I was thinking seriously on buying Toonz Premium because of the bugs in first releases, but the painting tools really disappointed me, I gave up at the first 10 minutes, You did a great work!. Well in the other hand You have to see that Studio Ghibli dont did the animation directly on OT, they did it on paper, scan their frames and then put color and do post production effects on OT, so You can do your animation in paper or use Krita or Clip Studio Paint and then import the frames to Open Toonz for coloring or for just post production, it would be a reasonable workflow by the moment. Stern, Garland, “SoftCel – An Application of Raster Scan Graphics to Conventional Cel Animation”, Computer Graphics, volume 13, number 2, August 1979.First off, beautiful works! dont give up! and second OT was not designed for animation at least no for traditional animation! for paperless obviously YES, and for post production YES again, but it was not made for traditional animation, sorry but I just can' t contain myself when someone says " DON'T YOU USE YOUR ANIMATION SOFTWARE FOR DO YOUR ANIMATION" it has a lot of sense, right? go and use inkscape, go and use krita " but seriously try krita or clip studio paint" go and use other software, I remember a thread about a user asking for a more friendly version for paperless animation, but the truth is in the opposite way, OT is not too much firendly with traditional animators. Smith, Alvy Ray, “Tint Fill”, Computer Graphics, volume 13, number 2, August 1979.ħ. Madsen, Roy, Animated Film: Concepts, Methods, Uses, New York, Interland Publishing Inc., 1969.Ħ. Levoy, Marc, and Feibush, Eliot, and Cook, Robert, “Synthetic Texturing Using Digital Filters”, Computer Graphics, volume 14, number 3, August 1980.ĥ. Thesis Cornell University, August, 1978.Ĥ. Levoy, Marc, Computer-Assisted Cartoon Animation, M.S. Catmull, Edwin, and Smith, Alvy Ray, “3-D Transformation of Images in Scanline Order”, Computer Graphics, volume 14, number 3, August 1980.ģ. Catmull, Edwin, “A Hidden-Surface Algorithm with Anti-Aliasing”, Computer Graphics, volume 12, number 3, August 1978.Ģ. Also discussed is the actual method for merging any two adjacent levels and several computational and storage optimizations to speed the process. Lastly, a sequence-editing system which controls precise definition of an animated sequence, is described. A technique is presented for reducing the total number of merges by retaining merged groups consisting of individual levels which do not change over successive frames. A method for the simulation of any hypothetical animation camera set-up is introduced. The term “level” refers to a single painted drawing (cel) or background. Merging is the process of combining levels of artwork into a final composite frame using digital computer graphics. This paper presents several computer methods for assisting in the production of cartoon animation, both to reduce expense and to improve the overall quality. Documents containing all frame assembly information must also be maintained. In addition, the physical limitations that these camera stands place on the manipulation of the individual artwork levels restricts the total image-making possibilities afforded by traditional cartoon animation. The task of assembling drawings and backgrounds together for each frame of an animated sequence has always been a tedious undertaking using conventional animation camera stands and has contributed to the high cost of animation production. Outstanding Doctoral Dissertation Award.Electronic Theater Best Student Project.All Conference-Related Electronic Media Publications.Film and Video Show & Electronic Theater Catalogs.Technical Paper Overviews: SIGGRAPH Asia.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |