So what are YOUR tricks?

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This topic contains 47 replies, has 1 voice, and was last updated by  Superbanzai 6 years, 2 months ago.

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    Prog Shooter

    I’m confused by this useage of terms.

    Stopmotion Pro has both onion skinning and toggle. Toggle is just a tick-tock flipping of images back and forth, maybe going back several frames, and then going forward to the live feed, which you treat as just another frame. When you’re satisfied, you click and start working ont the next frame.

    BUT, I would be remiss to leave out what makes a good animator- believe it or not, the technology of being able to see what you’ve shot actually slows you down! If you do animation enough, you will know instinctively how much to move something each frame. As a general rule, my animation comes out much better if I’m not constantly checking it. Just jump in, make your moves, and toggle between them in the framegrabber only as a fail-safe. 1 or 2 frames is all you really need- as Ray Harryhausen put it, “I don’t want to see where I’ve already been. I want to know where I’m GOING!”

    Working this way does two things: 1. It allows you to get more animation finished in a shorter amount of time, and 2. It forces you to think more about what you’re doing while also thinking about why you’re doing it. On nightmare before Christmas, the animators had only crude framegrabbers which showed them the previous frame- that’s it. To get the smooth motion, they relied on memory, surface gages, and their own intuition. <— all of that will do more for you than any framegrabber.



    “Mess de la Fritz” wrote: I used to animate Bert’s way, by taking the figs off the set and putting them back down after I moved them, but I always forgot where they were meant to be.

    I know that some people put a brick as some kind of “marker” on the set when they take away a minifig momentarily. That way you can just put the minifig back on the old spot, remove the marker, and take a frame.

    Buxton is absolutely right about the audio editing. Unless you have a very professional audio speaker set, using a headphone will give you much better results.

    Onion skinning is usually “overlaying” one or more previous frames over the frame you’re going to take, giving some kind of “ghost” image. This allows you to check for smoothness. I’ve never used onion skinning; it’s too distracting, and because of the overlay you can’t properly see what you’re doing.



    Sorry my onion skinning is like seans.
    although I can change it to multible layers.



    i have a special charachter that i worked on so that the head, arms, and legs are all easy to move so like when i have a guy walking i don’t have to pick him up and move the body part it works 😀



    Have a bag to punch when you get frustrated.




    “Littlebrick” wrote: Have a bag to punch when you get frustrated.


    When I get stressed I find myself moulding and squeezing the blu tac I keep on my desk 🙂



    Lol, I do that. Must be an Aussy thing 😛



    ya a lot of times i’ll mess up something and have to do the film over again so i go and take it out on a punching bag 🙂



    Random tip of the day (or night, it’s 3:45 a.m. here):

    If you’re going to have a static shot or a reaction shot or something short in which nothing technically moves, take pictures for the whole length of the shot anyway. Don’t truck with that one still image business. Unless you’ve got an awesome-sauce camera it’s easy to tell when that’s being done.

    – Shale, off to animate some more, and then it’s into bed!



    Or, if you have a still shot, you could zoom in slowly/slightly, or even pan a little bit. Just adds a bit of interest to the shot.

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