Ahhh... that. Now I understand (and without even knowing what evangelion robots are).isd wrote: Of cours it also depends of what you animate. This technique is most effective on inbetweening evangelion robots than on bugs bunny.
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Ahhh... that. Now I understand (and without even knowing what evangelion robots are).isd wrote: Of cours it also depends of what you animate. This technique is most effective on inbetweening evangelion robots than on bugs bunny.
Thanks for the help, I didn't know this buttonFabrice wrote:Hello Isd,
did you try this button ?
Use the left mouse button and move the mouse (then release the mouse button)
or
Use the right mouse button. (it keeps the lighttable settings with the out of pegs)
Exactly.slowtiger wrote:From my assistant & inbetweenig days I remember the workflow like this: first you do a rough inbetween with all drawings on pegs - you need to know where your inbetween goes. Only after that you take the drawings off the pegs and turn the rough into a clean inbetween. Flipping while off the pegs is not for controlling the animation but the accuracy of the inbetween in terms of volume and being on-model.
Since off-peg inbetweening is only necessary in scenes where there's a bigger distance between moving objects in consecutive frames, it's not necessary to be painstakingly exact as one would need to be in a scene with a very slow movement (I'm talking about cramming an inbetween line between thin pencil lines which already touch!). If the scene works on the pegs, it's OK.
Wel everybody's eyes are not equalZigOtto wrote: Regarding the ability to flip off-pegs, Slowtiger explained it beautifully, to get the inbetweens as accurate as possible,
I just think it could be useful in only few cases, but why to go for more accuracy than the eyes can percieve ?
animation (cinema art in general) isn't the art to fool the viewer's eyes ...?
so my credo is : if it works in-pegs, no need to work again and again and reach an extra-accuracy which noboby care ...
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Damn! Those are fighting words. Where can we see something you have done?The way you inbetween is visible in the final result, and I can say that at least for me I am terribly sensitive to waving lines on inbeweens. It makes what should have been a beautiful animation a cheap "I had no time to do it correctly" thing.
If I had to animate robots, I'd use 3D. If I'd need to do reeeaaally slow motion, I'd use Anime Studio to do numerous inbetweens between two neighboured pixels.But if you want just for the fun of it to draw slow motions or robot animation, you would like to have this feature, or at leaast you would like to know it is here for when you need it ^^
Inbetweening off the pegs is, in my experience, only necessary if the spacing of the moving item is bigger than the item itself, or the turning angle is bigger than 30°. In those cases there will be no "waving line" because the items are too far from each other in successive frames.The way you inbetween is visible in the final result, and I can say that at least for me I am terribly sensitive to waving lines on inbeweens.
I work in japan for 5 years and most of the people are better than me.Paul Fierlinger wrote:Damn! Those are fighting words. Where can we see something you have done?The way you inbetween is visible in the final result, and I can say that at least for me I am terribly sensitive to waving lines on inbeweens. It makes what should have been a beautiful animation a cheap "I had no time to do it correctly" thing.
I sent you a PMSo to give a conclusion, if TVpaint had the feature requested it would maybe sell better in japan, if advertised correctly.