just to animate, I'm not sure I can justify the time to go back and do cleanup for the whole thing! :P
Is it gonna be neon on black if its rendered?
A mostly black backdrop for sure. But it probably won't be rendered.
What's the song?
In the description.
Is this awesome animation? or is this awesome animation?
Thanks :)
This is taking me long enough just to animate, I'm not sure I can justify the time to go back and do cleanup for the whole thing! :P
Is it gonna be neon on black if its rendered?
A mostly black backdrop for sure. But it probably won't be rendered.
What's the song?
In the description.
Is this awesome animation? or is this awesome animation?
Thanks :)
*HUGE GRIN*
If you cant be bothered rendering may I? I enjoy clean up ^,^ and rendering.
http://www.furaffinity.net/view/2240054/
Should it be in this style?
If you cant be bothered rendering may I? I enjoy clean up ^,^ and rendering.
http://www.furaffinity.net/view/2240054/
Should it be in this style?
Nonono, it won't be like Mika's official video at ALL. It'll be cleaned up citras, like Zaush's reference drawing or like they are in the Citradance. I have an idea what they'll be cleaned up like, I just probably won't have the extra year to do it! At least not for a long time. :)
You can see the cleanup line style of the Kidtra at http://www.furaffinity.net/view/2226638 :)
You can see the cleanup line style of the Kidtra at http://www.furaffinity.net/view/2226638 :)
You don't have to worry about lines crossing, because they're new lines on each frame.
Each frame will be a separate drawing, just like it is here. For it to look right, it'll need 2700 drawings (for the entire song), roughly.
Here's some more info on animation cleanup: http://www.animationmeat.com/pdf/fe.....eanuphints.pdf and http://www.animationmeat.com/pdf/fe.....mmandments.pdf
Each frame will be a separate drawing, just like it is here. For it to look right, it'll need 2700 drawings (for the entire song), roughly.
Here's some more info on animation cleanup: http://www.animationmeat.com/pdf/fe.....eanuphints.pdf and http://www.animationmeat.com/pdf/fe.....mmandments.pdf
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