Anime Production: Idea to Screen | Will Constantine | Skillshare

Anime Production: Idea to Screen

Will Constantine, Art is happiness

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40 Lessons (12h 24m)
    • 1. Introduction

      4:36
    • 2. Anime Sub-Committee

      5:32
    • 3. Idea & Concept Part 01

      27:15
    • 4. Idea & Concept Part 02

      11:30
    • 5. Writing A Screenplay part01

      28:59
    • 6. Writing A Screenplay part02

      20:36
    • 7. Drawing Warm up

      2:35
    • 8. Design 01 part01

      27:59
    • 9. Design 01 part02

      24:41
    • 10. Design 02 part01

      29:18
    • 11. Design 02 part02

      37:17
    • 12. Design 03 (reference)

      5:19
    • 13. Design - Add Lines, Do's and Don'ts

      4:13
    • 14. Design Panda (Turnaround Character Design)

      Panda-Design-APClass.psd
      30:07
    • 15. Storyboarding

      cutsheet16_9.psd
      explaining parts of the board.psd
      explaining parts of the board2.psd
      23:11
    • 16. Storyboard Using Reference

      10:10
    • 17. Storyboarding (adding camera info)

      28:01
    • 18. Live Action Vs Storyboards compared

      8:26
    • 19. Design Background

      server_room_layout.pdf
      13:44
    • 20. Layout - Framing

      11:57
    • 21. Anime Specs 01

      28:04
    • 22. Anime Specs 02

      17:23
    • 23. Lenses (Sizes)

      5:08
    • 24. Layout Final

      31:15
    • 25. Layout Examples

      3:01
    • 26. Colour: Colour Scheme Lesson 01

      18:14
    • 27. Animation

      34:03
    • 28. Shadow Markup

      13:35
    • 29. Traditional Animation (example only)

      9:06
    • 30. Thumbnails

      13:51
    • 31. Painting BG01

      30:04
    • 32. Painting BG02

      30:03
    • 33. Painting BG03

      16:22
    • 34. Painting BG04

      37:55
    • 35. Background Parallax (example in SBP4)

      5:11
    • 36. Parallax BG (short example)

      0:06
    • 37. Inbetweening

      35:17
    • 38. Retas! Traceman HD

      5:43
    • 39. Retas! Paintman HD

      21:45
    • 40. Clean up

      32:38
12 students are watching this class

About This Class

 This class will start you off from the very beginning of an Anime Production (idea/concept) and work you through the animation production. All the way to the final digital delivery for screening.

The difference between the Japanese Animation process and the United States or Canadian Animation process differs in budget, studio size, job distribution/muliple hat wearing, and so on. 

I'll cover all aspects of an episode production, including Pencil and Paper Animation , Flash. Puppet, Tradigital, Scanning, Trace, Digital Colour, Compositing, Voice Acting, Music, Editing, Rush and Final delivery. 

I'll describe Sakuga (作画), the moments in Anime shows/Movies when the animation becomes fluid as oppose to the common Limited Animation

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Transcripts

1. Introduction: time. My name is women Men is and I only company called Studio Talk What to LFC and Ah, this class is about the enemy production process. Um, it has similarities to the Western, an emission companies, even other Eastern animation companies. But right now, the focus for this class is on the enemy or the Japanese animation industry. Um, lots of information out there about Disney and Pixar and what not but two d traditional animation or even 2.5 de animate is what I would like to focus on in this class. So thank you for joining us, um, beyond just learning about animation process. You know how toe go from one key to another key and how toe filling the in betweens and call your cells and then composited with other back one images and back on paintings and what not? I would like to talk about the enemy industry in itself about guy gene, which is foreigners and might have a chance a great chance to get into the enemy industry. But if there's enough of us, we can adapt what they do and create our own industry, our own communities, and maybe even move into the Japanese market. Who knows? There's a whole world out there. And just because, um, most of us don't speak Japanese or have Japanese connections or we can't get a work visa over there in Japan doesn't mean that we still can create our own industry based off of the enemy industry. So thank you for joining this class. I would like to go through all the steps of Japanese production, not just drawing pictures or doing voiceovers, but also include stuff on the production assistance inside of the enemy industry. Do you could be compared to something like an intern in the states or, um, the Financiers Assistance, or P A, which is a poet production assistant. But in Japan, production assistants do lots of work from creating grafts. Show the progress of whatever show that's happening. Um, they're calling up animators. They're going to animators homes to pick up key animation. They're doing a lot of legwork, even dealing with finances, sometimes even payroll so public, uh, enemy production assistant. Their job coincides with the animation production, so that's one thing I would like to bring to the attention of people. So enemy just isn't about drawing pictures and loving the voices and the songs and, you know, que characters or, uh, whatever you want to define your favorite anime as. But there's a whole industry that's hardly ever spoken about, especially here in states. So that is what this class is about. So I hope to join you. And I hope you join me for this class. Lots of information is coming from Janica and nausea or to the to, um, Japanese associations out there for the enemy industry. Um, there is also information from P A works and D, L C and other animation companies that are based in Japan. And, uh, lots. My research come from them and lots of answers that I've had, uh, were answered by lots of these companies, including studio foresee, which is one of my favorite companies. And, um yeah, so thanks for joining me. And please enjoy dresses, classes. Thanks. 2. Anime Sub-Committee: Hi. So this lecture, more or less is about the enemy committee and what the enemy committee is. It's made up of different studio heads or figureheads of enemy studios. Ah, for your heads from broadcast, even sometimes foreigners. And the committee is made up of all these people to determine what type of animals should be made. No, it sounds kind of weird, but unfortunately, the financing of animated and what it used to be back in a day you can find financing to do wacky whatever type of shows you wanted to. But these days it's a little bit more regulated the ah, from everything from the violence to the nudity to the language to what Jonrowe we're focusing on be a Children or adults. There's even ah, category called otaku. I've just read a 2012 paper on the enemy industry and the enemy committee. It's it's unlike other countries. I guess I'm not too sure about all countries. But the financing and Japanese animation is a little. It's a little tight these days, especially since ah, stuff like pirating has going on. They've lost lots and lots of money, and they still continue to lose lots of money, so there's not that much risk that they could take. These is. And especially since they've noticed at the foreign market it started to create their own enemy, meaning their own taking all the styles and the looks and the timing and even how many frames shoots. Um, Purcell that all its being adapted by different countries, especially United States, France and Taiwan, China and Korea are involved as well, but they seem to have their own timing. It's it's a different feel. I don't know if you noticed this, but, um, according to this paper, um by I think it's company called Amoco. Not too sure what they are, but it's about the enemy committee and how the financing has dropped. The bottom has dropped out. They're losing lots of money, and they need Teoh people just for they can refocus. And they could talk about, um, catering to the foreign markets and using ah foreign money to make enemy and doing co productions instead of just having it all inside of Japan. They have to venture out and find out the capital to get they're shows made and the shows have. Like I said, regulations, you say is it's more regulated. All the content has changed. That's why if you watch new animal you likewise in, Why isn't as good as it might have been in the past are the variety of it. This has changed, and that's the reason why is this animal committee? It's not a bad thing. It's regulating everything. It's unfortunately, it's doing sort of, ah, censorship. But it's a committee that does exist, and it's made up of all different, um, heads of different industry markets. I guess you can say so. From the production of anime to the distribution of enemy to, ah, creators themselves, um, to marketing. All these different elements of animate have come together to be part of this committee, and it all determines how much money each show gets, How much how many chills get made and what type of shows get made. It's It kind of sucks as a fan, but as a business person, I totally understand it. But it's still something that has to be taken a consideration when we're talking about Adami. So if you're not so happy with the current enemy lineup or what's available, what command? Those are the people that are in charge. And that's, you know, the tempo shows that they are creating, so they can, you know, make money. You're guaranteed Or, um, I don't know, it's it's just something that has to be done over there. So as far as I believe, 20 2011 2012 This has become a thing. If you want to look it up online, um, the enemy committee, you might have Teoh translated through Google into Japanese and search for it. But it is out there, and it's a thing. So that's my rants and lecture today on the enemy committee. Thanks. 3. Idea & Concept Part 01: for this video. Listen, I'm going to talk about the different genres of Anna Mae if you're hesitance or you're too concern about what type of enemy or show I should be writing. Uh, I would say, Just use whatever is in your heart or your your latest greatest idea. And if you don't have one, then you could adapt. Ah, story or a book that you enjoyed or something that you removed from your childhood. There's lots of enemy out there. Their sports anime. There's, uh, Mah Jong. I'm sure there's a chess enemy out there. There's ah animates about assassins like Golgol 13. There's, um, comedy shows and parody shows like Rama 1/2. Uh, there's shows about manga like a comment party. There's shows about the enemy in the street right now, like a shoe tobacco, and it's endless. So your idea that you have in your head or that you've written down somewhere or you been contemplating and always wanted to do, I think now is the time to do it. Uh, there's so many resource is online right now. If you ah wanna find something that's foreign or whatnot, you can use Google translate and then take for the translation is and put inside the Google search. And if you're using chrome and you have the translate extension, you know trans the whole entire website for you might be a little broken English. But it still works wonders if you're gonna cipher between the Ida translations because it's a machine and it's still a little hard toe translate between English and Japanese or Chinese or Korean or what have you. So I would suggest that you to start writing. Um, the concept that I have right now is based on this man in Japan after the explosion of the the reactor's over there. And a story about him is that after the explosion there was there was lots of stores, and that's a production. There's a lot to mongo production that wasn't happening because there was no one who had, you know, anything. Everything got destroyed. Our everything was put on hold. People had to evacuate, evacuate from their homes and their places of business, so there was no production going on. But there's a store owner who had a kiosk in the middle of his village, and his friend, who was ah, among a production a manga ka, which is among artist. Hey, sit over, I guess a manuscript or book of his to his friend, a store owner. And this is one Munger that he had and that's the store owner. Read it front and back. You love it. He loved it so much he tied a string twit and he put it on his counter. And he allowed people that come from the village to read this one manga that was the only new manga in the village. So Children came on bicycles have sat there and read it. There's businessmen who showed up there, his wives. There was business women. There were students. They all showed up toe to be this one manga, and he tried to want to read it. You just let them have it. He, uh, kept it on the strength. Of course, you don't want people to steal it, but by the time it was finished, it was all rattled and destroyed and ripped up in weathered. But it's a story. It's like, I think has to be told. It's Ah, I think it's really I know it's heart Tarts touching. Um, but that's to show I want to dio might be a short might be a no whole episode. Maybe I've been to that mountain God use Ah, different scenes of what stories are inside the Munger as well as excuse me. A swell as what? The story about the store owner and a village. So I call it Mangano String. Um, don't steal my title. I don't see my book idea, but you should definitely take the ideas in your head. Write them down, take him up, draw a little stick Figures If you can't really draw, do what you want to dio But get it done Because when you're producing manga in Japan first thing you do is you come over the concepts If you already a huge company like Khloe or if you're among a publisher like Donncha O r Shonen, jump those artists in those books, they already you know, they have the ideas first, and then they start executing them, going to start off with joint thumbnails and then writing about those thumbnails. That's fine, But do the work. Type it, write it out, do it snaps, uh, synopsis. Sorry. Um, just get it done. That's all you need to dio for this. It's first class. Just, uh right that synopsis I've posted. Ah, little sample of my show universe. Trouble of museum, which is being pleased with my company and hopefully with shelves in 2015 are maybe even television trying to sell the rights to it right now. So, uh, that's it, Just Ah, right, right, right. And, ah, you know, do your research. If you have an idea about a new basketball team or schools Laughable tomb or your time in school, Uh, anything could be from cooking, Could you? About playing sports? It could be about loved ones, about someone you loved and lost. You could be about someone that you wish you can meet and love and starting relationship with, or ah, that person. It's got away from you. And, you know, I never got a chance to become a couple. Um, anything. There's so many of the idea that there's cyberpunk. There's action, There's drama. There's heist animate like loop on the third or detective shows like Conan Detective who has a movie with with Flu pon the wolf and, uh, you know, crossovers. So if I am throwing you off and you don't know what I'm talking about. I will try to add some of those names at the end of this, um, video so you can do some research on them if you knew to animate. There's a world out there since the 19 I don't know, 19 fifties or sixties to have been producing television anime. Um, so you have a lot to catch up on. But there's a lot that's coming out every single year from Japan and independent now that recruiting for 2016 animators. Um, from what I've read, the introduction pay is equivalent of $16,000 a year. Um, I'm sorry, 16,000 UH, 101 100 $1600 a month. And, uh, that's the entry. Hey, if you're around twenties Tiffany's, if you're in your thirties to pays a little bit more, maybe like a a couple $100 more. But it's not even that much of a difference. Um, there's not to people who are leaving their careers and entering the animal industry in Japan. It's still a little hard for foreigners to get in there because Japan has restrictions on a guy gene, which is foreigner, no matter where you come from America, China or Africa? Or but New Zealand, it doesn't matter. You're still a guy Jean over there, and you have to carry a Guijin card. Um, with you, Teoh, get to certain places or to go on trains. In certain places, there's a lot of bars and ah, hostels and place is a guy Jean can answer. They have gouging. You know? Guy Jean, uh, signed over there? Um, yeah. So back Teoh enemy. Uh, there's a lot going on in industry. It's still not open like a said to foreigners that much, but they are people who have gone into the industry, right? Right now we're gonna focus on writing, So get your pens and paper out. Open up your ah, document writer and start pounding out those ideas and posted them and sharing with people . Tell people about your ideas that just keeps yourself because the more you talk about it, the more you get influenced on actually treating it. So it's not just internal, you make it external and give it to the world. And hopefully you can make a show about it, makes money, so gets work. And I'll see you in a bit up. Um, my idea of Mangano String. It's just gonna be a synopsis. And I think about what I want to portray. Um, environment. The characters were not so much their names because right now, I don't have names for these characters, and, you know, it's based on a true story. I will still have to elaborate or change names because I personally don't know the man or the people in his village. You were looking at this manga and, uh, you know, being entertained and being moved by this manga on a string. So right now, to start with my title and, uh okay, so right now I just have my title Mangano String. Um, first thing I would do is I would start with, um, just setting like, uh, where this place is. And it was somewhere they believe in Tokyo. It could have been, uh, she Booyah o r. Thank you. I think one of the pre factors in Japan, um, in the west or the village months, you sure had toe go back to my It's my resource is and find out my research in my research papers and see exactly where this village was. But right now I'll just place it in Tokyo. Que like mythological Tokyo. Um, you can make your world anything you want to. You did not. Based on reality, you can just create your own worlds. Use real world names if you want, Teoh. But you can change the environments and you can make L a. Tokyo. If you wanted Teoh, you could make uh, anywhere Tokyo are super Leah or Shinjuku. You are any place you could go back Teoh all times and called Itoh? Uh, it really doesn't matter. Just dis create. And don't be concerned about the real world and all its properties. Just treat your own world. And, uh, I guess right now is just gonna walk me type and maybe talk to myself. So, uh, I'll try Toe, um, just guide you through what I'm writing about, uh, I'm running in the middle of the page. So have everything justified some middle, so you can see it on the video. Um, so I wanted to be in Tokyo. Uh, for right now, um, let's see. Tokyo, Let's put it, uh 20 12. I believe it happened. Um okay, so I have 2012 Tokyo a man is lost after a devastation and I cant spell very well in his town. Um, a little sub he has slightly name is it's still one of better shops left standing and his neighborhood, um, did it to the devastation Munger production Waas hold his shop waas cater to manga and living who lifestyle Um, the first and without no Munger production His store once and noticed during this time. Then one day that's friend sent him a new published manga. Thank you as creative store on it. Three for days on end. He loved the work so much he a tent stake string on its and allowed pastor buys get Spencer bodies. Pastor Barlow is passer. Byes for Freddie. Um, Miss Thank story, sure. On the during the Master Japan. Okay, So what I have now is ah, the setting Tokyo 2012. I really do need to check on a date. I don't want to insult anybody I don't want Oh, uh, you know, use falsehoods or what? Right now, I'm just writing and, uh, clucking my thoughts on stream so I can allow myself toe keep building and writing upon this. So right now, I have the title among on the string might underline that, So I know it's having so it's among on a string. Tokyo 2012 A man has lost after a devastation in his town, the little shop he has with slightly damaged but still one of the better shops left standing in his neighborhood. Do you think the devastation comma among the production was put on hold? The shop was catered to manga and Itochu Lifestyle, the press without any manga production and his stores. I'm sorry, depressed and without any new manga production. Hey, store went unnoticed during this time. Then one day. Then one day his friend sent him a new published manga. He has created the store owner read through the book for days on end. He loved the work so much he attached a string to it. String. That's his drinking. Uh, two. It allowed passer byes to read it for free. That's had something. Um, people from all over Tokyo came to greed. But this one new manga Schoolgirls to little kids on bicycles to businessman all cane serried This one Look. In the end, it was Torre nut from use shared by strangers and delivered great hope and happiness in a time of need based on a true story about a shop owner during the years of disaster in Japan . Go! So from the top Mangano String took you 2012 A man has lost at the devastation in this town . A little shop he has was slightly damaged but still one of the better shops left standing in his neighborhood due to the devastation among the production was put on hold. His shop was catered to manga and attack a lifestyle depressed without any new Munger production. His store went unnoticed during this time. No, I accept it now. Then one day his friends sent him a new published manga. He has created the store owner right through the book for days on it. He loved the work so much he attached to string to it and allowed passer byes to read it for free. People from all over Tokyo came to read this one new manga schoolgirls Little kids on bicycles to businessmen all came to read this one book. In the end, it was torn up from use shared by strangers and delivered great hope and happiness in a time of need based on a true story about a shop owner during the disaster in Japan. So now they have my synopsis. I if I was gonna have this potentially produced or seek financing to get it produce, I would want to put some notes on the bottom for myself. Maybe I'll make it Ah, in O v a in color. Um, roughly 60 minutes long. Um uh, let's say it's the through four K. Meaning, ah, it will be made in HD and or four K so it can be delivered and have future delivery systems available. Twit. If you do it on HD, you can archiving on film and then take that film and transfer to any, um, any size you want. So be it four k today or eight k tomorrow or 20 K in the future. If it's on film, it can be transferred without any loss of quality. Um, it's common practice our castings on film like little witch academia. They put that on film so it can be one archive and to when they did a Kickstarter, they gave people 35 millimeter slides of the film itself. So, uh, it's good toe do film for archiving. And so you don't have to do something a four k you can produce on H D. A 10 80 p. And then if you transferred the film, you could use that negative to make whatever copies you need to. It's still a very high standard quality, possibly the best quality canete So ah, being overly a which is original video animation, that means straits of video video on demand via rental DVD and Blue Ray. See, uh, so and over a A original video animation in color 60 minutes long producing HD or four came and the territory would probably be worldwide relief. Um, yeah. So there's stuff on the bottom. I put this stuff in here for my own reference and for pitching O r. Anything catering to pitching. So that's Ah, that's what I do. I'm sorry. You see my screen capture here If you do or you don't, I'm not so sure yet, but I'm so it doesn't get in the way. So Ah, thanks. Reviewing? Um, start writing and I will see you in a bit after. Ah, this lesson and the following lesson will be surprise. I look back at the schedule sorry about that. But Jonas for next lesson and I hope you learned something. I hope you got over any fears of writing and showing others. Your your ideas are what not, um, it's It's a little intimidating sometimes to show strangers your ideas. Um, I know a lot of people who are artists who are even writers who are still afraid to publicly show their work. They do it to internalize, um, their ideas. They might put on a screen or on a piece of paper, but they still have that fear of showing others because they're afraid of rejection or criticism. Unfortunately, to be an artist, you have to have thick skin. There's lots of people out there who are haters. But you just got a move on and do what you do because yellow and you only go around once. So right now you're here, seize the day. Carpe diem and ah, join us for next. Listen. Thanks 4. Idea & Concept Part 02: So now that we have our our synapses right down, what we want to do is we want to move on Teoh next. Ah, stage with, um and I'm a production so coinciding with treating enemy. There's two different jobs, uh, which means the industry is divided into two parts, even though they were coincide, they won't start of each other, and they happened at same time. The parallel production. So there's a production part, which is the writing, the storyboard and layout, the animation, a key animation in between in color music voice over dubbing, editing on all that. It's happening at one point and parallel to that. There's called AH production assistance, so production would be the enemy part. You know, the creation in part and the production assistant side is another job that happens. So Production Assistant would create boards so you can see the progress of the production. Um, they'll call people. They'll get key animation from animators who work at home. Oh, are they'll keep everything on schedule. They are sometimes in charge of financing, um, even making sure that all the numbers are in place and there's nothing being spent that should abuse being spent, Um, sometimes they drive people around. They, uh, they're there at meetings when having production meetings and when they're having business meetings. Which, yeah, it's a thing you're stealing to deal with. You're still dealing with money, Silly. What numbers mean? You're the enemy industry. You're not just creating arts. That's what I want to get through to everybody. Enemy industry is not just about creating enemy. It's a business. They have huge conventions over in Japan every year for business of animation itself. Um, there's one convention I just so recently it's called Ah, it's Enemy Japan and Believe and Anime Japan Expo, and they have a whole section cut off from the public. It's all for business people, and it's about distribution overseas. Its financing, Um, it's all things involving money, um, beyond just creating beautiful pictures and entertainment for people. So that's what I would like to hopefully show everybody and educate people on that they have more to animate than just a production of it. It's a production that you see, but it's the production that you also purchase. And, uh, we need to keep an audience going and hopefully get some some foreigners and So they got some guiding into the industry and help them help us being a cer tain and, uh, just to, you know, I have a place that we can create to the pays and so great you're making maybe $1,601,600 a month, maybe $1700 a month for a lot of work. Um, animators over there, they're making Ah, that entry of $1600 and you have to produce upwards of 500 sheets of animation every month . My night sound the line. But if you have ever animated, it gets very, very cumbersome really fast, and it's a lot of hard work. It is not a joke. This is not something that that thing you could just start drawing and flipping papers back and forth or pressing keys and flipping the images back and forth. And it's a business. It's to the beginning of the day. It's a business. At the end of the day, it's business. It's business tomorrow to business. It's for ever gonna be a business. Even though we love enemy and me personally, I'm a straight up Itochu. Uh, the name might be insulting. In Japan, the description saw you have a taco. But in America, I think it's a little more accepted. So I'm not afraid to say that I am a guy Jean and an attack you because I am a foreigner If I'm in Japan and I am a fanatic, So, um yeah, just thank you for lesson today. So if I speak really fast, I'm very hyper at times. So, uh, I just want you, Teoh. Enjoy yourself. Be cool. Have fun with it right now we're dealing with production and writing. It's not that it's a little mind trip if you're not used to writing, but you can do it and just get that sorry down. This is Synopsis. You don't need to start writing scripts yet, but, um, in due time there will be some script writing. And then from there we can move on to other productions and, uh, between its less and I will talk about, um, the parallel saying of the production assistant, even though it's hard to describe to show. But it's still another job in the enemy industry. And that's what I would like to talk about and teach you all about the enemy industry, not just the production of anime. Thank you and hope to see you soon. Okay, so now that you have your synapses done, you have to start thinking about planning. Planning will consist of, um who you want. Uh, What company? Want to animate your show? If you're hiring anybody off the street, how many animators you need? Uh, you're planning, planning, planning, planning, planning. Everything is a plan. Uh, this is stuff you need to write down for yourself. Theoretically, we're going to be, you know, pretending that we're an animation company in Japan and where thinking about planning the production all the way through to the end This is a producers job. The director is found that it's time. If your studio you probably have directors and animation director has already built in your system, any problems have producers and financing, but, you know, theoretically speaking, that's how we're gonna think we're gonna think that we're already have all these jobs in place. We have our production people in place. We will have our assistance in place production assistance. So it's about learning about the industry. And hopefully I could show you some Some things about the industry. Some stuff I can't, but I will definitely tell you about it. Um, So planning, uh, you're in the midst of creating a TV show you have to think about. The studio's going to use what overseas studios you're gonna use. Probably ones in Korea or China. Um, studios overseas. What they do is you outsource your in betweens to them and sometimes even your coloring and even your company. You're compositions of images like you're after effects production stage. So there is lots of information is being transferred back and forth. You see, usually to an FTP and, uh, you private server somewhere in your country or in their country that you call up, you get all your files to you. Um, people in enemies still deal in paper. There's ah, cut folders which our fathers at list what's done in the cut cut meaning of scene. And those are delivered two key animators and then to the cleanup and in betweens on the color departments. So the health department can scan those keys into computers and start coloring. And, you know, from there they could go on Teoh test basically what I call a rush. So after 50 cuts or scenes, they do it rush in a rush is they play those scenes in sequence so you can see if the show's working the way you want it to work. Lots of things are missing. Lots of storyboards is still in place. Sometimes it's key animation, sometimes stills, Um, sometimes just ah, rough blown up storyboards O R. Layouts are in those rushes so you can play the whole thing and see the production still moving. Well, thats has to be the card. I never get it wrong. After 50 cuts after 100 cuts, um, you keep going and you keep doing rushes to make sure that the show is still on. It's, ah, path Teoh completion. And you see any changes into May that could be made before you actually finish the whole show and then realize up, we gotta fix this. So rushes are something that you need and that are done. So that's it. Um, planning. There's, ah, lots involved. Um, since this is a class, I just want you to focus on that synopsis that I showed you earlier in the video. Um, just do that for the class and, uh, worry about the stages one by one. Um, beyond just learning stuff, I would like you to produce stuff even as small as you can. So later on, you can build upon that. Or, uh, let's have the knowledge off what goes into the enemy industry. So I'll be speaking about the enemy industry. Not the American animation, not the Canadian animation style or companies. This is about anime and want to keep it that way. So if it seems odd or what not, it's about the industry. And, uh, the best second do is instruct you on it. So thank you, fortune and come back and we'll be back for the next lessons. Thanks. 5. Writing A Screenplay part01: Hey, folks, Thanks for joining me again today in the enemy production class. We are going to talk about screen plays. Um, screenplay is basically a script for the screen. Um, kind of self explanatory, but in Japan, they do it a bit different. According to ah, animation company madhouse, um, I got a lot information about how they do screenplays. So that's the format with me using today in this lesson. Um, first, Ah, first draft you would do of a screenplay, Would we call the original? And in after that w called, uh, revisions. So according to madhouse, up to 10 revisions will be done over a span of three weeks. Um, not pushing more than a month because of scheduling. I guess by three weeks there really ran out of time and they need to hit the deadline and go into ah, and I'll continue preproduction. And then after that, production and post production. So three weeks, 10 revisions at most. And, um, after you have those Univision's done, they do a reading of the scripts of the screenplay for, um they bring in the press. They bring in ah TV buyers, the bring of magazines production companies are gonna be working with them. Um, you know, the director and the writers are there, and they read through the script. No more than 10 people are allowed in the script reading room at any time. And then they have production meetings where the script is read through which producers and directors, storyboard artists and other production people. So the format that they use is called a block format, which is Ah, instead of having all your text and ah, in a row and your dialogue in the middle of the page, you cut up every scene and you, right to text out. And then you put the dialogue and they basically and blocked paragraphs instead of having a whole page of scripts of dialogue and action and environment. Location doesn't that information is still there. It's just it's son in the block format, and I'll show you what that means upon the screen. I want to take my thought of manga on a string that we talked about first lesson, and I'm going to start writing a short screenplay for that. I'm not gonna go through all 60 minutes with screenplay, but I'm all right. Ah, pager to about, Ah, the enemy. And so something that could later on hopefully start animating or at least designing and laying out. So you get an idea of what it means in the overall aspect of the production. So let's get to writing. And Dallas, Houston. Ah, text editor open. I'm gonna change this fund to something really big. Say everyone can see. Um, if you're gonna write this dump anyhow, you right? Um, I would write at a regular sized typefaces or fonts. Um, I'm doing this Ah, 48. Because I need everyone to see the screen and not have to squint toe read what I'm writing . Even I'm dictating. Usually when I'm writing on the screen, I still want you all to be able to see. So that's why that's such a huge fun I'm using right now. So you're fun. Doesn't matter. Your text writer doesn't matter. PC Mac, your phone tablet doesn't really matter just as long as you get your ideas down and you ableto get it printed somehow or deliver it to whomever is gonna be doing your production. And that's all that really matters. So let's get started. Ah, of course I think you should have the title of your scripts on your word document. So my title is among on a string, and I'll just highlight this Just so I know. Ah, that this is my script. So no. Well, uh, we'll start by, um, stating the first scene, um, into your exterior right now. First scene for my money on a string is exterior. And then just get rid of that underlining. And ah, my setting is Tokyo. Ah, during the the morning sorry Tokyo dash Morning after adapters for English writers Because I'm not writing in Condi. Ah, kinda are anything Japanese So I'm adapting it to the English language so I might get a little I might stumble along the way, So please just bear with me and I'll try to adapt it as best they can. And everything I'm writing right now is off the top of my head. I have nothing Pre Brittin I'm not reading off of any script Are any ah, pre written pages. I'm doing a straight from my brain onto the screens. Everyone could watch me work as I dio uh without any guidelines are without any. I'm not leaving myself already on practicing before hands. This is all just me typing. So, um well, you want to do first is establish your scene number, which is this is my first scene. And you want to establish exterior interior, inside or outside. You wanna establish where the person's at? Be it, um, their home or outside in the streets at Starbucks at ah Mei cafe. You just wanna state where the at. So when you go to production, they know where to put the character. And I put morning here. Morning. Afternoon. Early afternoon. Ah, evening night. US State. What time and date is So when? Once again, when you go into production, they'll know what setting to put the characters in. So yes, see number one exterior Tokyo morning. Now, um, I would usually state ah, who is in the scene. So let's put shop owner. Um, I would usually give the person and character name. By this time. I just don't have any names off the top of my head right now. He is known as a shop owner, and I would give him a little descriptions. Since we don't know what he looks like or who he is, right, now. So put shop owner. Put him in his Ah, late sixties. Um, let's see. He will be a splendor Build, um, thinning hair. Ah, let's put black thinning hair. Um, let's give him a hunchback since he's always bending and moving in squatting. Ah, stacking his little kiosk sore, Um, and let's put him in. Ah, modern day, just flax and a button down shirt. So he's, ah, its name right now. The shop owner on his description is he's in his late sixties, has a slender built. His black hair is thinning, He has a hunchback, and ah, that's just a characteristic of him. So you might want to stay characteristics as well when you're giving description, so you're separating them from other characters in your script or your screen. Oh, your screenplay. And he's wearing modern day slacks and a button down shirt. So that's just where his custom would look like. You could stay colors. You could say they're black slacks or ah, he's wearing a T shirt he's wearing, um ah, military shared. Oh, he's wearing Ah, a Dickey's shirt doesn't really. It's what every character you see in your head is wearing. I'm sure this will all change by the time I get to design. But right now this is what the character looks like. And this is what they're wearing. And he's going shoes. Of course, I just, uh I don't know what type of shoes right now. He's worrying. So the moment on scripts, he's barefoot. But in reality, well, now the head of for Outside were probably wearing shoes or sandals. Okay, so then I will leave a space and I will, um, give action to the screen. If there's any other characters inside of the the scene or cut, um, you wouldn't want to state the other characters and give them a description. A name. So everyone knows who they are, especially when they got a storyboard. Bacon storyboard each character inside of the shot. And if you give a description at first, they will have a relative idea of what the character looks like. Uh um, Also, you might want to put it in treats of the character like, let's say, Ah, it's a female and she's always train bubble gum or she likes, ah, eating ketchup out of ah little ketchup bag like you find in restaurants. Uh, she sucks on a lollipop or she twirls a hair or she, uh she giggles a lot. It z characteristics you want to give the character. So there's individuals and I separated from the other characters. All right, so now I'll put some action and seen, um, State, who is doing the action shop owner rights over to a locked up a little manga shop. So this is the action in the scene. We take our shop owner and we give him in action. So he's walking over and where he's walking over to Is it locked up little manga shop? So be you're seeing one. No dialogue in this scene. He's just doing an action. Didn't skip down. We'll go see number two exterior Tokyu. Morning. Okay, So we're gonna go from the shop owner walking over to the locked up among the shop, and we're gonna jump cut to him already inside of the storks. Unless it's like a studio Ghibli or Miyazaki movie. I don't know if you actually want to spend all the time watching him unlock the store or, um, putting out the good setting up the shop. You can if you want Teoh, But I'm trying to make this as quick and efficient as I can. So we're gonna go from him, walk into the store, and we're gonna cut some time out in the day and would have a place him in the shop. So shop owner is waiting at his counter for customers. Okay, so once again, we're stating who's unseen, Who is in the cut? Ah, what they're doing. He's waiting at his counter. And what is he waiting for? He's waiting for customers. How did you pick this? Um, that is Ah, a good question. You can say he's waiting at the counter for customers while listening to, ah, say sixties music. Um, he's tapping a pen. The music Well, yawning and looking board. So right now, when are seen to he's actually, um, the chains that exterior and interior because he is inside of the shop so are seen to interior Tokyo. Actually, also, we're not just in Tokyo where inside the manga shop, because this could be, um, a different chapter season. If you are going to show him and seen one opening up the shop, you might want to do that now and just ah, go back and revise and state. He's open to shop. So when we cut to him inside the shop, you know that he's inside the shop. If you're doing designs for the shop and there's ah tells, um, you might want to put those into the first scene. Attell, meaning that there's a sign Ege that says, Ah, little manga Shop of Tokyo on the outside and on the inside. There's another sign that says Welcome to the little shop of manga in Tokyo. So that's a tell. So you can you can ah tell that he's in the shop that he was walking to in the first scene when we jumped that so, uh, see Number two interior inside the manga shop. It's still morning. Our shop owner is waiting at his counter for customers, and then we give him an action because this is the shop owner. Waiting at his counter for customers isn't really in action. It's a place setting. It's, um, the imagery on the screen. But if we give him something to Dio ah Wallace into music and he's also tapping a pen on the on, the on the counter is tapping a pin to the music that's good. It's tapping a pen to the music. It's tapping a pen on. Um, it's tapping a pen, I guess. Yeah, on a counter to the music, it makes more sense while yawning. So you give him an action. Um, while his as counter waiting for customers. How do you know his way for customers? He could just be in there killing his time Or, uh, just sitting around cause he's ah, delinquents, I don't know. So if we give him something to Dio, and it shows that he's bored without actually him saying, I'm so bored and using that as dialogue, we give him in action, and if he is tapping a pen on the counter to the music, you know he's probably waiting, and then he's also yawning. That gives the indication to the audience that the tap in the pen and have student has counter means he's waiting for something you don't know what yet, but you assume it's customers since he is running a store. And if he yawns, that usually gives the indication that you're bored. And if he's looking bored with, let's say his eyes are rolling. Are he has his hand on his chin and his arm on a counter of his head, leaning up against it. You give the actions to the viewer that this person's board, and since he's working a store, you assume that he's running for customers. So then we go to a Scene three. We'll still be inside among the shop and let's put it in the afternoon. Let's put it in the late afternoon. So if we're looking at the scene and the light has shifted since the morning time since, gradually get stalker as time goes by. Oh, are if it's late at night, time goes by, it gets lighter. But since we hear in the morning now we hear in the afternoon, Um, we we now show passes of time using light effects. Or we could have a clock on the wall that shows you that it's now four o'clock when earlier , and seeing we had a clock on the wall that said that it's nine AM so there's different patches of time right now you I won't be writing all that information because you leave something to the production value of the enemy. Just because this is a screenplay doesn't necessarily mean that people going to stick to it 100%. The director of the show might have his own ideas and make changes. And when it gets into the storyboard, um, aspect of it they your scenes might not, ah, makes sense visually. So you don't have to write every single detail in your script because it's not likely that it's actually gonna be, um, used. And since this is the first draft, um, more than likely there will be lots of revisions before it actually goes into production. So that's another thing to take into consideration. Right now we're just thinking of ideas and where writing a script, our sorry, a screenplay. And from here on in, I'm sure they'll be other revisions, and we can add and take away and change details or add a little bit more information or even dialogue. So are seen. Three. Um, we're interior again and we're still inside among the shop. By this time, we could put among the shop as our location, but we'll just keep it as inside among the shop right now, and it's late afternoon. So what do we want to character to be doing? Um, let's ah, let's introduce a new character. Ah, customer right now. So we all, um, put customer walks into with shop. Now you want to describe this customer because you don't want it to be like a gray blob and , ah, nameless or faceless character? It might be a great blob if that's what your character is, but you want to give some description after characters are interacting with each other and , um, Dr interacting with the environment, you wanna give information of what's happening in the scene. So customer walks into the shop and we'll describe the customer. Um, let's say it's ah, it's Ah, a young woman. Um, right now I don't have a name for so her name right now. His young woman in the scripts in the screenplay, um, describe her. Ah, let's say she's wearing a business. Suits, um, flat shoes, her hair if in the bun with her bangs. Yeah, flowing in the air Sounds a bit weird, but it's, ah, a description of the woman. Uh, let's ah, make sure that we know that she's, um, I'd say she's in her mid twenties and she's wearing a business suit with flat shoes. Her hair is in a bun with the bangs flowing in the air. So she walks into the shop and then two of the shopkeeper or something to say so his name A shop owner, and he'll say, Hello. Welcome to a little monkish up in Tokyo now. Ah, since he's speaking, you don't really need to put any quotes. It should be, Ah, you to recognize that he is speaking causes now dialogue. And I don't think you would mistake this for dialogue. But if you dio you can give indications of is speaking, you can also put down that he is happy when he seen this line. Um, you don't need to capitalize this if you don't want to. But you know that he's happy because he has a customer now in a shop, and he's greeting the customer. Hello. Welcome to Little Monkey Shop in Tokyo, And then we can give from dialogues of young woman that she says, Good afternoon. Do you have? Ah, the new um not And it's like her. Also happy. So now for seeing three, we have Scene three interior. We're inside the manga shops. That's our location. It's late afternoon. That is a time of a customer wall since a shop, which is the action that's happening in the scene. We introduced a new person, so we have to describe them. We have a name for the character. We would put the character's name here right now. Her name is young woman, and then we give her description. So she's in her mid twenties. She's wearing a business suit and she has a flat shoes on. Hair is in a bun with the bangs flowing in the air. 6. Writing A Screenplay part02: so it gives. Have at least had something to dio. Yes, there little movements. Ah, and we can tell that she's in motion. If Harris flowing in the air, it's not that she's is standing around and the hair is flowing in the air, even though it might seem that's what it says literally. But we're dealing with real world physics, I guess right now, and, uh, maybe her hair is falling in the air. It all depends on what you want. So are shop owner will state the person saying, Once again, I'm we'll give them a, uh the way they feel or the way the voice sounds. So he sounds happy. So, you know, when he says hello. Welcome to the little among the shop in Tokyo. He's upbeat, but if he was sad, he would sound like Hello, Welcome to Little Monk ish up in Tokyo. Yeah, he's a little more down there, but right now we want to keep him a little happy, since there's such Ah, other destruction and ah, qualms that people have right now in ah, in our little idea right now for Mangano String, it's not a happy place in the Tokyo time in this Ah, in the show. But, you know, people are still trying to stay happy in such a time of, ah, of destruction and trying to keep up beat. So we once again move on and we state the other person in the scene, which is a young woman, and she's also happy. And she, uh, greets back to the shop on her and she says, Good afternoon. Do you have the new Noto? She's also happy. So that would end that first, um, third, uh, cut and we'll move on to our fourth cut or seen. And if you're not familiar, cut means any time you change the camera angle. So if I have a camera pointing at me at my face and I'm saying hello good afternoon. And if I cut too, uh, a different shot, that would be a different scene. So right now we can ah read through our Mangano string scripted we have thus far. So first shot we have is exterior Tokyo. So we give a location that's an establishing shot. Might have a big pan coming down to the street and focusing on the shop owner showing all the destruction of Ah, are fictional Tokyo and focusing on this one only older gentleman walking down the road and ah, it's morning time. Well, describe the shop owner and if you had a name right now, his name will go here. He's in his late sixties. He's, Ah, funder build man. He has black thinning hair. Ah, hunchback, Settle. He constantly seems like he's Ah, down or sad or depressed or just could be at life has been kind of tough. And even though he's in the sixties, which isn't that old, he's still. Life has been a little hard, and he walks around of the Hunchback all day. Um, he's wearing modern day flax with a button down shirt. That's ah, what he's wearing. So we need him to wear something or else. Ah, it just might seem weird. So we just state right now what he's wearing and, uh, give the character some personality through his clothes and threw his hunchback. And it's thinning hair and continuing with the first shot shop owner walks over to ah, locked up a little Munger shop, and that's the action in the scene. Our got to or seen, too. We're inside now, so using interior. He's inside among a shop, which is the location, and morning is the time of day. And then we give Ah description of what's happening in the scene. The shop owner is waiting at the counter for customers. We assume this because he's inside Russia. Operatives working there is behind the counter, and that's what you wait for. One year working out of stores were waiting for customers, and we give him in action. So he's not just, Ah, stiff board at the counter while listening to succeed music. We'll have something playing in the background. He's tapping a pen on the counter to the music, so he's in beat. It might be a little fast for sixties music, but you know, he's listening to ah, no do up band, playing some songs, some old rock n roll or some, uh, on a beatnik music. It's all depends on what the character might be listening Teoh, and he's yawning, Oh, looking bored at the counter. So we give him a secondary action so we know how he's feeling without having saying the words our shop owner fuels down for our third the scene since the camera chains and we're moving forward in time where interior were still inside the shop. So we're inside among the shop, our location, and it's late afternoon, so time has passed. Ah, like I said earlier, that might be a clock on the wall that shows the time passing. It also changed the lighting situation, too. Maybe, Ah, earlier, the interior lights off and his bright outside, and he could see out through the window. And now it's getting later. So the inside lights are turned on and there's Ah, the outside. It's Docker, or even, um the shadows that are casted on the products have changed. It's moves since the sun has moved and created a difference shadow. So our, um, set for the shot is a customer walks into the shop, so we give something happening inside of the shop. The person is a young woman in her mid twenties. She's wearing a business suit with flat shoes. Her hair's in a bun with bangs flowing in the air. We give them some dialogue, so the shop owner says, Hello, welcome to Little Munger shop in Tokyo, and he's happy. So he also state that he's happy, so we can ah give clue to how he's feeling are at least pretending to feel at this moment in time. And we could also give this instruction so and voice actors come along. They can be happy when they talk upwards inflections, uh, or you could leave this out or it might be revised later or might just peace. Strict fun. The whole screenplay. I can't tell the future, but right now this is what we're doing. So then we have a young woman again, and she's also happy. And she asks this shop, Keep good afternoon. Do you have the new Rudo? That should say Nunu, Rudo or latest? I knew it out. So we have a good afternoon. Do you have the latest new widow upwards inflection a question and we can cut. Some are seen for. We're still inside the shop and we're still continuing the dialogue. So a shop owner unfortunately has to tell our customer, um, that there's no new manga happening or being received, So he becomes sad and you hear it in his voice and he says, I'm sorry, ma'am. There is no new Munger for sale. So then we give him something to say. We give her an action. See that young woman puts her head down and starts walking towards the door. Oh, tweets ahead down turns around and starts walking towards the door. We might get first and dialogue so she is not rude and will state that, he says Thank you for your time and what Everywhere for new Munger and in the same shot, we could have her exit out the door. So far seen for we have interior. She's inside the monkey shop. It's late afternoon shop owner. It's sad when he replies to the woman that just accident. Good afternoon. Do you have the latest Noda? So the shop owner is sad and he replies, I'm sorry, ma'am. There is no new Mongol for sale, and we look over to the woman if she's not in the same shot, and she's puts her head down, turns around and starts walking towards the door As she's walking, a young woman says, Thank you for your time. I looked everywhere for new monger, and she might also be sad, and we continue the action. Young woman exits the store slowly, So earlier in my description video for this, I stated that will be writing in a block for men. I mean, my block format is this. So if we are writing ah, a regular screenplay for Let's say, live action movie or live action TV show everything would be, um, centred, be justified to the left, and our dialogue would be censored. A better example would be the shot with dialogue. So if we were doing this, be justified to the left. A lot of descriptions, all our actions in the shows, our dialogue would be in the sensor, and our script would be long did. And it would be not really much harder to read, but to simplify it and to cut down space and having to format the whole, uh, scripts every time we're right, dialogue or actions, or we put our character and different scenes in different locations. Uh, we don't have to do that. We just put it in a block format, and we could save time and space and still understand that this is our our location. We're inside or outside our number of the scene. Or cotton where where we, uh we want to be And ah, I'm sorry. A the following number of ours were seen. We have to keep it in order so we know where we're at. Ah, with the screenplay, we'll give them a time of day a location and we'll tell them inside or outside interior exterior. We'll keep our dialogue in a block format and we'll keep our actions in a block for men as well. And we can all you can. Ah, will's justify its to the left. So it looks something like this. And I was writing in the center so everyone can see the screen and it won't be that confusing when I was writing and you're watching me type So, uh, right now, well, and this part of the lesson And I hope you understand what I mean by block for men. And I hope you want to send a little bit more of screenplay writing, and we'll go all the way through every single scene, every location, every costume change and put them inside of a script. But, uh, that script will call a screenplay because, uh, this is going onto. The screen is being produced, and a script would be ah, similar. But script would be more for a live action script, which would then turn into a screenplay, and then that is what they're used during production. But since we're doing production on animation, he's block formatting, and we call it a screenplay. So thank you and, ah, I'll be back for rapid video. And I I hope I wasn't too much of a mess and help you learn something new. Thanks. So Ah, that's pretty much what screenplays are. Um, they are scripts. They're just made for the screen. And the script is usually used for, ah, a dialogue recording. So, um, there's lots of things that go into screenplays. What you want to ah state also in screenplays is, ah, any background dialogue that might be going on an animated. There's lots of overlapping audio, meaning that there's a character talking and then in the background is other people talking as well. If it's relevance to seeing or if it's just like if it's muttering that you don't really need to put that into the scripts into the screenplay, I'm sorry, but, um, that's ah, that's the way that we right block, uh, screenplays and block meaning the format of the screenplay, and that's pretty much it. So thank you for? Ah, for watching. And ah, I hope you learned something in this class and Ah, try it out. Try start writing a screenplay for ah, for your synopsis that you wrote in the last class. And I'll see you in the next class, which should be, ah, design. And we'll start drawing and we'll start coming with characters and doing props and, uh, some images for, uh, environments and stuff like that. Okay, Want? It's a joining me and Alice, you said. 7. Drawing Warm up: everyone. Did you send me a quick listen, I'm not sketchbook pro six, and I'm gonna pee my background like grain. It's a little blue grey, but a little too good luck. My great layer, it's not. A new layer can use a blue color to draw with. Gonna make straight lines and circles. It's a warm up six senses didn't like. Start with two exes and draw a line between them. Number three exes and arcs trying to hit each X as a tool marks. And when they continue to try drove circles, big circles and small circles one in some of the other, if it can now, little struggles and medium sense trickles and bigger circles more lines trying to keep the separation between each line even, and that one to go the other way like cross hatching. Same thing. Keeping lines at the same distance. That's it. That's your have a do. Drawing warm ups 8. Design 01 part01: time. So, uh, welcome, Santamaria Productions and ah, this class unit is on design. There's so much to do with the design. Um, you have character design, you have prop designs. You start designing your backgrounds. Um, so when you get Sue your storyboards, the storyboard artist has something to reference off of that necessarily reproduce or put in the storyboards. But if there's an establishing shot, he or she knows exactly what the image for the background she looked like the background plane. So there's lots of consider when you're thinking about designing. Uh, you wanna think about the character and the environment? You want to think about how the environment it affects the character. That's the right word. Um, you have to think of the character treats of either this the city and the character, the human character or the animal character or the mythological character that you've creating. They have to have specifics, just treats for each and every one of them. I mean, if they're twins, uh, or doppelganger, sure they will share. You know similar traits, right? If you're doing a character like, Ah, Sailor Moon Soggy, she has specific traits. You know, she's always late. She's, ah, kind of whining. She at first didn't not to use their powers. 12. Um, she is sometimes second guessing herself. Um, there's lots of different traits that you can give a character that makes them in an individual. So that's things you want to think about. When you think about these things, you want to write them down. He just don't want to internalize them or assume that you'll remember everything about this character just by looking at them. You might come up with ideas that are brilliance, but you let them pass you. I forgot about them. They floated away. They can might not be as great as, ah, they are when you remember them. But if you rent it down before you have that reference so you're not second guessing yourself and you're not trying to remember. Oh, it was. This character is supposed to be doing our whether they react to things you also onto right down that they're proactive, um, in their story line. Or are they reactive? Meaning proactive meaning they take charge. They they do things that make things happen or reactive is that they react to the situation . Um, you might wanna Google. What does Ah, reactive, mean And proactiv Just so you can get a better understanding of these terms If you don't, I know what they mean. Uh, this In Japan, they put down blood types that supposedly determines different characters personalities. Some, uh, creators. They put down there that deep the birthdate there, their birth signs. They state, you know, hair color and what not, but they don't start coloring just yet. In the design stage design stage, you just wanna get down the image. You want to maybe get down the personality you want to start doing. Um, model sheets for the character. Once you solidified with the Countess should look like you want to give them an expression sheet, which is different facial expressions from different angles on a sheet of paper or a one sheet, which is just one single sheet. You do multiple of them, but you want to start off of just the one sheet with different faces and different expressions of the character. So and it goes to animation and storyboard. They know how the character should look at different angles in a certain expression, or how they look when they're feeling a certain way, so every character might look different every time you designed them. Um, one thing you might want to keep in mind when you're designing or if you're getting into the animation stage is in when we need using a mirror. Ah, try not, Teoh. Draw yourself. You wanna look at the expression or look the pose of your own body in the mirror, but you don't wanna draw yourself. I know that sounds kind of logical and what not? But when you join, let's say your hand. You don't want to draw this hand. You wanna joya characters hand, but using the position of the hand, just you can get down the angle or the perspective of the character. You don't want to draw this hand that you want to draw your catches hand using this pose so you're basically rotoscoping or tracing over the position pose of the hand, but not the hand itself. So when we're designing, remember that we're standing on the shoulders of gods, and what that means is there's been so many people came before us, um, in Japanese animation. I believe they started in, like the 19 tens and 19 twenties. So it's, Ah, almost a good 100 years of animation that they've been creating. And ah, you know, Astro boy's creators. That's a guy. He he's been around for a long time, and he's basically the father off Anna Mae. Um, you might want to look into other creators. I'm I love the old school I'm into, ah, going to guys I'm into The rent arose. Katsuhito took, uh, uh told Mom, um, there's, you know, there's Miyazaki's of the world. I'm I love the old school, but there's so many new designers out there, And, uh, there's so much information online that you can reference off of And don't think that referencing O R. Even copying is, ah, thing that amateurs professionals do it all the time. You don't know how to draw everything, so just because you could see it in your brain doesn't necessarily mean you could get it onto paper the way it should be. So, using reference of animals of other enemy characters of weapons, of cars, of environments, off photographs don't think of it as cheating. There's no cheating and art. You adapt toe what you are needing, Uh, so don't think that you're cheating yourself or whatnot because unless you're architect, even architects, they do, ah, use reference because they analyze nature. They analyze objects and they implement those into architecture so everyone does it. If you're an artist, you reference one thing, another in your lifetime, and it's not cheating if you're stealing, that's different story, but we don't try. We try not to steal. We tried to be influenced and take elements from what we like and what we don't like. I think that's the best way to be an artist, especially in animation, because it's such a huge production, even on small scale. If you want to do it right, it's a huge production. Um, so we are standing on the shoulders of gods. Since there's been countless designers and animators before us, we wanna learn from them. We want toe, even copy them, but we want to move above them as well, if we can. So if we're standing on the show of Giants, we are trying to reach a higher put so and learn from what they know and elaborate on that and make it our own. So there's lots of copycats out there that, um especially from my Chinese animation that they would take movies like, uh, five ah, centimeters to show the enemy is called and they've taken five centimeters and basically wrote a scope, the whole movie and call it something else and did a different dub on it. I will try to find out information for you, but right now I'll show you a bunch of characters that I found online, Um, on this Japanese website that were comparing one original character to a character of a different enemy both an anime, uh, you know, States. But Dave, this person that I'm not so sure they are There were just some fan in Japan and they realized that there so many, um, similarities and street up copies of anime characters. That's right Now show you that image. I'll try to school to it, roll slowly for you, and you can see exactly what I'm talking about. Well, when I cut this out right here, Okay, so as you saw, there's so many different enemy characters that have similarities of each other or David are just straight up copies of them put in different color schemes or maybe different clothing. So right now we're gonna get into designing, um, going Teoh, start a screen chant Capture of me drawing on mice and seek. I'll show you the tools that I'm using right now. They're not really elaborate. Do not expensive. Um, in one aspect of them, I guess, did not. New technology. Ah, the new technology means right now is my macintosh that I'm recording this on. And I have ah, 15 x antique, Um, that I purchased off eBay a couple years old, and it seems to do the job well in this office, um, you know, work on the largest antiques, but this is one that they use here. It's was maybe $300 on eBay while ago. Um, I'm sure you could find it complete on eBay for maybe the same price or even less. Ah, the one that I'm using. Now. I had to final apart for it on eBay. I had to find the stylist, and I also had to find the USB plug because they don't seem to make them anymore. But luckily, I was ableto find one online, and I also purchased a D. V. I. Cable from eBay actually bought the TV cable from Wake um dot com. And it was like the last one. So last one compatible with this, uh, products that I found. I don't know if they restocked by now, but the tools aren't what matters. Marriages you get the work done matters is that you come up with characters that suit your need. Try to make them simple. But yet, uh, nice looking to the I and will start with drawing and designing some props, characters and hopefully, some environments if we can get to it. All right, stay tuned. So I hope you know how to draw. At least we don't know how to draw. You couldn't just follow along. Uh, watching the video right now, where I'm going to be drawing in is in sketchbook pro six. With the new version out, I just haven't purchase it yet for my company. But right now I'm just using a sketchbook pro six. What I have in front of me on my screen is a layout sheet template I got from Asia. And I've been talking about Raja from time to time, and I get a lot of information from them. I get, um, templates and lots of anime industry news from them. So this is a template that they, uh, that they have on their website. It's ah, 16 by nine. And it's a standard hi death template for your layouts. So this is a layout template, and the reason I'm using this is because, um, I don't know, looks neat. It gives me a frame already. So when you're drawing, you should always give yourself a frame. Not necessarily just for ah, having frame for frame steak, but it beats just having a pure white background or gray background. And you're just looking at this blank screen and you're you might be a little intimidated. Like, where do I put my character? How tall they supposed to be, You know, you know, know where exactly? It's a ground, you know, anything cause you're dealing with a blank frame. Yeah, a blank piece of paper. Basically. So what I dio is I use a frame, and I, uh I use it, so I'm not lost, and I'm not staring at a blank screen. Uh, you can turn off all these layers if you want to. I added in the time, and he's underlining, uh, lines here. I also added in the cut number. So this is a cut number over here. I added in because ah, I needed to know what cut this is from. And I added in the frame number so you can delete that if you want to couldn't turn it off the layer, you could turn on the layer. It really doesn't matter. It's ah all depends on how you work or like how your studio works. I do it because I just need to know what my cut number is, what my frame is and the time of the whole cut itself. So when I passes it along to an animator, they'll know all the information without having to dig through folder or an email or whatever other communication. You have it right here, right on the screen. And then from there they could use They're animation paper along with this layout to animate the cut. So right now have a blank piece of paper and I'm going to choose a light blue. So it's kind of like a holy race blue animation pencil, and we'll just start. I'm going to start thinking about my, uh, my manga store owner. He's ah, in the sixties. Balding. He's a hunchback. He's another gentleman. Ah, I'm not looking for rial accuracy at the moment or proportions. I'm just looking for ideas. How this older gentleman might look two slain down, some baselines, the character design. I can almost guarantee that it will be changed lots of times before it actually lands on Ah , production. I guess a production value like, um, how would you say, uh, a production model sheets? Because is just like screenplays. There's lots of divisions. I go into characters because you discover any things as you drawing. And if you have ah, a director and producer, they might not like what you're drawing. So I'm sure there will be changes in a in your character designs right now. I'm just thinking about character, you know, he's old, he has a hunchback. Um, he was wearing a button down shirt. So the style of the CAFTA you want to start thinking about now when you're designing it? Is it, um, Miyazaki looking character? Does it look like it just jumped off the pages of one of his films? Our Studio Ghibli, I should say, is ah is your character from a different universe the character belong in a going the guy movie or does he? Ah, Or is he just like a character in Trinity Blood or Shin Chan? It all depends on the overall look you're going for right now. I'm just joy an old person, unnecessarily in any real style, just trying to figure out what does older man might look like. And I'm not thinking about color. I'm not thinking about anything like that right now. I just want to get down the character design. And this isn't very, ah, enemy looking. If that's even a thing, I'm just joy and older gentleman with a cane. Now description of him fits you. Then older male in his sixties. We're in colored sure and slacks, and he has a hunchback. So I more than likely wouldn't use a character that looks like this. Ah, these little I don't know, little cartoony looking. I'd probably go for something more a little bit more realistic if I was doing this as a production. I don't really at love, cartoony. There's a time and place for it, but this is based on a a real person. You know, the names of our chains, but I, uh I just needed to get down an idea of of an older gentleman so well, spending to decide. And I was at another layer and lock this one. So I don't drawl over it and keep thinking about this. So maybe he's and originally he was tall. Now here's a slender man, but maybe ah, maybe he might be a cheapie. Maybe he might be only like three heads big. I am a giant had find the center, and maybe you give him some rather cheeks like a If you ever watch it going, the guy show captain always has around the cheeks a big nose for few mustache might have a mouth, and they're more than likely he wouldn't Going a guy. You see, the have characters of really big, bulging, animate looking eyes. Harry Eyebrows big years because he's, ah, older gentleman, big old pupils. And since his hair is thinning, maybe he might just have hair me out aside like Gargamel from this Merce Um let's give him island. Maybe he has a little pot belly in this church, like not really tucked in very well as little cheapie arms. Maybe is ah, shirts. It sure does short sleeved instead of a long sleeve have much of a neck. But we could indicate that it's, Ah, college shirt from little fed arms, little rounded hands. To me, this is a little bit more appealing. Even that's super cartoony. But it it gives Ah more of the look that I was thinking off. Even now he's it's quite small, but no, you never know. He might be. Ah, firecracker might be. You might not take any junk from people. Remember he, uh, he lived through Ah, the bombing of Hiroshima or Nagasaki in World War Two or something. It might make him a little older, but maybe that's him right there. Maybe he's Ah, he just loves Munger. So there's stark difference. Both older gentlemen. They both have number all the gentlemen. They both my Penis sixties made a little older. Both weigh in college shirts and slacks. Hunchback. Maybe you take that out. Slender. You're not so much, but the design is there and it's a little bit more appealing. Then this might be, but we can keep going. We're trying to figure out the design of these character. Not so much, not so much uh, following our guidelines, our text guidelines. But we're working through trying to figure out a look for the show. Um, look, look for the show character personalities. Maybe he's ah. 9. Design 01 part02: still another older man, but maybe he Ah, he wears big glasses and the giant nose glasses. You know, Bt people's joys here and there it starts looking like a Simpsons character. All of a sudden, give him some bushy eyebrows. You look full crazy right now. We'll deal with that alternately over it now wrinkles in his face If my a big moustache round out his head, maybe he has shining this head. Do some liver spots. Maybe he is slender or your college shirts. These are all very cartooning right now. You could make them. Ah, an old samurai looking man you could make him. You can make him look like he's, Ah, 20. But in reality, he's 60. Like Quagmire is on Family Guy. It all depends on what you want to do with your characters. There's no set rules. You could borrow elements from other anime characters, which often designers dio you could make characters any way you want. Give him two spenders to make on anyway. Your heart desires is the yard is and no one to tell you how to do your own designs. Unless, of course, you're working for someone. Here's three designs world 3.5 designed of older men. The very cartoony. Yes, um, if I sat here and I drew a photo realistic man, it might take a lot lot longer. I'm just trying to get Teoh Point across to you that when you doing character design, it's your call. Like of course, unless like I said, you're working for a studio. But otherwise it's your call on how your character should look. If you're doing Ah, your own production, you are in charge. People like you drawings. It's fine. Not everyone out there's gonna be your fan. It's unfortunate, but everyone has an opinion. Everyone's internal to it as well. But no one can tell you how to do your art. I can't tell you how to do your heart. You only do stick figures. Do you stick figures You wanna do high art to high art? You wanna design anywhere you want to any way you want to Pardon? No one can tell you what to dio. How does that you work? You only allow people to influence you. You're in charge of your own happiness and designing for me They form of happiness Try to draw every day if I can. If I'm not busy with other business of the day are planning out. Other, uh, shows are movies or documentaries. It all depends on what you want is him how you want your world. So look, you're doing enemy you're creating on the world. It's all about you, is your vision It's your creation. Can't spend time thinking about others and their opinions, cause in the end they don't have to do the work. You're the one who's gonna have to do the work. You're the one who is in it to find financing for your films if you, ah, don't have a partner to do so it all depends on you and your vision and your happiness. So this is, Ah, just a quick half hour drawing lesson of, ah, different styles of characters. There's something different ways you can go and you can even push even further, and you can make characters more realistic. There's no end to it. Just figure out your own style or what style you want. Your character, your characters look like keep drawing, keep creating enemy. It's nothing but creating constantly draw. Find the time to draw. Try not to make excuses. If you don't feel like try to overcome it, just keep trying and you'll find your character. They're pointing times when your character we'll just start leaping off the page and talking to you. You'll start ah telling you who they are. Sounds crazy. But some characters just ah, seem to have a voice of their own and have their own personalities, and they live on your screen or on your piece of paper. But to me, uh, lots of characters are live and those that's not talking to you listen to them. Some of them, uh, seem like they our breathing and have their own voice. Just ah, keep at it. Don't don't give up on yourself because there's no one out there who is going to do the work for you. You could unless you're hiring somebody. But in that sense, then it's not really a work you're like, uh, you, like Stanley doesn't draw you just, he writes. He's an Arthur. It's an author, and if you want to be an artist, you have to do the work, can get guidelines from authors. Producers tell you how they want certain things to look But you're gonna have to come up with these ideas and execute and execute them. So you know, multiple characters now. Same description, different styles. Any one of these right now can we come? My mom on the string shop owner, they can all exist its customers for patrons of the shop in one form or another that could be on posters or they could be singing a song. All depends on your style. Well, the style you want your show to be in This is the beginning of designing. I'm nowhere in the air finished with this type of stuff. I'm sorry with these characters. I'm just working through different styles and there's hundreds of more styles out there that you can adapt. But these air just ah, wanted to stop in my head. Stream of consciousness. These are the type of ah drawings I'm doing. I'm some of them. I'm not really feeling like Pat one or the Futurama looking character, but all three of these right now I think that Ah, that potential depending on the art art design look aesthetic that I'm going for with manga on a string, this one might be a little bit too realistic, even though I haven't gone all the way into detail and his body's kind of junky. But you might believe it. Too realistic. Maybe if it was a manga and didn't have to animate him. Uh, maybe that would be fine. Number two is nice. Well, it's It's more of an enemy looking character, kind of shocked and surprised. So I don't I don't know about that one. Seems a little a little scared of the world. Maybe he's seen too much experience too much, and his hairline is kind of also junkie. But number one I really like, it's Ah, it's like going a guy type of character. I'm his body. It's all still and in planning stages still is working to the design, but he looks like to type of atom, a character that I enjoy looking at. If they're in all of the gentleman like Grandpa and run my 1/2 on a small she be looking kind of older person, not to the spirit. Lots of ah, knowledge. Um, yes. So that's lesson one. Just figuring out your idea. Figure out your character designs. You should have provocative idea of what they should look like, you know, give him an age. You have something aware. Even though you are probably going to change, they're outfit, um, in time or maybe even during up. So they have different clothing on Lots of anime have different design clothing costumes for their characters. But give yourself an idea. You give them an age, give him a sex after robot. You know what kind of robot of the giant mecca are they like, uh, a squid mecha or like a pen mecca? I don't know. Um, just start with an idea started for the written word. Make sure you, ah, have something that you can animate or create a character, too. Regulator on animates and keep him kind of simple. Don't give him too many lines, cause if you dio, it's a disaster to animate. It works well in manga. But if you're drawing a character thousands of times, you're hard pressed into it accurately all the time with speed and enjoy animating after you've joined them a couple of times. And you just you realize that you have 90 more frames to do for just one cuts, so keep it simple. Keep it loose for right now. just think about design. Think about what the character should look like. Give him some text, human personality right down those personalities and start designing. And I'll return for a more in that character design. Join course. All right. Thank you. So we started thinking about design. It was a quick lesson. Um, I just wanted Teoh start thinking about what the character and what the world, Uh, that the characters and might be like and you might not think about it. But the world that you create characters you create, they should master of each other, they shouldn't be. Ah, Jack's opposing each other too much. You see it in all different animate from space dandy to, uh, Shin Chan, the world's and the characters they have usually the same type of quality to one like in Chin Chan, with the less lines the characters seem toe fit with the backgrounds and space dandy there's more detailed is, um, bigger sets to the character. Dandy himself is larger than life. Um, lots of things. You want to start thinking about sergeant research? Um, if you can't think of anybody to draw as your characters. Ah, look towards your friends. or your family members are you and yourself. Put yourself in that in that character role. Um, doesn't matter if you want to create a woman or child. Ah, little girl. Little boy, A dog, uh, bear. There's ah, lots of lots of different types of characters you can create for your character or your characters. It's your world. You do what you want to and just make. It is good as you can and try to make it the characters matching quality. For instance, if you ever seen the Jackie Chan cartoon, all the characters shared similar blocked faces or if they were a child, had the giant head and the big guys and ah, the background were kind of flat and washed out. So just keep the quality of each character the same. But design can be totally off the wall. If you wanted Teoh, take Rama 1/2 Uh, Mom, I himself changes from a guy to a girl and go to a guy, depending on the type of water he gets hit with how to cold, and his father also changes. So his father's human, and he also changes into a giant panda bear. So it all depends on your likes and what your stories about. Just keep the character designed look consistent? Not necessarily the characters looking the same, if that makes any sense. So at this moment, if we were in Animate Studio, we're doing design. But there's a second job going on right now of a production assistant. The assistant will be creating boards in, uh, like little boards you see, like on the wall back there, like real pushpins. Color charts still start creating in college heart putting posted on the wall. All right, writing down what stage of production Everyone's in on whatever episode that working on they're color coded. Guess the color would be specific to each company. I guess each production assistant might use different colors, or the producer and director want them to use a certain color. It all depends on them, um, as well as creating sheets of the same type of graph or bored inside of Excel so they can digitally no, where everyone's at, and if producer needs to see it in his email, it can be emailed to them, and that can also be changed on the fly, easier than might have posted run into a wall, putting a piece of paper on it. But that's a job that's going on right now. And as each A each stage gets done or progresses, someone from the staff will come over to the board and neither fill it in with a pencil or a marker and show the progression of each stage of the production itself. So right now we're still in design. There's a lot more to go over. Um, next lesson will be, Ah, we'll have more drawing in its just right now. Go back. Either watch the video again or start thinking about your character three characters that you want to create. I used the synopsis idea among on a string, so creating my character just for I have something that I, uh, something solid that I could start creating off of it, not just looking at a blank screen or frame on a screen and thinking, but where do I go now? So always start the written word. Give the characters and traits and, ah, I'll post some information at the end of this video about different type of characters, and I'll show you some images, but you can go on Google and search for enemy character designs or Pinterest in your fine seems like an unlimited number of different designs and different types of characters, so keep your character design overall consistent. But each character can be very, very different, from a squid monster to a panda bear to a koala to a talking car like speed buggy are anything. Just keep the art style consistent, but the characters can be as different as you want them to be. It's your world, you creating it, thank you and come back for a next class. 10. Design 02 part01: everybody. Uh, welcome back. We're still talking about design right now. When I try to make this drawing lesson quick, I hope you spend more time on it. And I hope you get a better idea of what a character design is. Um, time of design for characters as well as props as well as backgrounds, um, backgrounds, more towards, ah, layout stage. But it all depends on how your studio works. So characters you concert online could Google anime character designs, and you'll come up with lots of character sheets. You'll come up with lots of images that you can be inspired by or just see how they are laid out on the page themselves. There's not much composition that goes into character design, that's all for layout and storyboards and, of course, the animation. So we're gonna jump into drawing on the screen and I'll switch over and I'll see you soon. Hi, everybody. Welcome back. I'm I just want to show you how big my canvases in sketchbook Pro six. I have my wif 13 inches and my height at 10 inches. My resolution at 300. The reason I have it like this because I were sometimes take my drawings, My layouts. If I created story sketchbook pro, and I would print them out onto 12 F paper, 12 field, paper size. So that's the reason why I have my canvas so big, because when I print out the size, it prints out the exact size of my drawing onto the 12 F paper. If you don't know what 12 F paper is its animation paper, I use Acme punched paper. It's, uh, paper. So much wanted. I showed you in the layout the layout file that we did in the early lesson and the earlier lesson. Sorry. So that's, uh, what acting paper is. It's, ah to up long pegs with a circular peg in the middle. You can keep your registration and keep all your papers in line more or less so right now, looking at this must be sure if this is exact size, so I'm gonna click it New filing. Yeah, that's that might be the same. Okay, so right now, what do you want to do is you want to call your your background a great color. The reason we used Ray when we drawing is because White is to sue bright, too harsh on our eyes gets us fatigued really fast. And that's why we don't use white. Especially we don't use super white, which is, uh, extra light. Um, in sketchbook pro six, we have Coptic colors which are akin to the real Coptic markers and Coptic pens. They don't have super white here they have. Ah, double Israel Cool whites in a zero gray. I'm sorry. Cool. Great number, Double zero and the cool, Great number zero. Those are super weight. But actually, I think they are supported. Uh, yeah, you can see it, but that is super white right there. And this is the cool, great number double zero. It's not super weight, but it's a shell light, so you don't want to use that. We want to use a gray light gray. Sore eyes don't get fatigued while staring at the screen. That's why most design so authorities have great backgrounds, so you're one not distracted by bright colors and seal so you don't get fatigue really fast . That's why we have the gray on design software and we use a light gray so it doesn't master background. We don't get like mixed up where our campuses. So we want to choose, uh, a light blue can to a holy race. Kohli races a animation pencil. It's a is a design pencil also. And whenever we're working with layers, we wanna lock all our other layers. Except for the one that we are working on sitting when I lock your layers, we are drawing on that layer underneath uh, still talking about design. All right, so I just added Teoh two pictures on to my layers Onda, uh, when I show you about sizes of, uh, different, I guess, uh, typical enemy O r manga sizes Meaning like head sides is harmony heads for each, uh, certain size character. Sorry. Here's a an illustration I found this online I was on. I think he was like, It's your channel or something like that, which is a Japanese BBS. I'm not to show the origin of this image, but this is Ah, this is typical among the enemy sizes. You will see from, uh, that should be Or the child size to all the child. Yeah, ankle down on. And this last one looks like an Amazon, so I'm not too sure. Oh, what that's about. So the person who ever created this image. They were nice enough to put each set size. That's what these lines all right here. It's how many heads each character is, so that's ahead from the neck to under. The breast is ahead among the breast to her waist is ahead from a waste through upper thigh , etcetera, etcetera. That's how we measure different characters. So I just measure our characters. So these are the numbers for the head sizes of how many heads each character is. So if I superimposed a picture of what say Jennifer Lawrence, you can see that it's relatively accurate. Um, the elbows are cocked back and she's in a 3/4 stand here and a sense of gravity this year. A sense of gravity would be here, and where he was would be someone back there. So it's it's close. Examples might be a little off our Jennifer Lawrence's arms, my peas, longer in real life. But were you doing in cartoons here? So, Mr Generalistic drawings, uh, you don't need to be concerned 100% of the time with proportions, Even though you should know anatomy, I cannot stress that enough. You should learn anatomy Taking that any classes if you need to get on. Any books are going Pinterest on a fine images of enemy and animal, an enemy and, uh, not necessary copier trace, But learn from them because the animal kingdom doesn't really vary in size unless it's, ah, kind of a freak. It's I knew breed or something I don't know I'm talking about but learn anatomy. I'm not the greatest at an enemy, but I'm always trying to do something realistic. So we'll just start drawing a character. Two characters right now that I have for Monk on a string is, uh, the old shopkeeper not too sold on how he looks. It was, ah, real quick drawing in the first lesson, and in this lesson, I just wanna get through it quickly. Uh, you don't really wanna rush all the time, but you want to take your time when you're doing design. I'm not sure how long they have to design process because, uh, the design stage in enemy I'll try to find that information out for you, but I'm assuming it's really not that long. I don't think they take years to develop these characters and since, especially these of characters come from manga or all the illustrated books. Hey, are usually have a good base idea of what the character should look like. If you look at Sailor Moon longer, it's similar Teoh divisional animated, uh, Silliman television show. The new Some crystal, I think, might be a little bit more accurate to have a monger looked, so they already have an idea of what the characters that look like you right now might not have that reference since, uh, you creating your own your own story lines. But at the end of blast at the end of the last video, I showed you the comparison. It's a one did online of different anime characters and how they look almost like the cliffhangers to other characters who came before them. It's not likely Teoh have similar characters, then it that already exist. But, uh, yes, it's just keep designing and be inspired by others. Your standing on the shoulders, shoulders of giants and right now. And so I set out how many heads told all this character might be if I was going to use this chart. Uh, the character Alan draw with probably be here? I don't know. Ah, young woman. I guess so. She would be 7.5 feet tall. The reason I say half because for heels back here and that's usually where why determine how well they're gonna be is the ground. And this is not the ground, but piers that they're standing on there to be toes or they're wearing high heels. So this illustration title it's like it's happening. So 6.5 feet tall. I'm sorry. 6.5 heads toll. So I'm gonna draw. This is his character. And when he drawing, you don't want to draw too small because of enjoying this big. You can be hard pressed to make a decent size drawing, so when we blow it up, it's gonna be kind. Be very wonky. You don't want that. You don't want to draw super super small depending on your screen size. Are you paper size you want for your character within that paper size? But you don't want to draw really tiny nice to draw really tiny when I was under and I write really small. So So I got used to the habit of little things like I used to write really small, but he's is all right. Bigger? Yeah. So you want to draw relatively back so you can see what you drawing in as well as you want . Make sure that you can see your detail. I'm just gonna use this size comparison chart as reference. I don't really want Teoh a copy of the character. Did you use the size comparison of reference when I feel in my detail, I'm not sitting here fighting with myself and figure out what size of character is. And the first listening framing and the reason I did The gray I made the gray did this great background and framing is ah, program itself already has a frame. That's great. It's the dark agree behind this great of canvas. So this stock way back here is allowing me to have this great as a frame. So you do wanna start for frame when you join, so you're not super lost. You're not staying in a a blank screen entirely. You have a frame for reference, and I do sketchy Tampa drawings these days. I don't try to finish finish line work when I started, and if you don't know that means. I mean, I'm not trying toe do you like this and has a finished character right from the start. Um, I sketched draw. And then later on, I'll take that character. So lots of my sketches have lots of little lines, and it's just I'm trying to figure out where every line should be. I'm gonna go to clean up. I can pick out the line that I like. I want to make sense to me. I'm also not worried about color right now growing and blue right now because I'm drawing on S and T and friend gray on gray kind of gets lost sometimes. So that's why Oh, blue, you blew a lot when I'm animating as well the color blue And I really concerned about the health of this moment. I just want to find her shape You also want to be concerned about when you're designing is wait and proportions. So you don't want this middle calf to be down here. You want to keep everything roughly the same. I don't trying to get stuff on. Just get stuff on one part. If he needs it, start drawing lines So everything matters up our needs to be here. I have here a little half. Roughly there. So what? I mean, thank you. That's a friends. And this guy, the same size is that five or the size of this arm? It seems size of this forearm. You keep them the same size, So consistent. I think that looked lopsided. I'm not concerned right now with their pose. I'm just trying to get a A feel for the character. Just, uh, base size. Draw a circle from the top of her head to her waist that will determine where elbows are at. Because if you raise your arm above your head, your elbow should be aligned at the top of your head. If your arms are relatively, uh, even no. Right now that that's why I haven't This is telling that the way that I would design normally I would usually spend lots of time figuring out these characters before this video trying. Teoh trying kind of rushed through it. So I'm gonna start another layer and lock this layer, maybe even turn down the opacity. So all I have right now our shape is a base change. My color, something maybe it'll doctor and I start thinking about design right now, I'm not using any references. I would usually use at least costume reference if I could find something that I liked beforehand before I started designing. But right now, this is all this off the top of my head. I'm not too concerned. If there are closed right now, lots of my characters start off. Yeah, I knew because I think we all start off new and, uh and, you know, I want to give her relatively big eyes. It seems that sometimes love by drawing small canvas is only 50% right now. Has there drawing Really? Lewis wall? It was in a way in and start again. I want to give her, uh, pointy chin. But as I had copped a little to the side so much the person sitting so I can see both my screens as I'm recording this So she's make sure she's a stays in line, and, uh, you design your characters or you want design that transit, allow someone to dictate CEO Your characters should look, I'm not saying in the first video. Um, there's so many different styles and ways that character can look if you ever watch Shin Chan, for instance, sometimes a do you fantasy sequences? What is breaking Teoh cause I action scene on the characters become very, uh, roll it with their common book looking and it turned. Its superheroes are superheroes more or less, And, uh, it's like a fantasy sequence of right something instead of bringing them, but not me, and the way they usually look there. Limit lines and, um, very artistic design Chin Chin. But there's lots of ways to drug characters, characters and drama. 1/2 don't look like characters and Shin Chan characters that Shin Chan don't look like the the characters in like Red Line Over. Hey, you don't look like anything Machicura. So there's lots of different ways you can design, and it's all up to you to find that voice and to find out look of your characters. 11. Design 02 part02: Right now, I'm just freestyling and trying to figure out my own characters. So lots of, uh, lots of sketchy lines when I'm drawing up saying and I want her to have big eyes, give your super big eyes. And if you want to learn how to draw, I would suggest I mean, you chicken enemy classes or search online for how the draw anatomy. There's videos on YouTube that can help you out. Um, there's lots of information out there a lot more than I had when I was coming up when I was younger. So sculpture and find that information information is key knowledge is power. I would like to think that I have my own style and for this for this, Uh, listen, I'm not gonna indolent my own style 100% into this, but it's hard not to. If you're here, the one drawing and since is open at the top of my head, I'm not really not really sure why I'm going, but that's a part of design. You just start to run, see what you come up with, see what it works best, and eventually you will start to you'll start to revise your images. There's something suitable for animation goes too much detail. Is the pain in the butt Teoh anime, unless you've only like puppet animation, are drawing. She's a puppet animation or like skin with a scan. Imation, which is scanned images from a comic book and doing with emotion comic book motion animation with them joint too much details. It's a pain in the butt Sue Enemy, and I would suggest you just keep it simple. And this stage you can rush. If you wanted Teoh, just get your ideas out for demonstration purposes. Try not to rush too fast, which kind of seems like the opposite of what most people did. But since I'm talking and during that same time, it's kind of hard to buy thoughts together. What a multi testing. So I guess right now, taking it belongs look more for them still very sketchy, and these proportions are 10 of that style. She's kind of big. It's right now putting one of her arms down to her side so I can tell where my thighs. So you do want to keep the volume, but volume, I mean the size of each lend compared to it's other the other let. So let's say you have a left and right arm. You want to keep them proportion to each other. And at this stage of evolution, in the thinking, that much about proportions, it's all about design and not a finished image demonstration purposes. I don't want, you know, look at a really, really bad drawing, even though I should be, uh, I already have, uh, down there high proportions. She's civilly. Well, it's silly, symmetrical. Speaking about sanitary, I suggest that you don't use the symmetry toll in sketchbook Pro One year you're doing production designs. It just looks bad. So if you don't know what I'm talking about, I don't look like a demonstrated here. But this is a cemetery tool inside sketchbook, and I've seen people on deviant art a lot and Facebook. They use this symmetry to draw characters, and what's wrong with this tool is there's 20 going on, meaning. It's too perfect. You can only draw in the middle of canvas until you turn it off, of course, and drove you wanted. I guess it has its place in design, but I would suggest not to use it. It looks it doesn't look nice. Two balanced so I wouldn't just sea views Cemetery because stuff like that happens when you draw one way, it mirrors it on the other side. So if I ever amusing cemetery and it's turned down, of course. And if I draw her a year looking over there now we get this so I would have to turn it off and go back. And now it's just Harry walking. I don't like symmetry. I see like I said a lot leaving art. And at first glance, you know, the coloring might be on point, but the symmetry makes everything look, I know this looks kind of still, but that's my opinion. Just one rant I wanted to go on about. So now, since we have her proportions, um, I wanted So I think in my life design of her hair and a little bit of our costume. So what? I designed costumes over a blue live I like Teoh. Let's use right, because the contrast in color to the blue and hey, I haven't been myself much head room here so much, not just under layer. For now, it's a new character, so you can do it's straight multiple layers. Seeing character on it, you're saying base drawing so you could start doing multiple designs. Let's say clothing at once. Hairstyles. That's one thing you can do. I often do. It spends hide locals layers but also keep naming desires. So I know exactly what a layer is at first glance and sketchbook pro I would. Sometimes it's color it a certain color, so I know which layer is the text. In what group, since in this version there's no grouping or folders. That's certainly wake. It's all which layers are I need to be deleted, are unmarked or honey shown are hidden. When I got super final production, I guess you could say when I don't need them in a group. I know which ones are grouped together. So right now I'm going to start thinking about, uh, hair designs and what she, uh, that's correct. I might look like the description is a young woman. I had her here in a bun, but I'm not sold on that idea. Maybe she has a part. Will you be part spiky hair? And maybe this is a from jail. Let's, uh, differs and flood bangs big, flat bangs like I'm saying so much detail. You can throw your animators off and be lots and lots of work. And I have to figure out the enemy this bang if it's moving, even though when they animate a lot of times the hairs on a different layers someone, they animate, the face talking, they can move the hair on a different layers, and I have to do it. Traced back, which is a tracing of the layer underneath. Get one complete layer. I think that's a really ugly. So, yeah, I could only suggest that you go online and start doing research. It's not funny things that you like. Different characters are humans, and you will make them into your design. I like this lesson really short. I keep saying it, but it's it keeps going up. So let's three designs right there for their here, not the greatest. I would keep working at the, but I'm just trying to figure out what this character, who she is, and I would do the same for her costume. I don't think about her personality or his character might be, um, you know what she's doing on that day? What's, uh, she's going to school, she come home from work. Uh, there's lots of lots of things that determined what clothes you're wearing that day, just like the clothes that you're wearing today. Right now, it all depends on what your days like. How you feeling are where you going? Something for the characters. Some characters have multiple costumes. Okay, does have multiple constant. Just like you have multiple outfits. So this isn't really a design class for design Classic. That's when you really draw. If the need is there, I'll start a different class on skill sharing up to Jill ST in there. But right now I'm just showing you the different parts of the industry and each stage trying to make them relatively relatively brief. But it's hard when there's so many different stages and I wanna get the idea in your head about heat stage. I don't really have other videos, a reference off of unless there's YouTube videos out there. But there's a whole no copyright issue with that. You notice for education. I don't know if we want to go that route, or I'll just point to the videos and walks into yourself, but right now I'm just trying to figure out what's this character could be wearing. This looks like kind of a schoolgirl off it. Let's put this, uh, of a girl like a sayest other version of her. You were like, uh, punk rock look T shirt. Maybe it's flared at the bottom that cuts off. Maybe she's wearing, like, some latter shorts or something. Try to keep a minimalist idea when designing. If you think you can pull off animating something that's really complex, I would not ever be against something like that. But just, uh, be aware that it's not the easiest thing to Dio. - I'm just thinking about different designs right now. I'm still just trying to figure out what this character could be wearing. She wants him super convenient. Start now, have a description inside my screenplay. One of the revisions that say I went back and changed that, and I wanted her to be more like a baby. How did you go, girl? Something similar to that a punk rocker or an artist of some sort. So, yeah, we're feeling through all the different design options we have and, um, still just trying to figure out our character and this last one. I just wanted to maybe put her in the description of what I have her ends the screenplay that I wrote first on business attire. Maybe this summer time. So she's worried like a short sleeve. Remember, these are your your own characters when you're designing them. Once you get paid to do a certain job, don't let people dictate to you. Your own designs should look. Dickie V is awesome or a scrupulous financing. Welcome to it. If this is four year old, I want to get paid to do a certain job. You follow their guidelines. But if you're doing it for yourself, yes, creative as you want to be and you any artistic design you want to as well. It looked like a possible where they look like a Disney movie. Or did you just be Stickley years? Go on to YouTube and find the stick figure animation. We only know drugs two years, and we should all start off from stick figures. Not a bad thing when we're doing animation were not completely drawing every detail of a character. We're not taking it up doing all that stuff. We're just working through what our characters how this enemy we're working to. I'm sorry. We're working to each frame of animation and we're not really concerned. Too much detail. I first pass second pass. You might end up a little more first and second past meaning that you dio one pass of drawings that are, you know, goodly lines. That doesn't look right. Sorry. Yeah, Just a first pass could just be like squiggly lines. So you're following you a lot of action contouring actions and then say the second pass would you start having more details to them? We go all the way to the whole animation process and keep adding detail after you, too. All over frames go back and even more detail possibly start tying things down now. I mean, Japan, they depending on the animator. They my starts lying down really early because there's no time do all this. But in real animation, like in the West, this is how animation is done. Sorry, but that's not so clear. But right now we're talking about design and I'll get to drying it, get to animation in time, So a matter lesson. We have three hair and costume designs right now. we could keep going on, do some more. What we do actually get Teoh designed like we'll start creating, we'll start creating character sheets and turnarounds. I'm sorry, I'm still just trying to think and talk at the same time. We'll start doing, uh, turnarounds and expression sheets, which, uh, all right, yeah, different expression to the character. That's a, uh, we have, you know, generic girl cards. Air here. Is that really attractive? But let's say we have our girl character here. Let's issues smiling. This is her smile face, and here's where Sand face, Thank you. Make this a bad and keep doing. But drawings joined different emotions for the same character. She doesn't look within. So getting that's our its initial design. This is how will start dying characters and clothing for them. We'll start with the base well as including add any features of character has. Let's say she has a tattoo heart on her stomach that would be detailed that will set right here from all the characters, and that's part of designing. I'll be back with more lessons. Thank you. That's part of character design. Uh, you won't start the base character and you want to start adding detail and changing costumes and seeing what works changing hair, any accessories that character might have. And you want to keep just hacking at it. Um, with prop design, you wanna do the same thing? You wanna keep molding at design and keep working at it. And so you get to design that you want, but always start with the written word. So we start with the written word. So you have a foundation of where you gonna go? Get the character description, give the proper description, use references if you need Teoh. Uh, have ah, uh, animation moored, which is a bunch of photos for reference that you might have kind pays from somewhere. Putting a folder are, uh if you want to print them out, put on a sheet of paper and stickem all together in like a book, like a scrapbook that would be your animation moored. And when you get all your designs together, any layouts you would create an animation Bible, which would show the animators how the character should look from different angles which turned around and how the different expressions that they have well, you know, having certain emotions um, he's character is different. Like I said, unless you're like a topic anger or like a twin, uh, identical 20 they might know share similarities. But individuality keeps characters, uh, separated, especially the main characters from, like, secondary capitalism, back on character. Do you don't want to get them mixed up? You want to keep the focus on your main characters only telling a story where the main character won't be in that turn story. And yeah, so earlier I was talking about lettering guy that I I was using. Um, actually, I don't know if actually got to mention it, but if I did, this is what was talking about. This is, Ah, a green ruler. It's a lettering guide that might be backwards upside down. It's a green lettering guide. It's a free hand lettering guide, Isis Letter, Common books a while ago, and this is I was using my sin teak so I don't scratch the screen. So it's plastic. It's bendable, it's flexible, so it doesn't scratch my screen. When I use this for using a wooden ruler or like a heart plastic one, it might scratch my screen, so just be careful about that If you're not using a line tour ruler inside of drawing program, get one of these flexible rulers or blind guides and their work wonders for you when using when you're doing perspective. Uh, that's it. So thanks for watching. And it's more lessons as we go along. And the next unit should be coming soon, which should be story boarding. All right, Thank you. 12. Design 03 (reference): all right, so we started doing designs of characters, and it's going to design the props. It's the same. It's the same process. You draw the prop when you drop Poppy one on, use a character so you can show the size comparison between the prop and the character. Let's say you're designing a phone. You want to put the phone in the characters hand and also draw just the phone by itself so you can have the design of the phone and decides comparison with character. And if you want to, you also put it in the environment that it might be used. And ah, right now, I'm just gonna show you some character design sheets I found online. Um, there's no drawing in this segment. I'll get back to drawing on the next unit, which will be story boarding and the same time during story boarding in the enemy industry . Usually you're also creating environments, and you're also doing color schemes. So while we're story boarding, I'll try to get to another video in the same unit about, uh, doing colors and backgrounds. So I'm just going to show you right now some images and that would be it for this class today, so this would be considered a model shape. Turn around. Plus Ah, on the bottom right can see her. I This would be a male character turned around front, side and back. This would be another turn around, side, front and back. You can pose the character if you want to. When I did the last lesson, I just drew a still character you can pulls. The character is as much as you want to. This would be considered an expression sheet, different expressions of the character, how she looks. This would be another expression sheet. This would be a turnaround for two different characters. This is, Ah, a sheet that I I wanted to show you the different models of the same character that she be . And in Low Girl etcetera. This lines on the sheet of paper. It's guidelines for You can turn the character around easily when you drawing them on the same sheet of paper. Notice the top of the head, the nose, the chin, the neck, etcetera. Those guidelines so you can properly draw the character and different angles. Front side back. This is a bunch of character sheets from different characters. This is another expression sheet. I found all these images on Google more expression sheets so you can use reference online if you find it. And I'm sure you can if you have Google or being or whatever this is showing a character from the front and side and back plus or props and size comparison. This is, Ah, original character design, plus the flat on shade cotton shuttle markup colors. These are blanks. There basically disposes so you can use them for your own characters. Do you suppose is and character on top of it. And this is just a page from a book on joint action poses. You can put your character and those poses. 13. Design - Add Lines, Do's and Don'ts: everyone. What's up? This lesson is gonna be really quick, and I'm gonna show you about, um when you're designing characters, why not to put lots of lines on characters faces? Right now, I'm using character they created a while ago. It was just a dream of consciousness character. And I'm into kidding right now how There's no volume between the two arms of this character and that makes a character not so great looking. You want to keep volume in your characters, meaning you want to keep sized proportions the same on the left and right. Not necessarily the same look or, um, features and inside of character. But you want to keep stuff like arms and legs in proportion, endless. The character is supposed to be Mr Portions. That's right. Now I'm showing you some just so quick cross hatching that I did on the character, and it's really nothing special. I was just, ah, having some fun with it and just cross hatching some, uh, lines on the character. Just give it more, uh, depth, I guess so. This is clear at that text, and this video's pre recorded. So I'm not doing this live, so I'm talking. It might be a little slow. So right now is indicated that when I zoom in on the face and even though I have some course hatching under face right now, it makes a character look a little thinner. But if you had too many lines to a face, whether being a woman and child, um, a man, it doesn't matter. The character gets older as you add more lines, so stuff like smile lines and lines under the eyes and changing the shape of the mouth even makes you calculate older. I also added some lines onto the news, a nostril and a little bit more shadow on news because it's in the layers on and off. You can see how the character looks younger, and then everything on the character instantly gets older looking or more sickly looking, depending on the lines by the more lines on the face, the more that can't chicken like you, thinner or older. So in that respect, you want toe. Remember not to use so many lines on the face because humans detect lines as being aging or sickly looking. It's just consciously. That's how we perceive faces online's I'm sorry I sent faces. I wasn't kidding that in the screen. And now like that. So on and off it's the other character. It just gets older that they turned the face. So lines on and off. Even with all the other lines on the body, it is the eighth, the character as much as lines on the face does we have to show you the whole character right now before and this video on and off, on and off. So that's it. That's your lesson for today. Beware of the lines that you put on characters, faces things. 14. Design Panda (Turnaround Character Design): All right, folks. So continuing design and then to make a feeble attempt todo your panda real fast and do a turnaround. I have all my in the camp is ready. I have downloaded some images from Google as reference, and I will start designing my panda stuff ahead. No, I'm not concerned. How many heads high Hispanic is? This is gonna be in my own design. And right now I'm not concerned with the line of action. And I'm gonna make him or her possibly him a little cartoony. - I don't know much about pandas, but this will be a girl, An enemy party of the panda. I wouldn't want to use too many lines. I just want to get an idea what he looks like. I think he's gonna keep It's a pregnant Julia. Turn around. You want to do? Is you on the line up each part of his body that's at the top of his hand. Say his nose at lines, told his head eyes we're knows. Peaks under his chin up of shelter. Here's elbow might be bottom of his hand is me top of his paw and the ground. So paying this head, it's like all super fat And then it ended up bottom. No starts, although plays eyes peaks. I'm sorry. I don't know what they would call that. Not now, but it's, uh, the black part. Big old smile industries, his eyes, our ovals, goofy looking. But that's good. So the expression isn't We have any eyebrows. I'll just, uh, little indication of my house right now. Big Credible. But since he's not human, I don't really know why this anatomy should look. Just give you the reference and discuss Pandas are interesting looking. Well, we have hands. Oh, pretty much you look like for all the parts of them. Your pores. I'm not gonna indicate any fingernails. No one to look Scary bear. I wanted to be a big, fluffy thing. Kind of looks like a dog Weird book. And to do is back easy trinkets to, uh, typically cape the front layer Going to pass it on These things duplicates different layer dragon over and years of the race Some parts of the body with the face back in the legs. Sorry, the face in the news And this is how a lot of designers design their backs quick and simple and you know, so wanna Lippett. So that left becomes right, right? Becomes left. I'm not talking to a simple turn on any character. That's what kind of being, uh, side of you to be my front. This will be my back and home. These three should be ableto start animating whenever you get set stage. And of course, you do expression sheeps And you know, you refine your characters, you clean them up. - So that would be right now duplicate layers. And if something is good for pro unlocked, where from there I could you think over character in black. Now, this character more than likely will go through lots of your visions. This is just for demonstration purposes only people on a throughout this character and use it. Uh, go right ahead. But what you're thinking right now is designed and you're planning for your animation stage . And before that, you lay out. Stage independent only has two primary colors Richard white and black Looks like a real panda. We can call him any what you want to right now. I'll just shrink thes messed up. So I'm gonna constantly say when you're doing any drawings now, make him about fits. Percent size and murder. All those layers. I have just one layer of design. Of course, I have my originals here somewhere. Constantly save. So if I wanted to do, let's say, uh, expressions with the character I usually do an expression street starting expression. Sheep. - I mean, this is the angry panda, since his battery is weird, denies Arnason of their heads. Yeah, sick people is. Nope, videos. Maybe he is. Ah, it's years. Go back or something. I don't really know why. Appendix Purses. So it's getting old. Joe. Indication even lives Anglia. Cute. You only want to do lots of research. If Rajoy animals see how they like when you're matter sad or angry, you know it's kind of hard to to determine. Yeah, such weird little lines in their faces. You both get through this school even though it's all for maybe there's a and not rates to panda. His eyes get really large. Maybe a month ago, subside or something opens up. Whoa, people, his eyes get really, really big. Be careful of, uh, sighs when you're doing these things. Expression I present don't exist. Well goes under. You're making a very cartoony. Uh, that's of use. Well, thanks. Yes, Mad face. Maybe he has, like, a love face. I'm looking down. No. Right now, mister, Can you purely expression and we go back in. You find all this stuff. It's little muskets. It a wide see the black underneath. Not reading too well. Maybe he gets little hearts in his eyes. No sweat markers. Well, swienton, try to keep up. Keep hacking at your designs. Now, you can tell is you just got really small. Maybe he gets, uh, don't from side. It's a giant Kool Aid smile Isn't really ricin. You a panda Flowed. Ranged looks, Toys arranged. I hope you get the idea. - Lip recourse. I think this looks at, uh so that is a quick time to do it. Turn around. How did do some expressions? These aren't very good. I hope you got the gist of it. There's lots of information and lots of images online of ah, turnarounds. Especially animates and around. So you might want to go look into those. Well, lots of open now. Open line since I sketching this. - So if you're gonna get prop design, you would Yes, we do. The same process. - Kind of looks like a right from the front. But that would be, uh, panda bear. Maybe a maybe, instead of an old man made the shop on her from on a string is a panda bear. What else? To be anything you want. I'm break your characters. You can do it. Every one of them. And, uh, keep working on the expressions and your designs, and I hope that ah, it makes little sense to you. 15. Storyboarding: Hey, folks, it's up. This is the app by Janica. It is 24 frames stopwatch piercing video of, um, animation directors do you to stop watch? What they're doing is they're timing out storyboards, and they're also, uh, revising the time on animation cheats. Oh, animated cuts. So you see, I'm flipping sometimes and still checking out the timing. I don't worry about my hand. It's not heard anything. So the Glover used to draw my sin seek. So if you have an apple iPhone on, I touch, possibly even an iPad, they have this app in the APP store. I'm not too sure how much it is. I do a quick look right now for you. Find it, and, unfortunately, that now is the prices because I rate purchased it. But if you can find that uh huh, your apple I store, that's what it is. Unique. A stopwatch. There's only one stopwatch that I've found, and it's made, Um, and it's that stopwatch. So hopefully if you guys could afford it, or if you could find an alternative for stopwatch, that's 24 frames per second. Help you a lot when your timing, your animation in your time your information. You want to read both the script, and you also want to look at the story board, and you want to think about the action. What's going on? So you want a time gonna play. The whole cut L sheet are actually said to say, just the one frame or two panels, whatever it is, it's made of that one cut and you time it in your head. You played out in your head like you're watching a video or even stand up and you time out how long it takes you to do whatever motion or say whatever dialogue that's on the storyboard. And then after that, you add up all the times for each cut, and you put the times and second frames at the bottom or the top of the sheet. Depending on how you work. That's really much only got to say about doing storyboards. I couldn't do storyboards in real time. It I couldn't think enjoy the same time I tried and it just came out horrible. So you guys actually want to see that video post on the class and I will decides that video will compress it and uploaded and they could see how horrible it was. But anyone a mislead you guys are sending guys down the wrong path tryingto get you as much knowledge as they can in such a short time. So, uh, that's pretty much it, um, in parallel to story. Boarding color design and backgrounds are also being created at same time. When you're in the enemy industry. Do this in other countries, but we're focusing on enemy and the industry, and that's what they're doing in parallel with story boardings of design. Um, comes first. You want to create your characters. 20 others characters you can started doing storyboards and and shooting or your own depicting or your cuts. What angles you using on what framing you're using. What type of lens. So you wanna go off and do some research about camera lenses, framing perspective and composition? Ah, you know, willing to stay totally on model when you're doing storyboards, but sometimes it's good to if you can, it's going to shoot till storyboards and put it in an automatic, which is moving storyboards timed to have her long. Each cut should be inside of the show, so it's a good idea. It's Ah, if you can to eventually tie down all your images and give them a nice surrender. So when you go to an automatic knowns, confused of what character is what? That you listen and be back for more. Hey, folks, what's up? Welcome to the class table. One story boarding and I'm gonna try to make this one quick. I can't really think and draw the same time and also come up with ideas. So I had Teoh pre render although use images before I got started with this class today. So if we're taking Munger honest during, for instance and this is a different template, I upload this one to the class as well. If we took money and string if we skipped forward ahead to maybe ah, cut number seven We're inside the interior and we see a shop owner and he's just there. We set up the shot. It's this framing and this blocking blocking means the way you set up a shot. The way you compose it, we have a couple elements. Right now we have a foreground, which would be do silhouettes right here. When you see enemy layouts, they would usually right book meaning foreground. I don't know the origin of book, but that is what book means. If you ever look at the layout from Enemy and it's his book on it, that means foreground in a mid ground. You have our character. So he's focused on, uh, in the mid ground. So even though this is black right here and this is black over here, we're creating a frame. So we're focusing on our character here, so we start with an establishing shot. It's a wide shot, and we slowly move in. Tore Cut Number eight, Moving closer gets like a medium close up, and our character, it's still our focus from number eight. We have a hold indicated by this line here, and that holds for two panels because what I wanted to do was show him tapping his pen. So what I did was I cut and paste this to here as a separate layer, and then I drew over it. We just the outline, and I was left with this. So when you joined storyboards, you don't need to join the whole frame as long as you indicate that there's a hold between two different panels. So you could just indicate what's going on inside of the frame. We don't need to draw the whole thing over again. The only reason I cant paste this because I didn't want to sit there and figure out what size he is inside of the frame. So I gave him an action. He's tapping us pen and when I write that down in the action section action column, I'll indicate that he's tapping his pen. There won't be any dialogue and at the moment I won't time it because I haven't finished my page yet, so I don't know the time of the cut yet. So if we go from eight, we'll go down to nine and we get in a little closer so we get a close up. So now we see that the characters board Severstal's hand against his wrist. He's holding his pen and this, too is a hold as well to hold that the next panel and I just cut and paste this panel to hear again. But this time I just change the eyes and I dropped his pen out of his hand to give it an action and to also show that he's falling asleep so he's probably bored at work. I didn't show them passage of time in the storyboard, but I might leave a note in my action column when I do that. So that is a quick lesson on storyboards. With story boarding. What you want to dio is for each time you want to change your camera angle, either close up or pan or resume. You want to indicate that not only in the frame itself, but you wanna put the dialogue again, the time and the action and when your timing You want to use a stopwatch that indicates 24 frames per second, and it's really hard to find a stopwatch that does that you might find, Ah, a JavaScript Web site that will have their own free animation timer on it. If I find out link, I'll link it. It's been a while. I haven't really starts for it. But now there's one out there, and if you have an iPhone, let's be sure if they have on Android iPhone iPad, I'm not too sure works an iPad, an iPhone I o r I touch. There's an app called Janica. It's a genetic a stopwatch, and it it runs in 24 frames per second. At the beginning of the video, I'll show you what it is. So I'm showing you us, uh, app on my phone. That's the app that I'm talking about. Zenica Stopwatch Janica is the Japanese Animation Creations Association in Japan and they were kind enough to make an app for all of animators. It might be like $5 in there, Apple store, the apple App store. I'm not too sure. And hopefully on Android and Windows, they have the equivalent or a similar app. Right now, I'm gonna show you another quick video of the parts of a storyboard. Welcome back. And right now I'm going to use madhouse sample of one of their storyboards. I'm not to show what show it was off of or over. I am going to show what it was. But if it's going into cuts this large over 300 cuts, it might be in over a A. The regular enemy show is about 300 cuts for a 22 minute episode. So these are the parts of a storyboard. Each page might be a bit different. Vatican altar. Any PDF or PSD to your own specifications or J pig or whatever you want to deal, you can create your own. It's just a template, and this is the one that madhouse use madhouse uses. So you have your picture frame here. Enjoy our images here. I know it might seem kind of intuitive, but I wanted to just point out everything to you. And I wanna just in case you're new to this, I want you to know exactly the parts of a storyboard page. You draw your images here, there's usually five panels or six panels. Perp aids, depending how large your sheet is A by 11 or, if it's uh, like a by 17 depends here. This line between the two frames indicates hold, and that's just ah line. So it's always a vertical line. That's your indicator for a hold. On the side is a cut number. For instance, this is cut number 323. This is your action column. You could describe action. You could also add thumbnail sketches here if you need to. It's a good idea to add thumbnail sketches when you're doing storyboards just in case E can't, um, you can't draw what you need Teoh. Join in a full frame or you need to do it fast. Or you need to add a note after the fact. This is where dialogue goes. You write a dialogue from the scripts in this box when your story boarding. Sometimes directors change dialogue or to change action, so it's different from the scripts. We need to indicate that. Sue your animators I need This is the time column. Time is written in seconds and in frames, for instance. Let's say this is, Ah, seven seconds right here. You can't really see. It says seven seconds plus 12 frames. So the first number will always be how many seconds it is. And that is a plus sign, meaning you also add how many frames is afterwards. So it's always seconds plus frames. If there's any frames, there's no frames. Just put a zero and the seconds at the bottom of the page. You're usually indicate the entire cut paid time in seconds and frames just like in the top of the time column. In the case in seconds, plus frames, how many seconds there are and how many frames are and the add up all of the cuts and at one sheet to get that number. Each panel has a number on it, and they end up all those numbers to get the final number. And you put that number at the bottom of the sheets or in a template that I'm giving you, you can add a time up in the top. The other video you show you saw the template that I was using. This indicated here. It indicates a pan up. You usually want to indicate what your camera move is when the joint storyboards. So, for instance, and cut number 3 28 of the show, this would be a starting frame. I would start here, and this is all indicating to your cinematographer, where you composite er and even your animators of where to start the free men and the frame would pan up and you'll be stopping on this frame. So if you know what a pan up is or pan, it would help you out. When drawing storyboards, you might want to learn about what you need to learn about all different kind of Rangel's even lenses. I'm not too sure what this means. I think it might be in the kidding. A lens size. I'm not too sure. This year means that the panel was struck out, that they're not going to use that panel. It was drawn anyway, but they cut that one out for whatever reason. And that's your quick introductions to storyboards. Hope it helps. How add, um, the templates of the class of storyboard that I found online, and I just ah, adapted it. I added a few things that changed a few colors. You get two layers on that storyboard template. There's, Ah, bluish outline lair, which you can change to black. I did so I created a new layer genes into black and added the words complete time on the top So you can understand what with the what that meant on the original template. Thanks. And I'll see you soon for the next lesson. 16. Storyboard Using Reference: All right, folks. So right now what? We're watching his video reference from making Tokyo godfathers This video. I want to show you that anime and I would believe any animation, be it C g flash traditional stop motion. They all use references, be it video references. Or is ah, author Mark Simon talks about in his book Storyboards Motion in Art Third Edition. It talks about how he keeps action figures in his bag and in his talk it so and he's on set or he's talking to a director. They can plan out each shot using these toys, and it gets him a better idea of what the director wants and what angles he wants for each cut. So it's a good idea to yeah, still keep me toys around, use them as tools and, uh, just know that every production of animation there's references being involved. When you're doing background paintings, you're using photos. We need to win models. You're using close references or prop references just because you know how to draw. That doesn't mean that you know how they do everything e especially dealing with real world objects. You have to have reference for them right now, this is a video from in making of angel Beats your heart. It's in Japanese. I'm sorry, but directors talking about singing the cameras and shooting for reference for the enemy. So you sick? Well, if I tell you what I don't Can I throw you in? No. Tomorrow and tomorrow night. Where? Money Equipment, Like, said, the world companies must ask. Okay. And another comedy was sitting one monarchist on ways that signal coming. I was living with same coaster Martha's throw some members. Yeah, So this there's more Tony cuticle tables to the right. Meet them out to you. What tree? What do you want to go? Hi. I don't want that. So when you do leave anime, uh, just remember that keep your storyboards on hand, and sometimes when you're shooting reference, you shoot your reference before you even do you storyboards. Right now, they have storyboards on hand, but it's ah likely that they went back and to revive those storyboards. But I think what? They're shooting this for this reference forwards for CG they later on took all the footage that they had in the mix the live band that they animated them in two D, for the most part, and they used, uh, all the camera moves and the camera information for the CD backgrounds. I don't that's gonna cut e stuff. I don't know. Companies so far be it. You, uh, believe that have internalised airbender? Um, his enemy or not? It's all up, Seo. I guess it's your own opinion, But I just want to show you that they use a seafood. Our martial arts master Teoh base characters Martial arts in the show off of his movements . Um, the two creators of Avatar That's every dinner they both studied martial arts. And supposedly that's where they got the idea to use martial arts for all the bender powers stand for so strongly rooted to the ground, Earth benders use hunger skills to tap into the immense power of the planet. Entire Ben in the avatars world powers of the Four Nations air based on four different forms of Chinese martial arts firebenders air steeped in my preferred style. Northern Shaolin comfort. It's a very strong, dynamic style that uses powerful hand and leg movements firebenders, they inhale and then fire moves in every direction. Many styles of martial arts can trace their origins back to northern shallow, just like fire. Northern Sheldon is beautiful to look at. It can be very danger in the avatars world powers of the Four Nations air based on four different forms of Chinese martial arts air benders are using a style called Bagua or circle walking. Bagua fighters are known for moving in a circle, constantly spinning back sister always moving, nobody can get, especially hold on. Anger is circular to he moves his hands around like this makes strong. So back in the day when ah, Disney was still producing to the live action, uh, they were shooting reference video and stills on the film. Uh, possibly 35 millimeter four perf if you know what that means, film. And he would use this film reference enemy that shows. So all the great scenes are movements you see into the movies. They were more than likely either but a scoped or based off, uh, live model that they previously shot on film it Animals are humans or actors acting as inanimate objects. That's it for this reviewing and stay tuned for more 17. Storyboarding (adding camera info): All right, folks. Right now, we don't talk about story boarding and I'm gonna break out my green flexible ruler for my sin teak. And when you first get this file from the class cut sheet 16 by nine psd you know how two or three different layers one bottom layer Just be a blank, white layer, second layer, we'll be a light blue outline And the 3rd 1 is this layer created a black outline and I added total time instead of just time and title and I mean everything black. So right now I was gonna blow it up the frame and create a new frame Critically layer Now sticking to our longer on a string This is all where directing comes into play. I'm gonna make this lesson short. Let me sit here all night and drew out some storyboards for you in real time. That might be a little cumbersome, so I'm just going to show you a little bit of story boarding. Still, reporting is directing. I was going to do this on paper. I would use a regular ruler, and I would just set up some vanishing points for myself. So if you're doing this professionally. You probably already haven't I for for doing perspective. But if you want to be accurate, you want to use over alert ruler inside of the application itself. We're like my green flexi ruler. So what? That layer intact And I have, Ah, a critical I can draw my character. And if I was gonna place a camera in here, the camera would be looking down at the character. The rise in line It's here. So anything below it you're looking down on it. Anything above it you'll be looking up at so far, we just through a cube, you see that almost horizontal, but that were looking down at it. I can't really see the top. If we were, we could see the bottom. We're looking inside of it. That's I. You determine your cries online and an enemy they usually use. Um, you usually use something like this. They would use in parts of you or worm's eye view. Not all the time, but it seldom a day actually is used street on coasters unless it's like, uh, close up of a hand or face switches. Per would old main character in this in the shot let's say, is here just walking along and this is a really bad representation of a storyboard. This one continue. Had that we knew story boarding your You're drawing scenes for every shot. So every cut has its own. That's its own image. If I was gonna do this, I would spend lots of time on this. I want to start during characters like this. What? It probably thumbed it out on a small a piece of paper somewhere. Let's give you an idea. So this would be I got bird's eye view of character. And when you joined storyboards, you wanna? If you're doing it on paper with pencil, you're going to start really light, sketched your character, and then you're gonna move into a clean up version of it. It's always refining, as in, storyboards are usually small. You might have to draw small. Sometimes if you're doing on establishing shot, for instance, such as this, - it just gets indication that he's walking. And if you're sitting up the shot, you probably want to put him somewhere within 1/3 of the frame. So if you know anything about thirds breaking from 2/3 really best look, he was here inside of the frame, and we will start. You're designing a cityscape around him. Maybe the sun is really high, so it's casting a large shadow. That's what's casting a shadow down and just want to indicate the background. You can't go into lots of details. The storyboards. Sometimes it's just really fast, depending on the production and the artist, I mean, some directors actually do their own storyboards. Like Hyo Miyazaki it was known to do, is on storyboards. I think, uh, Katsuhiro Otomo also might have done his own storyboards. There's not that directors out there has she do their own storyboards, and that's what makes them the animation director. Add links to lots of professional storyboards from companies like Mad House. After I finish this lesson just to give you an idea what a story board elements are, and that's the really bad representation. But I don't wouldn't keep it like this. I would clean it up. I actually have an idea of what I'm gonna do. Start One was walking to his shop in Tokyo. NFL is gonna news. Tokyo. I would actually get um, reference of Tokyo. And let's say this takes three seconds and five frames. It could be a total of 29 frames, since every second it's, um, consists of 24 frames in a second. And so since I would start with an establishing shot? No, no. So give the indication that he's walking. So this symbol would be an indication if someone walking, depending on which direction they're walking, you would put the arrow it, Ian, They're walking forward like that. You know, it looks like it's pointing up since he's walking that way. That's where he's walking. If I wanted to do a camera move on this, let's say, let's start frame, put it in green would be the whole frame in the end frame. What say I wanna medium close up of our character? So could the indication that I want the cameras a pan. What pan wanting him to either Zune truck in from this green shot here to this frame here. And since I did a zoom from the first frame, I would cut to the second, and it would be a closer shot of our character. So some pia cowboy shot meaning you can see his upper thigh, but you can't see the rest of his legs and keep the same motion moving that direction. Susie Indicators to indicate where the frame is that. So he's in a past position right here. - So I'm just trying to get through this. Listen real quick. I'm not trying to really make this, uh, a great looking storyboard for you guys today. You want to try to say a little bit of model, anything you want to character to look like. Character is supposed to, but in a storyboard, you don't have to bust your head on putting a character's toe land model. I mean, that's for layout to Dio. As long as you indicate well enough. What characters? And it's not of what frame you should be. OK, so that's our character. Still walking. I don't kid again that he's still walking in this direction. Now, if I was actually gonna do this production, I would start establishing shot. I would start with a big, long pan, possibly fun a pie somewhere and gradually moving closer. So you set up the shot, and since you might be doing this digitally, it might be, ah, it might be a lot easier to do such things. So if we had a big old landscape of Tokyo, which I took it the wrong. I have no idea how Joe Tokyo, but don't feel bad. And don't be concerned about breaking the frame of your story board. It's fine free and breaking meetings. This going on sort of the initial frame. You can always erase this. Later on, I turned off the layer. So if we were gonna let's say, have this screaming and I would start I don't know character all the way down here somewhere. Just a blob Mary indication of his legs. Not really knowing what the character looks like it when we first answer the scene into the cut. Sorry, and this could all just be buildings for as far as I can see. It's no freaking idea and, you know, building away back into the distance and it still is a really crappy shot of how I would do it. Now let's start in establishing shot. If I was introducing in the location and I would start with that shot. So let's say this is my friend here, you know, I'm paying down, saying start and down here are even closer. Four frame and there, miss. - It's a free stuff from up here from in a pan down. - So you start from top of the city and when working our way down, zoom in. So we get to this frame, then keep zooming in to get to here. On 1/3 shot, you see our smooth shop owner walking across the screen? No way to the shop. And since this is a hold, well indicate that with the line probably smaller. But since we're holding between those two frames, were you one whole frame because of the pan? Just one whole frame right here. That's very cream too. Then frame three as we move in closer to him. 18. Live Action Vs Storyboards compared: Thank you. All right. Probably who world I family Bradley. Probably a while. Guys. Bradley. Bradley. One. After you, Bradley, Every please tell me what they are. Leave gladly. I heard you, then. Hold on. Okay. With high after door recording. Recording what? Like her? I heard you. It's in. Hold on. I'll get your time to get the door. It's like there. I'll get high after I get the door. Heard you is in. Hold on. I'll get tired. Get before it's in. Hold on. I'll get the five acted active way Have, like, 30 seconds. Okay, make it does. She slams the door. We're supposed to exchange looks. Yeah, and then he's gonna knock again. All right. Leave it, actually. Oh, sorry, actually. Hi. Are you Miss Constantine? Yeah, I'm sorry to say, but your husband, Mr Bradley, died in action, But I'm sorry. Constantly. No. Vinnie's his name. You just got to kind of watch the door. If you could hold it while you're doing it's hitting the boom mic. OK? OK. Action. Hi. Are you Miss Constantine? I'm sorry to say, but your husband, Mr Bradley, died in action. Are you seriously? That was one more time one more time. Like I do that or you want to do differently. I am Miss Constantine. Yeah. I'm sorry to say what your husband, Mr Bradley, are you got so just, uh, So I'm gonna stand here. So should your too much head room. Yeah. Frame isn't gonna be like that. I'm gonna be using Okay. Performance. The performance I was gonna ask it. You could like, I guess, Give me, like, say, the actual line. So I can think Is it like you're so I know, like myself. Yes, I know. How long you want me to sit here and actually read this newspaper. You know, give me motivation to calm. Okay. So the bottom line is is that you're just kind of chilling. Your husband's going to say the line and you're going to go to him. Is if you're responding to go. All right, don't they? So, um, she's gonna walk into the frame of the room, out of the room, into the frame. You want me to see the election? Yeah. I mean, it's OK. Action. Your bid. Have you seen my silver time? Um uh, sure. Okay. Cool. One thing. One thing I mean 19. Design Background: all right. So continuing with design. This is really quick. Listen, if you were going Teoh, start designing backgrounds. I would suggest you use reference unless you're a great ah, a great layout person in yeah, you can to architecture and all that stuff. But most of us aren't. I'd be creating the world's also use reference that not cheating or anything. I will always use a reference because I I can't think of big designs like a city or what not? And also what you want to do is you want to create a schematic of the area. So when you're plenty of your shots, you don't you lay out, you know where to put your camera. And you can imagine how this shop would look if you knew schematics and also good. So you could pretty characters in certain places. And you know how far away from the wall they are or how small within the door Or, uh, the geometry of the room. All those of good when you're doing layouts? Uh, me myself. Personally, I would start with an image and I would trace it. I can't do this whole tracing right now because this would take, uh, a really long time to trace. And I won't do one of those fast forward videos because, ah, I personally don't let him. But if I was going to design something, I start off well, Patrice of it, and then build upon that, I would have probably taken a photo of myself. This is a photo I found online. Remember Vanishing points, Mars and lines. Not too sure where this, uh, finishing point would be and have to certainly down mines and mapping out that would do a lot better at tracing over this. It's in some pressed for time. It's trying to get the gist of it, and I would sometimes even take the color semetic of the image itself and this. Use that talent, and from there you can tempt it in photo shop. If you're painting it by hand, you can choose a different palette when it fits your show or the country. Just remember your mid ground. Your foreground in your background. Don't necessarily keep the one different layers if you don't want to, that's a good idea. If you dio when you're doing this, you can remove elements like I won't be joining US cars in the parking lot. But you have to imagine what's behind those cars, like the ground like where the ground is guidelines would be. Let's be very suitable right now. I should have laid the mountain first, fixing someone kind of a rush to get this done. It won't be painting this right now. Maybe if I have time, I'll come back. You know, do another video, we'll start painting. But as you can tell, lots of environments just made up of Flynt's curves, triangles, rectangles and this gold robbery dissemble things in the background. So I'm not really gonna gonna do all of this. But you get the idea. Hopefully so you can take something like this, and you could, ah, make a schematic to the actual Be totally correct. But you might want to try to be as accurate as it can be. So it's a for instance, you know that this will be in your car park or your garaged banana. Where you live next to it is ah, smaller store. Maybe it's a little longer, and next to that is another store will be here. Maybe it's just a little square shop and way back here. It's the bridge. So you in Toronto Bridge possibly indicate the sidewalks? That kind of weird sidewalks Did they break up? There's a lot alleys back here. I've been going in the cave that there's an alley here. Now, I'm just labelling these right now. I just want to show you, uh, ways of doing this. I'm not the best. Indicate the road. Maybe have a little legend on the top. Uh, really? No, you can put it, but legend in that could grow both lines as you go across the street. There's more shops over here. I'm sure there's Trump's of this year as well. Often aside, um, across the street, this is interesting right here. Like, uh, there's like a hell. It looks like you can see it here. The other wheels of the car, you can only see it's like there's a hell over there, so you could indicate that as well. If you want to coming to a line, it's a hell, you know, Just shop citizen. You need to this so you know where your characters are at any given time in the scene cut. So if you place the camera here, the characters over here. You know that the camera that shot could be here and character, etc. Is over here, even though it would be in kind of him the camera. But we're looking at, uh, the character from side, I guess back, several gonna be accurate. Do something like that. So that is a crash course and schematics and how to dio background. 20. Layout - Framing: Oh, what's going on? Please, listen, is gonna be about framing I want to show you right now. Is this model and the different type of Freeman's we used? We're in a shooting film. Our animation music videos, whatever you're shooting, the language of film is still the same course. The new close ups. Your friend H is ah, still used in all types of visual media. That's right. Now, this would be considered an extreme close up. We pull back a little further. We have three months into this could be considered a close up. The product will make more. This would be considered a medium shot because you keep pulling back. We'll get considering I'm cowboy shot further, we go back. This reconsidered a medium full shot. We go all the way back, we'll see a full body. Have you considered a full shot? Sometimes before it was a war actions. Now lots of vitamin E These little close ups to save money on animation. Easier to animate a face that it is a animate a whole body. I see lots not like this too. That would be a worm's eye view. It would be a tilt up looking up at characters makes him seem a little larger than life, a little bit more overpowering. It sees Latin fight scene, especially an enemy, and if we go up, they only panned down. We'll get a bird's eye view. He also sees a lot in anime, also known as a downward tilt. You see, it's Latin. Characters are running and also in quite seems. But even during regular dialogue scenes, you'll see shots like this. It seldom. You'll see a shadow on framing unless it's close up of extreme, close up meaning that the characters facing towards the camera I'm talking to the camera. So when you do what I have a shot that has a close up or a medium shot you wanna. It's your character of it. At least turn him aside like a 3/4 angle like this, the force in the front when you're facing a character and using a 3/4 angle that could be facing you the left or right. There's also something called a 3/4 back, which means that you see they're back and they're facing you don't left or right. You'd often see a 34 shots done in American cartoons. It's, ah, lazy way, Teoh Enemy And that had to think about riel. Competition shows like Johnny tests the Cleveland show. Anything with Seth McFarlane usually have a 3/4 well shot. Like almost every character, you can also put your character, too. Uh, besides feel usually looking to decide it. Don't even talk to somebody or looking at something off camera. Okay, there's no one else inside of the frame. And always remember the rule of thirds, if you know what that is right now, surely some examples of enemy that I found online and I won't be using any of the audio further that shows. But I'll try to point out that shots for you to cut close up wide, full full. That's full prv. See what she's seen close and it's a medium shot. It's full sun, another full sun cost to force in it. It's a three shot in his three people in this shot calm. It's a medium close in close ups, extreme close ups. This is what I mean by tilt. You're looking up with the characters. You sometimes see the full body. Sometimes you see a close up in a tilt. You'll see a lot of these warms. I've you being You're looking about for the bottom up. It's the characters. This would be it's I view this character in a three force in this character, you know, im sidedly. It isn't showing us on her body. But Jonah Senator fees. This will be considered a two shot, but we're still looking up at the characters and the perspective happening here and there. We go to a three shot, but we're zooming into the character of Ascension. She centered, in our view, are is focused on the center, so composition the elements of pointing to its hurt. So send atomic Griffey. We have focusing on her. It's a solid was, um, we got some meeting for. We keep pulling into her right here. We have a close up. It's a two shot. It's a person on the love person, right? Focusing on a person more right because of the contrast point. Let I seem suit, focus more and let things. So in contrast, that's how the shot is working. Extreme close up of the hands full sun. I was considered a wide shot. It's a competition, so creating a triangle here, focusing on the light part of the scene. Tractors also centered, which makes for a good pound position. That's an extreme close up. No, it's how this piece of, uh, that's her hearing what it is, but it's pointing sorts of face, his pointing towards your face elements. One time sir, bunk rights well away from there for focusing on your eyes. The contrast between to talk in the life excess draws your eyes, the version out of against her friend inside of the scene. Same thing. Contrast in your legs faces brightly. Lead The background is talker, eyes drawn into to the contrast the light versus dark. That's so its gentle said character is centered, and I have one thing to look at. Get to a phone so you often see a pattern that happens. One year shooting found. Where you're creating. There is a language that needs a watch for in us of usually. Start with, a wide shot like this will slowly creep into the characters in Japan. Adami. Sometimes you see smash cuts. You go from our wide shot full sun and you'll cut directly to an extreme close up. That's a character talking. I hope that made love it more sense to you guys of different shots and compositions and framing 21. Anime Specs 01: Hey, everyone wants up. Welcome to our class. Today's lesson is going to be a lecture, and I'll try to show from grass if I have them available. Um, I'll be reading from my notes and trying to make sense of them while I'm dictating the lecture. Today's lecture will be on the digital transfer from paper to digital, um, specks on almost everything. That's Adam A related, meaning that all the software that they use all the page sizes, all all the equipment I tried to condense it. I've had a few pages of notes here, Um, so I'm gonna try to make this quick, and I'll be reading a lot from my notes. So let's try to bear with me and ah, all this information is coming from Awja, which is Ah, the Japanese, um pretty association. Anything that might be called. I don't really know the the acronym. I'll try to post it if I find it before you post this video. So ah, this is coming from a survey that was issued in Japan, um, to the enemy industry. So ah, study. In 2006 the digital production surveying Japan began in 2012 Hi def was standard, and it was 1/3 year. The survey, Um, in 2015 there will be a force survey and, ah, talk against it would be at, ah, enemy Japan, which is a convention that they have over there for fans of Japanese enemy as well as business, um, conventions and, ah, lectures. I guess they have over there. So the talk will be on four K in HK, which is Ah, the size. Basically, if you have, let's say high definition, that would be considered like in less than half a K. So you multiply that and you'll get four K. It's basically the size of the screen and having the image is shown. So by 2020 uh, they're suspected that four K and H K will be the production standard. That means everyone's gonna basically start out putting bigger images when there ah, doing enemy. So I'll try to show a graph of that if that like a fine one, that can make better sense. So this question air was sent Teoh uh, all the Japanese anime companies about out there. So the so Japan Video Association Inc was one to issue the email questionnaire There is 41 companies that were responded in this questionnaire. The Japanese Working Group also Helen and Turner Interior Um, survey a study group more or less, UM, that took place between November 5th and December 13th. 2013. The questions on software versions, type of equipment, data transport, media, uh, CETRA art photography, editing, easy transition between, ah, paper to digital and the survey was couldn was conducted online. So it was an email survey. But Dale's had in house, focus group or study group, whatever you wanna call it. So to De Salle animation and background painted ah images with a focus with some CG questions. We're also asked as well as a work process and research of going digital. So one of the questions waas do you they drawing screen. The majority said they don't but are researching and training for the near future leaves a drawing screen. I'm basically talking about, like a sin teak or ah, basically a sense, because that's the Japanese have a Japanese ah, part of, ah week. Um, that makes us antiques, antiques basically, uh, screen that you draw on a drawing tablet. More or less, they have Ah, a bunch of different versions from small ones, too. Ones that are over 24 inches or that are 24 inches. And I'm sure that making even big ones by this time Ah, the adaptation of joint tablets number was ah, was Ah, it's a low response. Um, other reasons of use of tablets was for coloring. Ah, cell correction, Retake work shadow markup counted. Zion Clean up work. Scanty of backgrounds. Correcting backgrounds. Our boards three D flash trace. Basically, instead of using ah sen Tito animate on they were using it. So color toe toe check cells. Teoh, I guess drollery take work. Uh, doing shadow markup character designing a scanning of backgrounds and correcting them probably in readiness Trace man art boards, which I'm assuming our day We just, uh, creating there. The animation Bible is basically, you know, using it Olympia Pictures into one folder, basically using it as just another monitor. Not so much drawing on it in particular for animation. Uh, three d, I guess they're using it toe either model characters or suits, reanimation and flash tracing, which is basically like a cleanup in flash. So yeah, follow up question. Waas Um do you use normal tablets Meaning like a wake up in Indios. That thing's called what? You're just ah, tablet and drawing tablet. And you know, you basically this use a stylist for it instead of, you know, writing on your screen. You're writing on the tablet itself. Uh, there was a huge response for regular during tablets or Indios tablets. Um, the normal drawing tablets. I guess I'll call them are still, um, being used because they're such a low cost, um, compared to a city ik that can run you a couple of grand. Ah, And in TOC, when'd you less than a grand, I guess depending on the size that you use and you can use it full screen if you want. Teoh, you might have to do research on that for your, uh I don't have one to show you. Great. It's ah, it's a bit different when you're drawing on a regular tablet compared to a city I love to see antiques. I think they're the best. And it was made, um, for digital art, where are in general. So that's just my opinion. But that's ah, it's most like paper that I can find also iPad reuse. Ah, not so much android a window tablets, and the reason that they use regular tablets is because of the low cost. And it's easier to, you know, purchase a bunch of tablets compared to a bunch of antiques. And, uh, that's happened to her much more portable. So it's a low cost effective ah, peripheral to use when you're doing enemy ends. Since, ah, people still learning over in Japan on how to transfer over from paper, I guess it's a great you know, it's a great introduction. And that much, huh? A cost to the production? Uh, another question was, ah, degree of acceptance of digital animation. I was a three out of five response. Ah, the reading was neutral, so it wasn't neither good nor bad. It was just another tool for doing animation. Um, one of the quotes was, it's the person and that the computer So basically the artist still there It depends on the artist, and thats much the tools which I would totally agree with. You have to know animation. You have to know the production if you want to be great at it, and it doesn't matter how you doing it as long as you get it done. So it's just a tool, uh, doing digital compared to doing paper. But they all are great, I think, and my own opinion. I'm since it's failure news to the enemy industry, it's still, you know, people still tryingto learn how to do it, that you do it well. Another question that was surveyed was, Ah, the pros and cons of doing digital. So pros were that you can do remote meetings, I guess with, like, Skype or in meats or hang out. You know, you could show people things faster and you could work online of each other instead of having so travel to a meeting and being, ah, wasting so much time just traveling. You can just be online and you can do your work and get ideas. Twitchell the faster no paper Ah, the video formats are sometimes large, but you couldn't, you know, compress videos. So that's ah, a plus. I guess when you're editing, you could have proxies, so you have a smaller version of the smaller translated version of the original, so you can transfer those on nine easily to each other if you need to for viewing or for editing, often editing easy storage. I mean, you could just dump it onto a hard drive or sticking in a cloud. Um, and it's not, Ah, is nothing physical that you need to handle? Um, one of the question one of the comments was at paper is still more human looking, I guess the pencil line and you can, uh, it's more like a human did it. If you do on paper, it's kind of Ah, in old school way of thinking. But it's unfortunate that paper is dying slowly, even in Japan. It's just it's not cost efficient. And if you so that my video on the enemy committee I explained that there's a committee that well, uh, well, that does, um, gives ago of what Adam is being made in Japan right now. And they're also concerned about foreign ah, foreign companies doing anime style, especially India, France and the US. Um, I guess it's not like I did not threatened by outside productions, but the look and ah, I don't know, I just feel is getting ah adapted and became other people. Other countries ah, part of the Emmy tricks. So they're concerned about that Animates, not just coming from Japan anymore. And they're also concerned about Taiwan, I guess There up and coming in the enemy industry. Ah, so being that paper is ah is being phase out. Ah, lots of jobs are being lost because I guess those animators or layout people who remember in the production line they haven't transferred over. And they haven't, uh, going from analog to digital. So let's there, look, your abs are basically getting lost, and I guess starting jobs are also getting phase out. Um, you know, shooting on film, uh, doing stuff like that, it's getting no phase out. Um, join Digital takes practice and time, which is very true. If you enjoy on paper for a really long time and you transfer over to digital, you should It should still feel the same. But there's there's something missing, you know, flipping paper as composed to flipping between two different drawings. I guess it gets kind of takes time getting you, Susan Al, You're using your left hand as well as your right hands. You know you're drawing off your right hand. Are you left? Depending on if you left handed or right handed. So you drive what hand and you're on your keyboard with the other doing shortcuts or flipping between images so it takes lots of practice, especially took do it proficiently and do it fast. Um, so the pros and cons, I guess you, you know, it was a neutral response was neither good nor bad. But there's, ah, definitely the future of enemy, and they just have to, ah, adapt to it. And this Every company eventually will go digital in the near future and is also no need for a quick sec action. 1/4 the Q A R. Which in the past you would take all yourselves and you would basically do ah, pencil test on what they call it quick, Actively quarter. Since everything's digital, all you have to do is this press play within whatever program using. And that's your quick action quarter. You don't need toe. Wait the scan. I shoot everything. Is that the pro? Um, a four size tablets on the most used? Ah, I guess all that any of us followed by a five and a six LCD tablets are low in use, but the ones that are in use um the majority is a 13 inch, I guess of the 13. 76. And they used more than a 22 inch Sensex. The cons of going digital. Ah, One of the cons of going digital is the anxiety of data lost. Um, I guess you know, hard drives crash and, ah, you know, things get stolen. Uh, files get corrupted the penny. How you know what type of system you're using. Someone could press, delete and just, you know, erase everything of it's not secured. Which which I hope they have some sort of security in line. Um, that's ah, anxiety is a lot. Um, it's coming a lot from animators, I guess since yes, since it transferring over from the paper there, they're still concerned about, you know, their work being lost since, Ah, paper and pencil being phase out. A lot of animators concerns are the loss of traditional fundamentals. Uh, that I've been lost by Nub's. I'm assuming that since ah, like cut out animation and, like puppet animation, have become a thing. The fundamentals being lost, I guess our how to animate traditionally framed frame a frame by frame. And I guess school's out there and I'm not speculating. Uh, schools in Japan are probably teaching, you know, short cut ways, like cut out animation and puppet animation compared to frame by frame. Under speculating, Uh, I'm sure I'm wrong, but that's a big concern from animators. That's Ah Khan of going digital. Uh, older talent is being left behind and or fired, I guess, since they aren't transferring over to digital and they're still stuck on paper, there's no real need for a lot of them. Switch of companies are digital, so the older people are getting pushed out, and all these younger people are getting pulled in who are digital, like a savvy or they just that's what they know. It's, um, so there's no real advantages. Ah, well, there's no real advances in traditional animation that are being developed, so the people are designing. So there's, I guess nothing new being learned on this is according to the animators in Japan, Um, there's nothing being developed, you know, since everything was done on paper and got to figure things out on paper. I guess they're concerned about just ah, the development of traditional animation being lost, which can be done on digital you can see a traditional animation on digital. I've been doing it for up to three years now. Um so that's a concern of the animators in Japan. So there's no new development being being done in traditional animation. Um, backgrounds are still painted on paper. Um 12. Modify to 11. 15 um, companies responded, Ah, to this question. And ah, so second is still being done on paper like opaque pain and acrylic pain. Ah, watercolor. Um, besides background being painted, there's also ah c g backgrounds tweet BCG that are being created and backgrounds are being scanned into computers and digital backgrounds. Oh, are or the last, um, response within, um, Arambula, um had digital painted backgrounds are the last in line of like how backwards being created . So it's the first way is being created, and majority away is still on paper. After that, Uh, it's C g. After that, it's scan background. I'm assuming that's like skinned designs are layouts of backgrounds and then being digitally colored. And the last is, ah, digital backgrounds, meaning like a photoshopped background. Okay, so getting into the software that they're using right now full shops, Yes, six is ah, being most use if you're doing backgrounds after that at CS five and CS 5.5, CS four CS two CS for the Shop CC and last is CS three. It's That's just the way that they're doing it right now in Japan. Three D Max is used for a lot of CG backgrounds. After that, uh, Maya and very little companies are using Lightwave or Google sketch up of the hand painted background. Absent of being used is flash clip, studio paint, pro slash, e X and painter. We don't really have ah clips, studio painting, and I think they just might have released a version clip studio paint in the States. But it's not like a huge thing over here right now, to my knowledge. Ah, background resolutions. I'm assuming this is scanning and ah, painted backgrounds. So the DP I that they're using right now is 1 40 and after that it's 200. After that, it's 1 50 out. That's 300. So it's 75% of ah full d of, um, sigh of H D scans. So instead of it being 19 1920 by 10 80 p, it's 14 40 by 810. So it's ah with Times Heights. So it's 14 40 with an 8 10 and nights. So they're scanning at 44% of the HD size. The paper that the using the A four layouts and ah, they're skinning a layouts at soon to dp i for for 80 1920 by 10 80. So if there doing, let's say Ah 7 20 p um, delivery of a show. They're scanning at 14 40 by 8 10 if they're doing Ah, full HD Dear Skinny at 1921 10 80 at a. D. P. I of 200. Some companies are going Ah su k right now, so it's ah, more than two times better. The resolution, then HD and those pixels are 2048 by 11 52. So that's an approximate size of a two K size video. Ah, through Into Deep EI is too high for HD, so it's ah, bunch of wasted information, and it's ah, huge file size so they don't scan the images at 300 300 is usually done for prints, But if you're going to dio 80 you're doing at 1920 by 10 80 or less, which is 14 40 by 8 10 And if you don't understand this, I'm sorry. You just might need toe Learn a little bit more about DP eyes that trenches and sighs resolution. I am in the resolution like HD Stettner Death two K four K, etcetera, etcetera. Moving on ah cel animation. So the painted cells that are being digitized or being drawn, uh, digitally, an animation. Most companies air using a program called reddest payment HD, which is by his company called Cell Sis. They're Japanese company. Um, it was an overwhelming response to the question of Ah, what programming using to paint animated cells. All the versions are used and new versions are being adapted as well, so the reason that they use old versions is so all the other companies that they work with are on the same page. So if it's I, I update my salt or but you haven't e I can't send you files my files on opening your software. Even though that reddest does have a backwards compatibility, they aren't 100%. So they, uh, they keep using the old software as you know, two or three versions go by in the start updating that So I didn't newest version, but maybe the version after it or what not? So they're still using old paint man products in Japan. So the list of the software has been used to paint. Animated cells are in this order. It's number one is reddest Pete. Man number two is Photo Shop, which is used less, and fourth of the time flash, which is about 5% animal ink and paint about 2%. It was studio and clip studio pain Pro are lower or does not even being used. 22. Anime Specs 02: so getting matched. Ah, reddest, Peyton, man, diversions that they're using right now. Uh, reddest studio paint man, which is one of the earlier versions are being most used after That is Ah, paint man five and paint man 80. Some reddest studio paint man. Um, they're using it for raster tracing for a gradation and for vector drawing. The files have today using for out putting each cell is a target, which is a t g a. It's ah file most compatible with photo shop, Um, after effects etcetera PSD files, which is ah, flash files are not compatible with red is so that they don't use those files files that were being used in order in anime four cells offer layouts or backgrounds. Our TJ's, which a target is for the shop PSD files which are being used, but they're not being used for probably animation cells and layout picked flash animal J peg and Last are PNG's and P and G's and J pigs are hardly even used as well as animal files. So now we're gonna talk about retouching software. Ah, the question waas what be touching? Software are being used and also being used for viewing images, not just retouching. So the first answer? Well, the first, um, the majority of the the sort of been used for touch ups is photo shop, then reddest paint man. Um, Iron fan view, which I don't know what that is. Uh, Photoshopped elements. Vicks Flash clip studio, pro animal. Lincoln paints Ex N View. Uh, something called Sigman G C and W and last Sigh, which is another Japanese software. Kind of like a photo shop. Um, I guess knockoff I don't know how to really how to describe Sigh, but you can look it that online, Um, as faras three d c g. I'll call it three d cg um, not call it c g i our stereoscopic three d because ah, we're basically just come out. C g in general sobs called c three d c. G um older version. The software being used also with c g. Um, they're used for to achieve compatibility with other partner companies two or three versions from the latest. So look, the majority of the software is being used with three d. C. G i. It's three d max. After that is Maya, then soft image lightwave moto Blunder Shade and other ah three d c g. Question was, ah, APS a supplement. Domain software features meaning plug ins or other, um, other software that the the main software that you're using to create the C G. I can't do so well. Like rendering or modeling. So real flow was is being used for fluid fluid simulation like water. Um, BC I'm sorry. V Ray. Um, is he being used? I guess for rendering, unless you show it be raised for Z of brush is being used for modeling and painting. Mental Ray is being used for rendering motion. Builder is being used for easier animation and for motion capture. So software that's being used most in order from 1 to 12 is real flow V Ray Z brush, Mental ray motion builder affects hair, mud box, city engine render man three D delights, Google sketch up and Polly Trans and Ex Fog Exactly. 13. Ah, Another question About three d. C. G was about plug ins. Um, I'm not too familiar with three d c. G. I don't do CG much. So, uh, the number one answer for plug ins was pencil plus. And then after that, was greedy Max on Lee plug ins, I guess. Just plug it in for 30 Max, then buggin for Maya. Plug in for lightwave. Soft image plug ins illustrate. Other like in house created plug ins and last was final tune. Um, it was stated by animation companies in Japan that motion capture isn't usually used in three D enemy What isn't used an enemy. I'll let you know. Three. D c d. I, um The computer specs for ah three D that they're using Lee now or just in general for animation is, uh, four core. After that is six score after that is a core, um two gigabytes for the computers are majority is 16 Gigs after that is 32 gigs and after that has eight gigs, and the most used operating system is Windows 7 64 bits, followed by Windows XP, Mac 10.6 and Mac 10.8. So the reason for siege guy that are being used right now are three D. C. G in enemy is, um the majority of it is being used for partial information, I guess, like, uh, background moving or animating cars. Um, and then after that, Ah, three d c. G is being used for Ah, full production. Full waves. Meaning, ah whole entire movie like Astro Boy, for instance, was a full three D CG movie. Um, other reasons for using C G in enemy is, ah, character animation. If you ever watch Ah tribe Coke Room, they have, ah, sooty enemy, the characters. But when they start dancing, they're tweedy CG, I guess that's, Ah, an example for you. Other uses were three D. C. G is ah Sesay CG unique effects like clouds or explosions or running water or other destruction backgrounds like forests and skyscrapers or large crowd scenes and animation. They're done in three D C. Gene that necessarily with three D models, but you can do a 2.5 parallax animation. Uh, other uses for three D. C. G. An enemy are monitor displays or media representations like Let's see, someone's typing on a computer. You're gonna have a computer generated image that necessarily a hand drawn image. MEChA action, I guess. There, you know, using three D c. G to do meccas instead of animating them. I d. Soon Gundam or stuff like that and ah, background video with camera mapping. Meaning Ah, I guess when the characters running or, um I don't know where the rial good ends. What a good example is Ah, backroom video with camera mapping means as it was translated from a Japanese document. So that's why I was a little, uh I understand it that translations. Well, another question. Waas um sell shade correction is not made for associative, right? Nothing. Is that made for the facts of render? I guess they're not using three d c g. Cell shading an enemy. Um, it just doesn't look right. And ah, they're not correcting the cells after they create the three d c. G. So they're not, um, fixing them basically did not like painting over them in photo shop to correct them. I guess the ethic of ah do it once do it right is being used when they're using ah cg to make characters and just basic know how, like they expect you to know how to do it. Well, not mess it up so they don't have toe clean up your mistakes when using c G. Um, other software that are being used. Southwark for compiling mainly after effects after that is reddest core reddest being used by a few companies for compositing, animal director and nuke are barely used for still image processing. Photo shop is mainly is and illustrate is being used for, I guess, for some jobs. Ah, the majority of three D CG animation applications. All rise followed three D three DS max, which is mainly used. Maya is being used by a few companies, and lightwave is hardly used. And for editing Ah, for other absolute being used a final cut Pro 80 and flash the aftereffects versions that are being most used right now are CS six CS five slash 5.5 CS four cc C s story 7.0, and six x so the most, Ah, aftereffects of the news right now our CS six and for Photoshopped versions use most. It's CS six CS five slash 55 CS four c c slash Yes to I got still there. They're being used. Ah, the amount same of CCN CS two. After that, it's CS three and in CS, which is kind of weird, um, for smoother plug ins and sell smoother. Basically, it's like anti announcing of ah of yourselves the software that's being uses o l m smoother ps soft anti analysis. Um, cool reddest, which has a built in smoother leah loose move. Um, and then there's, ah, self developed smothers, I guess. Like in house cos guess each camp reporter priority software. I'm sorry, I can't say the word. Very well. Um, gondolas moving and K w effects. I consider other software. I'm not too familiar with any of these. Really. Besides, ah, core readiness and all I'm smoother and ps soft. I don't really know the other some others. Um, when it comes to transferring information digitally, most companies are using hard drives like ah, us bees or just hard drives like pull a hard drives and FTP is over land. Um, if you know much about the Internet, you know, a land meaning in house network and they're also using FTP is to transfer information between companies so they have ah cloud service or a server somewhere, uh, delivery VCR's meaning like old school and low tapes. The most of use R h D cam 60 I for movies and televisions and 80 cam 24 p for television. Etcetera. Like, I guess the Web did is data is delivery data is delivered on quick time for movies. TV wet, etcetera. Quit time. Kodak is the most used. Ah, the best Kodak has been used is quick time animation. And then, after that is quick time animation normal. So it's quick time animation, best for movie and TV s and quick time animation normal for a guest like the Web or DVDs or something like that. I'm not so sure. Ah, the frame rates that are being used our 30 frames per second, which is 60 i filed by 24 p. Um, offline editing is done mainly an avid and composer, well, avid media composer and, uh, premiere pro for PCs. And I don't cut for Mac if they are delivering tapes, um, for air, actually not for Air four sending to the composite er's they're using digital beta and then after that is beta cam SP. And the third is H. D cam 24 p. And it also will still using VHS, I guess just for, uh, offline editing purposes just for, you know, fast editing the most used condom Kodak for editing for sending files is quick Time H 264 Then it's quick time. Devi, after that is quick time best. And then after that is avid. Um, they're cutting in 30 frames per second, which is a 60 I, and then 24 frames per second, which is 24 p. And for airing ah, animation on TV. They're using quick time animation 30 frames per 2nd 60 at Kodak. Um, they're using, Ah, a bit death for theatrical releases. And after that it's, ah, 10 bits after the 16 bits. So that's ah, the file sizes and storage and the bit death that they using for, um, theater and television. That's it. That's all I got. I hope this makes some sense. I'll try to show some grass if I haven't already. Ah, within this video. But other than that, that's it. That's ah, all the specs that I have right now for you. So thanks for watching 23. Lenses (Sizes): everybody. Welcome to a quick lesson on lenses. So right now you're looking at is a zoom on the left and a doll in the right. P Close attention to the Dalai on the right. And look how the background changes and how the zoom on the left the background stays flat pretty much that's the difference between a dolly and assume he's a real world example. I slowed down the video. See if I can show you the difference. A little better underwrite. The focus is locked, meaning that I didn't pull focus, so I didn't focus on any object. I just love to focus, as is as a dolly, then so notice how the background changes on the right from the left. The whole frame kind of stays flat. If you're doing like a 2.5 d parallax back removed, the background should change. Now this is just examples of different size. Lenders notice the focus and the distance between the foreground and the background elements and how they change. No, it's also off. The background is at a 5 35 millimeter. As we start pulling out, getting to ah, lower millimeter, things start to get more and focus, not an 80 millimeter that I have. I couldn't use a macro. Focus close like to get to her face and keeping in the same frame as the other winters. So light, yeah, IOS your white balance to solve the aperture on the camera and the lens all determines how much focus you haven't a train and what's in focus opinion. Well, your focal length of that knows how close the character in the back looks compared to the character in the front. In the foreground, when you have a larger millimeter, lens flattens everything out. Example of a pan down example of a tell them example of a Swiss tilt paid, such until his perspective of how character changes as it passes underneath the camera. Go from Tina Fey's. It's seen a type of ahead same thing with here and noticed about offer Chin. You don't see it, and then as it passes, you can see more fortune. Same thing with the shot. Nice to see you front. And then as she gets closer, you see on the region bird's eye view worm's eye view. That's tilt. That's it. Uh, Join me, friend. More lessons 24. Layout Final: Hey, everybody, welcome back. Stays in a quick lesson on more way out stuff. So before I will show you the parts of the layout, this is the time of the overall cut we have, Ah, the cut number over here. And we have a seeing seen at number over here. I also included a frame number. Just so you know what frame you're layout is and I got to simply from Asia. I believe it's, ah, the animation Japanese Association. Uh, that's what the acronyms this says frame one right here gets a good change that when you need to I'm using sketchbook pro seven, I believe. Ah, it's my auto desk. You should be able to find a simply on the classes website. I uploaded it, and if it's not there, it's let me know, and I'll re upload it for everyone. It will come in Ah, PSD file and ah, let's get started. So taking in the theme of my, uh, my mom gonna stick, what I would Teoh is I would find myself a background if I, uh, don't have a background already. So here's the background of my little kiosk. When I originally created this I also created a floor plan. It might be a little hard to see. So I included inside this floor plan, uh, places for shelves, uh, door for the basements. I have a folding chair. I have a towel rack and a toilet in the bathroom, which is of behind this door. I have a bent, which is the spends out here. I had a vending machine at, Goes out here, and under the side of that vending machine would be a sink, which would also be inside behind this wall. I have the bathroom door that the way that goes outside. And it also indicated how it swings out. So this is the door right here to the outside. I also included Ah, counter well, which is this counter right here? Ah, stool. Which would be on the other side of this wall on the inside. The registers you can see right here. I put in awning, which is this red thing right here. And they also seeing the kids of the other side of the counter, just in case I didn't realize that there is, uh, two sides, you know, left or right side of the counter and This is a character replaced on a bicycle. I was thinking maybe it won't be the owner or someone coming to look at the the manga that I would have placed on a string somewhere, that's for sure. Exactly where I would have put it yet. And over here was just ah, quick sketch of what the original shop owner might have looked like. And this is like a consulate concept slash layer layout image. This is very early work of mine. Um, I had the idea for a while to do long on a string. I just haven't had the time or the financing to actually do it properly, but and I didn't might. Layout design. I included the the floor plan for, uh, for my initials, Uh, seen my initial set more or less. And I created the little kiosk which might become a bigger store. Uh, initially, I believe the story was about, um, the man's kiosk in Japan, a small town. So initially I created this kiosk so I could ah, be kind of genuine to the to the forced material. But inside of my, uh, other lesson and storyboards, I was showing you how I uh, created an interior for the shop. So when the woman walks into the shop should have something to look at, so created shop. So in ah, woman walks into the story asking they have Ah, the lettuce Noto manga which went this time in real life. Now it owes ended. But inside the story it's going back like 2012. I, uh, I created stop interior foreign storyboards just ah, to show how story words can work when you're doing enemy. And every director has their own way of doing things. It varies from ah, Studio a studio director to director. But for the most part, the visual language is still there. They're still creating every shots which would be a cut be considered a cut in Japan rather than a shot. Just same meaning different terminology. So if I was actually gonna do a layout for enemy this right here, this concept slashed layout would have been done outside of and the layout for the screen itself. But it's necessary to layout all the our information onto ah, an image like a piece of paper or your digital file, because you need to know where you are when you're inside of your scene are inside of your cut. So let's say I was Ah, so let's say I was gonna place this character and the bicycle inside of my shot. I would know that this is a front and that the character would be on the bicycle here, so a floridly out is necessary and you should use them. So when you're doing it layouts, you don't get lost on where the character is specially. So that's the reason why we do layout schematics like this and as well, we designed background and the environments. So when you're doing a layout for animation, specifically enemy, you're gonna have this in black and white, you're not gonna go off and create a full color design, because all you're gonna be doing as, ah, messing yourself up. There's ah ah! When you doing your color schematic, there's a whole other stage for that. So it's paralleled. Sue that layout stage as well as painting backgrounds, so that she's in colors for each cut, choosing colors for the characters for their clothing, for the tone, meaning the time of day. If it's morning, it might be a little more blue if it's I'm sorry. It won't be a little more, um, Orrin G or yellow or even whiteness. It would be oversaturated if it's like during the summertime and if it's at night, will be more purple. E. It's like indoors might be more little or orange. Yellowish depends on of the art style in the color direction you're going in. I try to show you some sample of that if I can find them. So since I already have a color design, what I would do is basically just trace over my background right now. And I would stick my character inside of the cut, so this would be, ah, pre layout for my cut. And, of course, if you're doing animate, you play be a little bit more dynamic with your camera angle. But for educational purposes, right now, I'm just going to use this image since it's simplified and during its cut, the angle's gonna change so it would get more complex or just different as we cut in closer or re coming for the way from this initial background image. - So as time progresses, um, in Japan, they are moving towards more digital production since it's a low cost alternative to drawing on paper and doing paper paintings and layouts. And you can send information faster between different departments or companies or clients when you're using digital, since you don't need to scan or you need to shoot anything on Q A R, which is a quick actually quarter, which is basically ah, playback of your frames compile into the cut itself. So basically just shooting in the animation and playing it back like a and a Matic almost just for testing purposes, and they would use a machine color que a are quick action recorder. And in digital you can use lots of different layers. So you're not stuck with a flat surface and having to erase uh, characters. I'm sorry, race parts of your background when you're doing layouts or anything digitally. Basically, you could just create layers. So if we're going to stick to the theme of having our old man that she be sighs, you know, I would have him just here and you There used this later for uses later for a frame and this enemy to this, Or if it wasn't. Ah, if it wasn't good enough, how we basically have to go back and create a new frame for it. But when you're doing animate, you have to kind of be cautious of time and money. So you want necessarily. Always, Ah, not use your layouts in your director who we'll be doing. A lance would usually be on on point with their lance cause that's basically their job. And, of course, layouts changed. Just like anything else that's hard to see him, since it is, Ah, black on Black especially. I would just create a character against the background, so I couldn't tell, uh, one word. My perspective perspective is, and I could determine how large my background is. So when I hand this layout to an animator, they can animate properly, and it will match up with the background painting of this cunt, which just lay out what also go to a background painter in case they haven't painted the background prior to this. So either the layout person or the background painter are working off of one another, so it's a background painted beforehand. I would have that, and I would use that for my background in my layout. But if I created the layout first with the background sketch. That layout will go to the background painter, and they would use that to paint the background. So it's all every department is working together, and not that times are working at same time. Simultaneous way as well as the production assistant is Job is from the beginning of the show to the end of the show, and they're there at every stage to make sure everything goes as according to schedule. So let's say if I was gonna change up my character from the old man shop owner to the more recent ah design of the panda bear, I would swap out the characters so I would get rid of the old man character. And I would draw in my panda bear sense of panda bears pretty big. Um, I kind of don't really fully offhand. Remember how the panda looks. But if I I was doing this for production and if they're doing this for an anime, they would have their character designs in front of them on the desk somewhere, so they know what character looks like and keep the character on model, or at least a good representation of the character. So an animator gets a hand on this cut. They know exactly what character is where and what the characters should look like. Sorry, Panda is a little what ordinary looking? Nothing, really, to ah, to the character that's we're two. Kind of looks like he's little hunts back in this one. Come close. Even though my initial design didn't have any clothes, everybody looks like that. It's like a bear. So this is quite simplified layout. I have, ah, perspective going on, and it's a sending way off the page. I have my character, and if this is going to be a production layout, I would definitely have this character doing something because it would be probably be use in the animation pipeline. So I would have, you know, whatever cut number, this waas, whatever sequence it is and whatever frame I would like this to be and the time of the whole cut itself. So let's say this was ah, three seconds close eight for names. So it's akin to the storyboard timing you think a what? How many seconds Plus how many frames Oh, cut is gonna take. And you'd have time this cunt either at this stage if you didn't do it in a storyboard stage, and he would use that time to animate the whole entire cut itself. So in an enemy to get a hand on this layout, they know exactly how long this whole cut is supposed to be. So this is the production layout. It would more than likely be very loose, not so much tied down. But you want to have the information that's inside of the cut itself. So let's say I, uh, had the panda bear and he's sitting on the stool. - So when you're doing layout, there won't be any dialogue indication. Dialogue would be writing on a storyboard, and the layout is created from the storyboard itself. So you could either use the images from the storyboard and basically just enlarge them and just make a better image from that's story Bored? Or if there's a revision that you need to do, Geo, you would advise that image in the layout if you don't have time to do it within the storyboard itself. So if we were gonna draw the panda bear inside of the kiosk are inside of the store and he's bored, that's what he would look like if he was inside behind the counter. And so if we removed the part of him that's supposed to be behind the counter, it gives the appearance that he's now inside. So if I took this and they handed it Teoh, an animator, there were no that This cut itself is three seconds with eight frames. So they would to their key frames and then do the breakdowns on and after the breakdowns that put the in betweens. And if they we're in outsourcing the in betweens to another company or country and a company within that country, um, they would know that to whomever gets to do the animation all the way through key enemies, the key animation and as well as the in betweens. They know that this is how long cut is supposed to be and that this layout itself this one frame within that three seconds and eight frames to be from them in 12. So they could work off of this layout and animates. But know that this it's framing the little out that frame them. 12. This is what the character should be doing. So I hope that made ah little more sense when it comes to doing Lance of seems like a fine and some examples for you guys and talk a little bit about examples. After this, the animation process would start, went told on layouts are done and even just absolutely, outs are done. Meaning, like I just created this layout. Now hand it to the animation apartment and someone will start working on it so that you cost in ah, quickly at and would be moving on to the animation tsen. 25. Layout Examples: Oh, what's going on, everyone? Here's some examples I found online of different animate and their layouts. If you notice that the bottom of these two first examples which says book book means it's part of the scenery, but it's depart is in the foreground now there's different ways to do layout, some layouts and more complex and others. If you like Hyo Miyazaki, you're probably doing very detailed layout. That's just the way that he does them. Where is the right to do? For example, from Spirited Away, this director used to differently out sheets to show ah, pan up. So there's different ways to do layouts. I guess you can say, um, for instance, this layout seems to be an old anime. It's a four by three frame, and they use colors to identify and shadow market. Here's an example of perspective being used inside of a layout. He was a simplified example of the layout. Here's Ah Miyazaki's studio Jimmy Lee movie lives upon you. This is unknown. Later I found online. I used it the base for this, for the layout in True And since everything's going digital, more and more, uh, studios are using Parallax backgrounds, which are three d ah, three D cameras using to the elements you could see the example of the software they're using is probably Maya or 33 DS Max to lay out the background. And this is a composite Ivo Composited, I guess. Ah, image from that layout. Thanks. 26. Colour: Colour Scheme Lesson 01: everyone. What's up? I just wanted to give you a quick lesson on color. So right now we're in Harmony 11 and I have a scene open up from my universe. Trouble Museo Episode two So waiting on Network Buren Now. So right now Or you see all these nodes and all these nodes correspond to the different layers and effects that I have on, uh, this country as well as composites and displays, as well as what's being written by output. So a video file. When I compress everything to one video file right now, we're going to be focusing on color scale. I'm using color scale just for an example of an overall color for cut. So I have all my layers in one composite that's being fit through a brightness, which I'll turn off because I don't need it right now. And it's going into the color scale and that color scales being fed into a composite. So we switched over to our camera view. We can see the frame which is about framed 41 and about ah, 81 frame cuts. So if I open up my editor for my color scale, I can show you. What color does Teoh cut? So you're shot. Let's say you finish your shot and composited it and you have your background glater, and you have you for well layer and you have your mid ground layer so color can affect a scene drastically. So it seemed we were going Teoh up value of bloom. We could turn day shots into somewhat of a night shot. Of course, I would balance this, and she's a correct color. But Blue instantly gives a a different look and a different feel to the scene, as opposed to the original. It's the color can effective and moves. You can get different reactions out of your audience to pain. What color uses. So now I bumped up the green. I'm sorry. Bump up the bread, Sedano. It has more of a romantic feeling. Us changing hue and saturation also gives it a different feel, of course. And I'm just using these at random just to show you different looks that can be achieved so I could be, like somewhere ghostly a dream are if you're depicting something on like an alien planet, maybe something unnatural. You're saturation changed that and have a dramatic effect as well. What we d saturated, you tell him to say all the color. It becomes a grease scale or a black and white. So everything color wise that you choose to dio effects the mood and the tone of your show . Even the colors that you choose for characters can make people feel different ways. So you have to keep in mind when you choosing colors, different effects that can be achieved as well as defects that well be impressed onto others. Those who are watching. So there's a lot that can be done with color. So I hope that made ah, a little sense of what color can dio. I'll try to get more into the subjects about color and coloring characters, right? That was just an overall, Um, look for your country color can effects. Like I said, where your character is because your characters are can affect how people feel about them, um, different countries on people who were born there, they all have different notions of color. Color is a universal thing, but different colors mean different things and different people and the origin of their birth, and that is the origin of that birth, but that they grew up in a certain country. One color could mean ah, good things in one country. And if you use them, uh, in a design in another country, they might not have the same effect you might have. Ah, negative effect. Or instead of a calming effect, they have more agitated effects. For instance, the color red. Um, it has a universal, um, I guess the universal appeal are universal, um, effect on people that it supposedly makes people hungry. So that's why soft drinks and places like McDonald's and Burger King and Wendy's. They might use the color red a lot in there packaging. So people subconsciously are constantly hungry and they keep even basically. So I know I had it. Her hair is, ah, with a tone of red. I don't want to make anybody hungry, but it's a thing. So I don't want to keep in mind all the effects that's been color, and you might want to do more research on it. Thanks. I hope that makes some sense. In the final cut, Pro X and I wanted to show you some different looks that they have built into final cut and getting back cereal color and how color can make you feel are changed your view on what you're looking at. This is an overall color. Right now, um, the color set stage would have been done already, And that's why I have my character already color and my background painted. But this is an overall feel for color. So if you're gonna do staging, you know you're compositing in your you know you're picking your shot. It's part of the layout stage, and it's part of the the concept stage you're using color Teoh provoking emotion with people, mainly your audience and the right color can make a break, a scene or a cut. And, uh, this is an example of what a scene could look like. I'm sorry what it could look like with different, more or less filters on the scene, so I'll just play back. Normally, this is a work in progress for universe. Traveler to episode. I'm sorry, UNIVERSE Traveler Episode two It's a work in progress, and, uh, I don't know if it's if you're gonna make it inside the show, and there's a lot of work I need to be redone. So just for educational purposes. This is what it looks like. Okay, so are red headed. A character was 13. What you saw. And, uh, I don't really have a character named for the squirrel. I guess I'll just It's Ah, squirrel That, I guess, mutates. Um, if you want more information about my share, well, I'll let you guys now, but right now we're focusing on different colors and how they effects. You're cut. So right now, let's say we have the same cut, but now it's it's in black and white. Now it has a more, uh, old school, you know, event IDs. Look to it. If we were gonna age it and put like a fake film, look on, it could look like this. Make it look like it's from, like, the 19 seventies or sixties or something like that. Damaged old hasn't texture to it, but it's still, uh, so looks a little vintage. You can make it truly black and weighing. Treat you like a bleach bypass on it. It kind of the saturated the colors gives us it. It's at home, look and feel looks a little, little filmic, maybe like a late seventies early eighties type of look, you can, uh, given overall cast once again, it says it looks like an old black and white, uh, animate from like the late sixties Are you know, 50 sixties? One block away, I guess, was still around. Still another different of a color filter. Looks like an old, uh I spent a maybe type of film. You over contrast everything If you turn day in tonight everything was more purple er bluest James The time of day with color as opposed to the night, The day for night compared to the original to make your character looks like it's ah in the desert So we're dusty looking brown this sepia tone it having a little blurry like it's a dream All these effects, they just effects But they dio change the emotion of the country And you have to keep that in mind when you going Teoh composite And also when you're doing your concept design Yes. Keep in mind that colors and filters and all anything that's visual world effects How your images are receives, add noise, gives it a texture, makes it feel a little bit like film that its star. So there's a lot that can be done when you're doing color and using light and on his own, you're using light and dark shadows as well as highlights. Just remember, keep in mind, Thanks. 27. Animation: everybody. What's up? Right now? I am wearing a goofy, uh, had contraction that I created to try to teach you about traditional animation using paper and pencil. So I hope this works. If not, you'll never see this video. So using the tools I'll be using today abusing Acme the Acme Pick board, which has Ah, a round peg middle and two up along pegs attend. I'm using 12 s size paper, 12 field peeper, acne points circle in the middle. So you have long punches. And on each end, I would usually use a Tom Bo pencil, which is a to B lead. But I don't have a Tambo with me here. So I'm just using a Bigler to be pencil that you can find in any school supply store. And I would usually use blue two enemy and then use this to, ah, to go over. But it was over, and shopping in my lines went since we straight to a time, I can't do that. And blues, it really doesn't show well on this camera that I'm using animals using these paperclips see what to do off pay registration as well as to whole papers together when using. Ah, I'm animating and I'm not using a paint board. I also have a light box which I purchased from ah, life eliminated a couple years ago for about $135. And so, um, I just had a computer crash, so that's tries again. So Acme paper and I printed out my my pen bear lab. She now you can see that. And don't make an attempt to, uh, enemy a little bit with this, I'll show you how Trista animal usually would be done. Uh, on paper. So what I would do is take my pegboard and I'll stick it that paper on my pit board, they don't take my layout. And I Would you just tape it underneath on any of my light box? Oh, yeah. I also have a incident extra. So if you can see and ah, that she is Ah, what? It would be what animators usually would use to write down on what's happening on, um, each frame and they would given action if they need to in camera directions and with the air and whatnot. All right, hopefully you can see this. It's kind of hard to do this, but so usually I would Prentice eloquent though the layout onto F 12 paper. All right, I don't have that equipment here. So what I'm doing is I'm just gonna Treece the character onto the paper. I hope you can see this. It's hard. It kind of hard to do this, do this video using a head camera. So since I know that my Barry's here, I basically just trace him over. And right now I'm thinking about just a character. So I'm doing in light trace of the character when I'm animating. I usually wouldn't use my light box unless I'm doing in betweens, and I was just try to finish off the character kind of. So I know where the rest of them is just accused of frame changes, and now he's sitting on a stool. Hence tools totally way off. But since he's a big player, maybe yeah, it's just like they're coming to his weight. So it's just a big not since those action second place behind this wall. You really don't need to see it. You need to see it like that. Just doing it just for purpose is off this demonstration. Now that we have are better. I would start animating and the reason that he's they use the top pegs. You know, anime is because instead of having to do this with your paper, which is called rolling Good doing that paper, which damages your paper and gives it all these funky wrinkles, you do a foot so you're not damaging the paper you doing is this movement and you have the top pigs going. I mean, I'm damaging your paper too much. That's one of the reasons why. And they don't use animation discs in Japan or Korea or China. Maybe China like Taiwan. Let's be sure, Korea and Japan, which the ones create, animate. They use a light table for light boxes so they're freed up from any, uh, contraptions. Do not stuck to just the desk so you can do to get from any angle, and you could do is on a animation disk. You could spend it, but it's a lot easier to do it with just a light box or light table. And so let's say I just have my This is ah, my first key friend. I would usually Preta don't usually be ah timing chart here if would resemble coming right here, since he was sorry Camera, See which is the look bottom layer. So we would go one start with one, and that would be a key and we would label on threes. So we're shooting on threes. So we go 123 frames and that's a hold. And in our second frame would be 12 three frames. When you hold that for three frames and then our third frame would be 123 frames and that's a hold and we'll go all the way down the page, animating on threes. Hopefully, you can see that it's Ah, that's hard to dio with this head mounted camera. So that would this timing she this extreme with the I can, too. Our timing charter here. So this will be our first key. And let's say I don't know. Uh oh, I was also are key. That's key. It's Ah, it's a sheet. It's not so much a frame that I'm kidding here, but usually indicate your frames, so I'll be framed one now between five. But since we're doing on threes, I'm just using these numbers 1 to 5, just for purposes I hope that doesn't mean, uh you too confused. But let's say this is key one. And there's correspond with frame of a here and this key five with correspond with our extra five here, I hope that makes sense. And if you need to put in between, you would go When a one b one c I'm sorry that horribly racing and be from one would be and be one when a one being him. You pushed down all these numbers as needed so you'll see d if you need more space. But you'd have to resolve this and I wouldn't suggest you do that if we need more in betweens, I would not start filling out my ex chief until I am going to die more thought with my frames. I hope I'm making some sense to you. That's kind of early in the morning and trying to be a little, uh, quiet cause it's not the people who hear the office. We're working. So it's into tire from one our key one. I'm gonna create key number five on this joint, and I also put the chart on here, so I know where I'm going. So this would be number five. So it is to be five seen. This is one C and si means what layer it ISS because B would be in temp ACY and Aaron be incentives BNC. Since this is since his character is underneath, that has to be later see, And this top lay on top of him would be be that would correspond with to be and see on your timing sheet. Such is to be fact see, is it one scene and I was create oppose that he'll be moving into So let's say he's Ah, uh, let's see his head moves that way in his arm goes down So you gonna doesn't like I anapa position And for every part that moves, you can have a separate chart. I'm not saying since he moved it's hand, you could have a separate. Or for that and in the Cape that it's gonna Christian in. So is as he moves through, he slows down at the end. So he does a Christian, and the state would be very rough. It's really see doesn't have another year in this, so already you can see him being animated even with just the two frames and his arm is wasteful. So when I'm checking for when I'm flipping somewhere in there, all these lines are going. You want to keep your volume, which means the size consistent. So you don't see image is growing or shrinking as your any reading from here, I can move on and put him in between. Last year, I put my breakdown, which would be number three. I don't know if you can see it, but you see if I can make this chart a little bigger for you, huh? So let's say this is number one, and this is fine. The way I'm gonna see here have these numbers are these frames would be closer to number five, meaning that the action could be closer to his would be closer to sing on the five. Number three is right here. It'll get the appearance of this motion between number one, and number three is fast and it would get to four and five. You seem like it was slow down more. Actually, when we get to number two, it'll slow down more. So we'll do this and you'll see the arm going, uh, body going on slower now. for this breakdown. I still might not use a light box, so you can see that llegan see the animation even within just two frames. And these are horrible pencil. So enemy with that's what you know, let is really not the best, says he sees animating even just with two frames. If I put in Number three, which and if you'll be able to see very well, I'll just turn the light box second easier for everyone so well, I'll so I'll show you how to get in between number one and number three. So if you need Teoh final positions Oh, the character can you don't want to use light box can use a little dot to indicate were, Let's say, for instance, the top of his head is something the kidding where the top of his head is. So just to be out number five and this to be on number one key frame. And since we're cushioning and oh, let's say this one before gonna be three and every two so this would be where the top of his head will be on the third key friend. So I know that's the middle of his head let's say he's still looking up. That's how he looks up since his head goes down Kind of hard to see. And if you could still see through this paper, remember your arcs animating and leave loss from the three. And it would be a great town, so we underline instead of circling it. So now if you take all these papers important to me, he takes it off the peg. Let me put it back on in order. Okay? Actually, put it the wrong way of summary. Okay? You want your last room to be on top, So if you can sell before you can see him animating even it was just three frames of animation. And then after that, we create our key frames that I'm breakdowns you go in and we would create are in betweens and in betweens. Animals are usually done overseas just to save time. But if the the company itself has in house in between, there's which is rare these days. They would take the breakdowns in the keys and they would give it to them in between hours . And if the animator let's say, uh, the key animator does his own in betweens, then I guess that would be even better for the company. But it's a rare because of budget and time. So the more time you're spending, uh, what's a good key animator? That's doing a lot of great work and they're wasting their time doing in betweens, which is menial work. Then you're you're wasting lots of time and money on I having a that animator, the key animator doing that work, so to do in between. And would you use a light box if I'm not using because I'm going digital in and meeting and basically in between is literally in between the frames. So right now, one between five and three. So I would choose either that would This is five and three. I'm doing a friend of the floor and I wouldn't circle nor underlying this frame because it is an in between might just indicate the layer I find you to Don't follow the timing chart , which should be done on side of a here, which I neglected you. I'm sorry for three and two. So when you're doing a time in charge inside, you want to indicate your breakdowns off larger illustration or lying and pushing out more so you can see that it's a breakdown. And you can also in the cape the distance between each key frame. Embratel by using, uh, loops. I don't remember what they're called. It's been a while, and this is indicates the jump between the key frames and you're very towns. But there's something different ways to do this. That's just one way following the timing chart here and in other before is closer to five and awesome in the middle between three and five. I know to basically put this drawing right in the middle. So let's say the year is here. I know that destroying was gonna be right here. I know that's where his here is gonna be, and you're basically just putting the character literally in between. That's hard to see. I'm sorry, you know, kind of rushing. Just Teoh get through this because have a lot of work to do. You know, it's not fair, Do you guys? But unfortunately ah, I just have to make money. So this is literally in between going in between each frame in line and like I said before in spring, still, just just for the sake of this. Listen just so a know where this character is sitting so that we can take all are drawing sucks far compounding pink and we contest our animation trained. I would like to see her character move even know it's not ANA on model right now. Meaning between might not look like character is supposed to, but you get the movement. And then from here, you can tie down the animation. I put the character on model, so I hope this made some sense. Now I see a problem. Number four is a Some of my number four should be a lot closer to To get more indication, that makes a little more sins. And now do this. Listen again and digitally. So be clear. I could do more digitally than I can on paper with the time restraint. So that's a quick listen on animation. And ah, I know it's not the best. But if you I learned a little something and they hope that no hope it's a little clear on what you have to do when you're in a meeting, and this is a really basic bare bones quick listen, animation and, if need be else possible. You there continue on to be more and a meeting after duel. The lessons I've planned out for information out here, the more in this class or I'll create a whole other class just for animation, depending on, uh, how it's received within Ah, this class. Thanks. All right. 28. Shadow Markup: everybody would say I'm a little sick today, but I want to do a lesson on what's called a color market when you're doing animation and you're joining cells and what that means, uh, in relations to animation cells. So right now I'm using ah Kohli race into go blue pencil. It's nothing special. It's ah, animation pencil join pencil. Um, excuse me, I'm not feeling so well. So if I own sounds great, that's the reason why. So I'm just going to start by drawing Ah, animated looking have a character. So I my, uh, light boxes a little uneven. So what is gonna start? And Joseph Randall character is not gonna be a very best drawing of a character. I just wanna give you the understanding off what a color market is. So just bear with me while I just joy random character and I have nothing said This is just a dream of consciousness. Says she might outlet so awesome. Now we just character, I don't really want you to fall along joining this character. I just I want to dry something random second once again emphasize on what a color markup is . Mm. - I don't really know, just Jordan random stuff. All right, so let's say we have Howard our character right here. I'm nothing special. Um, I don't know if you need me to emphasize her, and, well, it doesn't ensure very well. This is just ah, number three medium hard pencil. It's a drafting pencil, but it z to faint than this. Blue is in legal. Blois. Teoh. Mm. It's too strong, I guess, to see the the regular gray pencil. So, uh, all right, that's right. Now we have a character and what a color market is. Did you take your character? Mm. Hopefully you can see that of Weaken. See her? She's nothing special. And what you do is you flip over that sheet and you probably like me right now. I can't really see Went to the paper, so I'll just turn my light box. And if it's hard for you to see, I'm sorry, but what color market is is basically, you take your primary colors for color, Marco, which are mm blue for shadows. Look for shadows, read for highlights, and you want to indicate sometimes where's like, let's say skin you indicate with the yellow and green. You'll just fill in those spots where there's, uh, shadows are highlights. So, um, how this pick spots and where was I the shuttles to be, which is usually where the hairline is underneath the nose, maybe a little bit beneath the chin, beneath the eyebrows without eyebrows. And I meet. So over here, um, I put behind the air sometimes Sometimes I put underneath the sleeves or the shirt meets the arms or the body. And you could also indicate your shadows, wherever you really want or your highlights is all up to you. But since light is usually coming from above, it usually real puts generalists here beneath the nose underneath the eyebrow. Uh, right here, you can see its shadow on my sleeve, but my sleeve, my arm meets the shuttle there. Stuff like that, it's kind of general, and highlights, you know, is considered. Top had highlighted. See my forearm. It's highlighted cause but light sources, uh, back there a big light right here. If you could see it, it's a there. It's illuminating. And they have ah, backlight. Also, it's a house like that's coming but from behind me. So I would indicate the top of the head, maybe give like a hair low, which is like a light halo. I would sometimes indicate the top of the nose you can see like my nose is being highlighted right now because of this light back here. Um, side of my face where the light is get indicate that if you want maybe the top of the ear there's some highlights in the eyes. Depends. Ah, the shoulders again, Kate. Course of the shoulders, and that's pretty much it. And then you fill in. Let's say, for instance, uses like green for the highlights, and you fill it in just so you're colorless. The person actually was coloring the image knows what? That actually, what block of, ah, colors supposed to even notes indicated by a blue red outline. It's just coming practice, especially when you, ah, you use the scanners to scan this into your computer. But since everything's going digital these days, this ah, this process on paper usually is not done anymore. Well moving, really. It's gonna be phased out eventually, and so what you do is once you have a color markup, you're gonna scan this and name it properly, and you're gonna skin your cell properly. So you know what, Selim? What color markup is attached to, And then you basically land those inside off whatever color program we're using to call your animation your animation cells, I'm being, uh, tomb boom studio harmony Enemy pro. Uh, read this, uh, paint man. Um, flash for shop. Wherever you're going to color your cells. You know what color markup is for what cell? And you also gonna animate these color markups as the cells go by. So if this character, it was a different position, You want to animate the color markham accordingly, to whatever position or pose or whatever that cell is. You wanna enemy this color markup to that specific pose over drawing or sell, or Kia break out or in between whatever you're gonna do. So let's do a quick lesson, uncover color markup. And I hope it made sense. And I apologize. I'm a little sick, but I just want to get the stuff out to you guys, and hopefully it's gonna do some good for you guys. And you could learn something. And you could, ah, be better at what you're doing. So peace and I'll talk to you soon. Still grounds for our next lesson. Right back 29. Traditional Animation (example only): - that's lazy Animator syndrome directed times using Don't like it? I don't like wavy. 30. Thumbnails: All right, everyone. So right now I'm some sort girl. Quick, about some nailing some nailing is basically what it sounds like. It's joined little pictures for your animation. So you lay out your animation in thumbnails. So when you go to animate, you're not stuck trying to figure out the actions or you're no trying to figure out poses or, uh, you're different beats when you're animating. So you wanna, um, thumbnail at least, uh, stick figures. If you have Teoh, if you could do a little better than that, that's great. But you just some now a little bit of your animation and you'll have an easier time animating your cut. So my now, to show you like something really quickly, I'll use the example of the panda bear that I drew for manga on a string. And ah, I'm just doing stuff in my head. So there's no real daily tales to him. There's nothing real special about him. He looks like a black and white panda. Um, so if I got the you know the characters a little off model, it's OK, because when you're animating, you know you're gonna put the character on model once you do, You clean up. And once you get to that stage, so please bear with me. My voice is kind of going a little sick. I think I might have the flu, but I wanna show you something quick. And this is a another quick licenses. Let's get to it. All right, So when we're had a panda bear, um, he was basically just sitting with his hand on his is his head resting on his hand, and he was sitting down on the store. So I basically just had his You are just I was actually it was my bin a little closer to his face. Let's just reset. Seeing the great thing about some nailing as you don't need to be so rigid and you don't need to be so clean on the drawings, you could just free form and you can get your acting somewhat done when you're doing your thumbnails. So you're not getting stuck. Let's say this was one and you don't really need to Ah, number. You're It's something else right now. You just want to focus on your acting. So let's say you like this. Any slowly just fades away and he goes into this position. So let's try to some now that a little bit. So it's a ah, I see it. I just want to get down his last position, which be his other key. And so that's just Ah, join down here his head putting that way, pointing the way towards what he was looking before. And if you got little line in his face. And, of course, if she's sleeping, his eyes will be close. In his case, that would be indicated by a line because he really doesn't have people's. I'm sorry. He doesn't have. Uh, yeah, I guess people's would would be the black parts of his eyes if I'm wrong. If it's the iris done, forgive me. But let's say he falls into this position for his heads dressing resting right down. So he goes from here the year at the end. So those will be our keys, and I'm not gonna label them right now, but you know, is giving indication he's sleeping. Um, so you want to do like, little thumbnails Anyway, Mind off may put, um, in between thumbnails as well. So use a sauna. Maybe he does a little action. Uh, when these are not totally not gonna be use entirely. But if you do thumb now, as you get a better understanding of what you're animation can be and you're not struggling , so let's say he just ah, yes, little drowsy. Like I said, I'm not going to keep this character totally. I'm model right now. Um, you Maybe this arm starts to raise up. Maybe those rays up where he's, like stretching or someone and you know armas well. And when you also doing thumbnails, you could leave little notes like, for instance, these two arms. If they're raising up at the same timing, let's say they, uh the ease out is and and you go fast through the middle position. I see this hasn't no position is a doesn't. You might want, you know, indicate, like to yourself or your animator. You know, no 20 of arms, meaning that you don't want this to happen. You maybe wanna do in action. He's like this. I mean, his arm drops down, this one goes up and then there's one follows and he does a little stretched a little. We go on and what arm starts falling down and the other one follows. You don't want to do this, uh, have both arms come down. It seems a little lo week, and after 20 means you're doing same action on two different sides. But you're doing the same action. So you're mirroring the action was just something don't want to dio maybe do at times what , most times, any animating you wanna, you know, have one arm do one action. The other one does a different action accepting with on that so much of legs because, like there usually just walking or you're standing or you're laying down. But if you're laying down kicking your legs, you know you wanna kick up, Yeah, one at a time. Or, you know, you could do a stretch, but have, you know, do something like that and, you know, has you follow through? Yeah, I could have one arm, you know, rest somewhere. Elson have the other arm rest of wells kind like a come through push hands. You know, you're you're moving your arms, but not at the same time. During the same movement, at least each on ultimate. Any sense. So I was indicating no 20 and ah see, maybe tonight if I'm gonna use that later on. When I got an enemy, this character again and ah, maybe after he stretches, he puts his head down and he's thinking, maybe not going to sleep, maybe his eyes getting a little droopy, but, um, that may be the arms. Yeah. I don't find out. Uh huh. So, you know, to keep going and ah, you know, maybe that arm his left arm, couples, you know, a little slower than his right arm. So it is different. And he could indicate, you know, you could indicate ah, different times different you meantime, charge for each Amish. Want what? Ahead? Whatever. You know me that had does the turn and you want to turn real slow and very even The arms are moving and once moving fast And then Xing out and villains easy and and moving fast When it goes out, it's all up to you is you know you'd wanna time this You want to act it out? You want to do the motion? You know, uh, you know, do a little stretching. You have won our fallen. They need a hulking this year. Sleep position. You want to time it you want to act it out? But this is, you know, some nailing. You're just working out ideas. And, uh, i'll just do one more thing now, maybe it will be in between here and here. And, uh, you know, Mariam may be this year's do something interesting. Maybe because years just flop down like a like a deliver cats years will do and maybe his Ah, his nose goes up before he goes down. So you're anticipating his head going down and maybe she's looking up, he's looking up, and this his left his right arm starts going into the resting position. So it's just family drawing that you get the idea. Hopefully. So his head goes up anticipating, and then his head goes down through rest. His arm moves as well. You get indicate that if you want, it's all up to you. So, um, you could take these thumbnails and he could put him in an automatic real quick or ah, quick, actually, quarter you could play them back and sequencing. They're probably animated, you know, roughly well, if only these five frames. But this gives you an idea of you know what you can do to make animating easier on yourself and or your had a meter so they could leave little notes to yourself. If something looks good, something looks weird or ah, but timing charts on different parts of the body, so, you know, just work it out. Um, before you start animating everything and thats yours quick lesson on thumbnails, Hopefully it made some sense and ah, helps helps you. All right, thanks. 31. Painting BG01: welcome everybody to today's class is about painting. And, uh, right now I'm going to be joining you How I would paint with water color. The end result wasn't so great. This is a prerecorded video. I'm showing you. My house is showing you the water called house using their old dreaded tubes of me water paints. Uh, that's small gaffer tape the yellow tape with them holding to solve my people on sue uh, both cardboard and all. I have a balance me of what color was old paints and old brushes. I have a feeling around and old sold case and I just recently found them. When I get better equipment and you are paints and brushes I rolled to another video for you guys. Hopefully And I'm sure you have a couple words. So I'm not the greatest painter out there. I'm not background painter, but I was just trying t o the best second certain elements wings on wedding paper with just a brush. And I'm just trying toe that's soaked paper water. But just get this sort of his wet. So when I start painting, it makes it easier. You don't want to try paint with the watercolors. That's a piece of paper. You wonder what it down first video is pre recorded, recorded its the other day. It was a late night that wasn't feeling well, and I really didn't have much ideas. I really should put more thought into it. But I just want to show you guys that's when you and if you need a better understanding of painting backgrounds with watercolor, we'll try it again. Another beer made for that. This will be about a four or five different half hour video clips was I take a water color painting? I scan it, and I go into the digital realm with solar shoppin sketchbook well, and, uh, I also stated, trying to make it look better, more or less so. As you see, I'm using a mechanical pencil to be led. Have a wooden Royer, and when you're painting, it's painting. In general, it is a regular war, and you angle it so you're not tipping the home roller in paints on water. You also get nice lines that way. Couldn't do it very well, indicating my advantage appointment at it might be a little hard to see, but I'm trying to destroy wholesome rectangles. More or less perspective. Oh, I'll try to indicate it. Try to paint him as their buildings released. It drew on the piece of paper before what it down. But I just wasn't thinking. And I projects. So there is no sing sound of me painting, uh, process that I was using this record. This was, uh, quite a challenge process. It's, uh, kind of the same process I was using and the other videos showing you about some nailing. So now I'm just drawing into indications of where clouds should be and also two trees that I want in the foreground, some drought, the branches and bark, and this big globs of areas for the leaves. This is all the stream of consciousness I really should have planned and laid out before. I want to produce anything but just for search purposes only. This is a mess that I was using. If you're interested, there's many videos. Are new soup and the life Romeo or you have emotion for FC to have but, uh, professional painters. You can teach you a bit more, possibly about painting backgrounds, but this is what other methods that I use used in the past. That's when it's a seven straight something background. Traditionally, since I went over in pencil, I'm just waiting down the canvas again. I mean, your paper will start bubbling, possibly folding, depending on paper using. I'm literally using a piece of paper that I got a sketchbook. Basically, just cut it out, man. I didn't painting prior to this couple days part of this and I should have did a video for that, but it was a test one. It was pretty good, I guess so. Ensuring that tubes of paint that I have. And like I said, they're old and enjoying out could see there's nothing to be out of it. So my method of doing it's just taking my pre information to shipping into the into the tube and getting pains. Hopefully, when you're painting your backgrounds, you have water. Colors are cause that you know you can actually use well. I have to do such barbaric things. Just get paint on your brush, you constantly seeking a brush down different color, too. Various color tubes of paint. So now I'm just having the canvas. My brush. I'm not using any strokes. It's literally up and down motion, and I'm just trying toe give the impression of a sky with clouds in it. - So I'm trying to show you what color I'm using. Unless you're sure reads too well in this video. It's a standard definition video, and it's been processed that even had to do. Ah, color correction what you should do anyway if you're doing video. But this one, since it's dealing with color and paints, really had to do it. Like I said, this is a barbarically of together your color onto a bus. But since these have all dried out suits of important color, I had no other option. Yes, it could have squeezed water into the two, but I don't want to go. That route could send be hearts control, much water. You're getting out, too. How much are you mixing in with you color? So who's more questions I'm using The People Hair Club Precious I was using are simple hair . Please use them Toe Inc Public books back in the day and now I just repurpose sent Teoh these lessons on painting. Find out the best tools, use these tools to work with either, Like I said. There's a dealing told I had on hand. Plus, I wouldn't So what In liner? Pencil? I'm sorry when Liner Paintbrush I had all right, as tool alleges. And I think I like before, like writing kanji or something. Let's be sure, since under the professional background painter, I don't really have ah technique that I use. I'm sure I'm using the wrong size brushes and the wrong type of brushes when a painting. But this is the best that I could dio. This needs to show how the paint traditionally without using photo shop or sketchbook, or any of those painting programs, because lots of enemy still use painted backgrounds and without having to, ah, search other people's videos and to point you to the direction of those videos which apply a world do for you. I just wanted to show you that painting backgrounds is it's long and it's tedious, and you can evident what you're doing. I think of the appearance that I might know a little bit, but I'm not a professional background paint there, so just keep that in mind. But much like doing anything like photo shop or something, you wanna more or less. Let's try to paint in layers, even though it's just one piece of paper you want to start off with. Uh, let's say, for instance, home Pete and Sky first. And then I'm gonna layer on top of that the trees and the buildings and the ground so they can see the sky is coming out kind of. Well, if you can imagine it well, you can imagine it that the blue is the sky and then they give us based negative space, which is the white in the kidding clouds in space. So here, doing the same technique up and down, tapping motions, Um, using a dark what looks like a forest green color. So I'll start with my dark colors first. And then, well, I like my medium tones and now going in paints. And then they keep layering. Keep layering. I go from Dr Lane. So after this dark paint drives, you can paint on top of it with a lot of color and will show up with the watercolors. Doesn't take that long for it to dry, which is a good thing. So, doing this damping technique, it might eventually ruin your brush. Oh, since your fanning out the bristles as you're going up and down that way. Uh, been the bristles a lot. So that side, just the word off, I guess. A word of warning. But when you're painting, you do want to use the proper tool, and you also want to use get brushes because if you buy like cheapo brushes, you'll get a couple uses out of them, and then the hairs will start coming out of the brushes because they're not meet so well. But, for instance, use stable hairbrushes I've had for well over 10 years, and they're still good. And after I finish speaking this all I did, it was just, ah, clean the brushes with water and reshaped the heads of the brushes with my fingertips, meaning I just try to get it back to its original shape and that have the Brussels all like fanned out paintbrushes seem to be fine, since they are, they are simple hair, and they're not the most expensive brushes. But they weren't the super cheapo brushes that you confined as well or either. - So I'll tell you the dimensions of the size of the book that I took the people from trader. See if you find the dimensions within the book that I have right here, it's another book itself. It's Ah, it's acid free. Neutral Ph paper White paper, 105 grams. It's Ah, a lightweight paper made by a company called Leather. Etcetera came out of, Ah, bound sketchbooks. That's the name of the think. It's the sketchbook lined in the paper. Size is 11 by 14 inches. Like saying before, Um, amusing, mostly a dabbing technique, but there are times they are. I am doing strokes as you can see my right hands left and right stroke, and his jokes are basically just a fill in large areas. It's not to give any texture, any depth. Saying things that you want to learn when you're if you're gonna get into painting backgrounds is call a theory composition perspective. And, of course, you know your highlights in your your shadows. You know, we're your light sources are Oh, you're shooting. Remember when shitting when you're doing painting your shooting and dunker colors than primary color. Let's say you have a light green to me cheating in a dark green, and you're not gonna be using ah black No, I'm just using online of color and dampen some more Trying to get the impression of leaves and foliage and stuff like that. Do you want to use reference when you're painting? What I'm saying right here is dream of consciousness, and I'm basically just just doing what I feel is natural. So choosing my colors that I feel are just come on Spencer, representative of Colors that you'll find in nature. Since I had a limited palette, there wasn't mixing colors to make new colors, and I was kind of stuck on what I could do in my painting. Sit here. I'm using the back and forth stroke, and I'm just indicating a ground plane here for talker and more paint on my brush. Medicating ah, mid ground and with more pain than a doctor color the painting of four grounds since he has this reshaping the head of the press. So I get a British troops, - and with his colorful it, uh, yellow them is giving the tree some highlights. I'm sorry. Looks again painting in the facade of ah, sort of a building, and now I'm giving the tree some highlights and banks of painting the site of the building . It's with large areas. I do use strokes up and down or left to right or combination of all of those. - And with this orangey color, I'm painting another side of a building. - We know more or less pulling the paint, sort of painting with it, meaning I'm gloving up a bunch of paint on top in, and I'm just pulling down the paint. And I was trying to get in between the leaves. Two Children indication that there's a building in there and I'm leaving that negative space right now because ohsumi painting in a tree bark. So my whole pallet consists of 12 colors, including super white in black itself. As you see, I'm not getting too much color out of this tube, So basically, just gonna keep trying the pull some color are there. That's you know I'm feeling in that negative space with this brown color, which is indicating a tree bark. So they did in the initial drawing, uh, loosely on the paper. In the beginning of the video, I wanted to create some sort of depth, so have just two trees on the left and right, creating sort of a frame and it's in basically engulfing like the middle of the frame. So hopefully it would draw your I to whatever is happening in the middle of the frame, or at least in between sue trees. No, I'm just trying to indicate a little bit of shadow on the edge. So Docker edges towards the middle of the but the page of the canvas, I should say, And as it goes from Dr Light, try to get a little bit of depth. So I'm just trying to show you the side of the brush and now just be painting in the street limbs so each one of these lessons will be about 1/2 hour. And in about two minutes of European, this first video, I was trying to indicate the tree branch right here, and I'm trying to get us a point more or less towards the center of the canvas. So I just went up right now and join me for the other No. Four or five parts of this whole background painting process. I know it's an incredibly entertaining, but I don't want to do any speed of videos, but it might make another video with a sped up version for those of you don't want to sit through all of this, but, uh, definitely join me for the rest of these videos. You might learn a lot, and they hope, like, can teach you as much as I can do these videos. Right, guys, Thanks a lot. Its UNIX video segments. 32. Painting BG02: All right. Welcome back, Teoh. Painting backgrounds for enemy using watercolor Part two in here. Just considering where it left off in the last lesson which is painting the branches. I don't this amusing. I'm using a stroke as well as stabbing the pain. I'm trying to indicate both shadow and highlights on these branches. So the shadows being on the bottom in highlights being on top. When you water coloring, you wanna constantly clean your brush And what it. So now, Miss Turner, underline the brand's tryingto give us, um, putting a darker color on the bottom, which would be my highlight. I'm sorry. What would be my shadow? It was stratified, different spots where there is a bridge and I'm sorry, highlight or put a shadow on the bark of the tree. - It's right there is that country burst I was talking about I don't want to do if it signal pull out, order the the nips I was trying to see which never I should be using. There's two thousands, one in smaller one is lachter substance dipped. It's one in the water so I could reshape it and put it back. If they saw that disable I'm sorry that the hairs or kind of getting bent out, says they went the nib. I'm going to use this red color, too. Make some little Stashes of the building's who indicate windows. So I grabbed my wooden roller, then spend the canvas sideways so I can get a nice little line of the line of a little once again indicate that there's windows on these public that basically just look like dashes or hyphens. If you can't see it inside of this out of this video, and I'm angling the ruler when I'm painting them so I could get a nice even line you angle , you will earn you rest of Bush against the ruler. In applying light pressure, you can get nice move aligns. It's got a gotta be well aware of how much pressure adding onto the the brush press. You add the thick of the lines into me. This is a very I'm using kid gloves on those, and since it's building is all the way and the background reason, I'm using just lines and Kate windows instead of actually trended. Run windows are the paint into windows because the further you go from an abject like a building. Do we know they're still small? They just become lines or even dots to putting out far away. They are. From your view, in essence, is windows on the other side of the building. That's we sing more or less away from us, my ankle, the ruler, and try to get it into he's one is into perspective. I might have Mr the Top Row of Windows, but in toast, I believe I was able to fix it. I'm just trying to light up the windows. Try to remember that when he doing perspective 12 and three point perspective that any lines that are horizontal if you're vanishing point is on the horizontal plane. Any lines on that same plane will be horizontal that I'm just kidding. Even more lines and dashes for one indication of windows. - So off camera I'm just smoothing out the head to reshape it so it stays pointing. Aunt isn't flatten out, so if the other belting, I would be the contrast in color to indicate that these windows on there. So since the buildings kind of reddish, I chose this blue to indicate that there's windows suit the same technique of angling the ruler and sliding to brush against its edge. I'm getting a nice, nice line, and this painting doesn't look so great, because mind you have not a professional paint there. And I've been doing digital for so long that it's much like a real learning of how did two things traditionally that's a year and spend the canvas sigh conducive vertical lines to indicate larger windows just to break up the monotony of having no one knows all the same sciences and going in the all the same directions. So just reshaping the head and then spit down the breasts. Um, let me try. Mind you, this is just a painting technique that I dio. This is necessarily the best way to do it where the easiest, other, most professional way to it. But just for this crash course and in painting backgrounds, I Santa do this. Since it's a negative space, I'm just filling in blank, trying to get some indication of a different, I guess Texture of ground that's right. Now take pure black and we'll do it. This is going to try to create shadows because I don't really have any darker browns We're talking greens that I could well use for shadows furniture that makes a little bit of black onto the canvas to try it out. Police trees A little more into this foreground. So, you know, as soon as I was afraid that this black might just be way to black But since I started, I just had to keep going and figure out housing the make it lighter. So I decided to just like that, huh? Black drying that side for a little bit and start on the other side and tryingto to what I just did on the left hand side on the right hand side. So it's ah, super black a se paint board. That's unless paintings of my brush so it gets a lighter and lighter simply for good when I was gonna dio is just basically just get my hands dirty and just give these parks, um, texture my tip of my fingers into the paint in this role in my hand. So it's looking up the pain, making live there but also giving a texture to this part. And since nature's pretty random and there's that many in what shapes in nature, I was just like what the heck out just to this and see what happened. - It's an amnesty is a little brush and get a bunch of yellow onto my bristles. Try to basically just load up the brush and that start giving the trees some highlights. Since nature you find all sorts of colors I'm using this yellow. So give the indication of highlights would also give a separation and break up the monotony of the green. So Kinsey indication that there's different color leaves on this on these trees. Maybe it's like a full time or something treat. Start turning different colors. Adams readily picking highlights lately, uh, putting the yellow on the edges. So give the indication that there's maybe like they're highlights in their son bouncing off of them and which is kind of light Braille. Maybe that got custard. Almost. I'm sorry. I don't mean to like two into X tempering or but now I just can't remember I was doing the painting, so I want to see what doing so just, uh, using this year, let's to add some textured some highlights to these branches of the tree, so it's a different shade of yellow than the leaves. - I'm trying to get to use branches and basically the whole painting from, like two dark. So having the top being light and the shadows falling down. So even it represents the underside or anything closer to the viewer. I try to make it a little dark, and this is reshaping that that person is. So if I had, uh, hair dryer right now, I would basically just be pulled joining this canvas. But I don't have one available to me, so I'm just trying to think and letting the canvas drive for a second. There was a sense in to see if that building was still wet. The Amazon teaches yellow now and a larger brush to cover more of the canvas. Just give ah that building a little. But the doctor face meeting the the building wallets closer to us that we can see it's flat . I believe I'm just gonna talking it, not saying any of the images by any piece of the campus sent. From my point of view, we see that close. It's waas. I'm tryingto did the separation of dark and light. Listen to this use. The canvas is dry. I could just go over it. Another color and colors old blend. So if the other building, I'm going to use this violet or purplish color to meet the wall, that's cause it's waas on that building talker, some going left to right and building up all this paint on the right. Inside, it's basically just pulling all the pain and created this clop of paint, some going right up to the edge of the bar. As I'm doing this in the other, travelers paint on this side with Stop! Play it back to the way, trying to use even strokes here and not trying to get the building. Two months texture in the most trying toe paint onto the other yellow building. From this, tapping off some color paint, globs fell out of the tubes and try to get rid of the black spot that was dropped from the black tube of paint earlier. Is this spreading around trying to thin it out? I'm just trying to fill in some Dr Spot on the ground plane, but even at the texture a little bit, - some sweating for the cameras to try a little bit is that clean off my hands and abreast, it's And now I'm gonna take a piece of ah, plastic in the trace out buildings. Second, use it as a template, so I don't paint on part of the canvas. And since this video is coming to an end, it's gonna be about 30 minutes. I will kind and, uh outside showing you that process. So just make sure you always usually rulers. And now you could just use your flat, and that's going to be 30 minutes, so come back next listen. 33. Painting BG03: the next lesson, right? Well, welcome back to background painting for enemy using watercolor part three. Right now, where we left off is I'm tracing the buildings onto a piece of plastic. That was because the plastic is just a seat through piece of plastic. I believe it's a, uh, a projection. No, something that you use like projectors you would like, leaves your printouts of this paper. And since I don't have a laser printer, I just use this plastic sheets one of painting and doing stuff like this. So I'm using a Sharpie marker. It's a fine tip head, and I'm just aligning the building and it was going to cut out the shape of these buildings . Want to trace it onto She's a plastic. So this is a transparent sheet, and when you use the cardboard with, ah, if it's well, basically a knife and I'm gonna just use this cardboard suddenly showed opening to a desk. The piece of plastic. This is basically gonna be a template, so I could use its who not paint on certain parts of canvas. I don't have any Exacto knives, so this is the best I had with me basically just appealed life and basically just cannot to shape as best they can. So if you are a minor, um, please have apparent with you and you're doing this thing or have them do it for you because, uh, these knives are sharp, the in, especially using like an Exacto knife, they are dangerously sure 10 parents should be around. If you're minor and you're doing this stuff just always, please be careful when you're cutting anything and using Sharp are using sharp objects and trump cutting souls says against Yeo victims. Paper is it's taking a lot of force, just like cut through it. This is one technique that you use when you don't want a paint up certain parts of your canvas, but you want to use that same port strokes are you want to use an airbrush what you want to use paint splatter, and he's gonna paint at a certain part of the canvas. You use this technique so you're not sacrificing whatever technique and the use and, you know, painting over the pieces that you don't want painted over. So use both sides of this template. It's the 1st 1 to do is take this little piece, put it over the building, and I wanted to keep it down with more Cafferty's okay, straight that idea, definitely making sure them putting away the knife. So I'm just checking to see, like if the tape that amusing, if it's going to peel the paper over the paper, would they apply it to to canvass? But I can't just a conclusion. That's gaffer tape that amusing rip off any of the paint over upto paper. So use a big wish template to cover up everything except for the buildings and a piece of the trade, some basic, deep down this plastic template. Another reason that I'm doing this because I'm gonna start painting some, um, treat shadows onto this building, and I just want to run the risk of any paint splatter. So I am using black. I don't have a doctor color, really to do a highlight for both buildings, so I'm just gonna use black, and I'm gonna do that fanning technique again to paint on what the indication that believes would look like trying to imagine where the shadows would be on this building since we are outside. In this painting, the light sources everywhere. It's ambient light and the shadows everywhere. And it start its mate maker a nice image. Thank you. Pull it off properly. The image of, uh, leave shadows on these buildings. I'm just going up and down and dabbing the canvas. I'm just letting it dry while i enough to brush it was any a little bit of Shano onto the buildings by the bark of the tree. This is where this template comes into play. So see how painting onto the tape. When I peel it off, I will be I would have petered Answer that part of the canvas. So now I'm just carefully removing the template and I'm grabbing the other part of the template. The little part, the buildings, animus, reusing the tape, the police it over the buildings as best they can and if so, might be off any paint they have in my hands. And if I'm correct, this is gonna be the last thing I'm going to do for this painting. Didn't have a big plus. Make sure the majority of color there's off of it for many lookalike previously painted with a little to brush and see something that you don't want to do drop colors onto canvas and possibly ruin your painting. It's right now. I'm just splattering canvas with blue flickering blue all over the canvas, So give it a little bit of texture. Sizing worked his blue specs onto the buildings. That's why covered them up little plastic template that I cut out and I'm just clear forefinger. So what needs to canvass? I'm not smearing, getting color around to it. - Well , I guess now I'm just gonna use a little bit of yellow and just maybe paint of the on the ground. Get the indication that there's a maybe some plant life on the ground we can't really see. It's well that simply comes into play like you can't. I'm not painting over those ports because you can't see it. Maybe this relinking rocks or life who knows? And it's pretty much it, I believe, Um, it's pretty. That's a great respect for everything, but I'll show you how going to teach us into the digital domain scanned into a computer, and I'm gonna be back with Lesson four of background painting for anime. Show you what I do with it digitally. Make it a little make a little bit better. And some characters on Twitter chance the tone of the picture and crop it a little bit. Get more of, ah, fuel for a background. That's it was lesson. I'm just gonna pace of age is wrapping up cleaning up my, uh, my area right now. So that's it for the lesson and, uh, Jones apart for and now she would I do digitally to make this a background canvas for an enemy that can't be used and possibly even salvaged. Since this isn't degree is painting, but it has its, ah, its youth regardless. So thanks for watching. Keep painting. And so you said. 34. Painting BG04: All right. Welcome, everybody. Um, I have scanned this painting into my computer at 200 DP I That's the default setting from my scanner. So I just left it as is, and they opened up the painting in Photoshopped Elements eight. Now for the shot elements eight came with my scanner. So it's ah, not so expensive software. Unlike, uh, so this up the regular force up. But it does the job for what I needed to dio. So that's when using elements right now, I just started using a stamp tool to basically cover up all the pencil join lines that I created when I first sketched onto the paper before I started painting. So this process takes Ah, good couple of minutes because I had a lot of deep pencil lines on my painting. This is a prerecorded video. So if I still sound like I'm, uh, William Shatner, it's because I'm tryingto think of what I was actually doing at the time. Oh, the time I was during the digital painting. So whenever using the stand told us, make sure using crack color that you're stamping in your painting on soon. Oh, so this process is a little bit tedious, but it is very necessary if you want a clean background, Digital told amusing. Besides, the first of elements is a week, Um, tablet. I'm sorry, it's ah, welcomes antique. It's an LCD tablet, and I'm just cleaning up the lines for the buildings. - I don't want any distinguishable lines on the buildings of the background, the background at an on the horizon line, so I'm not making this super perfect. This isn't going into any production, but for educational safe. It's the best celery juice. And make sure you save often enough doesn't case your program crashes and computer crashes , and you don't lose all your work. I can't stress it enough and make sure you also saved multiple copies of a file just in case you once again, if the file gets corrupted or something happens, I didn't save. While you're actually working, you have that backup copy. So in Japan, when they're doing animate, if they're using, let's say the the reddest uh, software package. They would be doing this in Trace Man or a Trace Man HD, which is ah, scanning program. But it also has filters, and it also has background cleanup and so clean up. Many can give it of specs and dirt. And also there's a stamp. So I believe that you can also do this processing. If they're using tune boom, they would just use harmony and just clean up. They just clean up the background plate. I'm just filling in any spots that might seem awkward to have Teoh. It's supposed to be, let's say, Aleksandar Dirt. Two kids appeal a giant water spots, but let's try toe to kill them in this best they could, - so the state should be considered background cleanup. The reason you would usually do this, I'm sure. Macron painters in Japan to animate back on pay. Things are way more talented and that way more experience, and I do painting, so their paintings are probably on point. But you do lose something when you're scaring. Image isn't your computer, so you gotta kind of digitally bring them back to life. See, it's Ah, jeans, the the hue and the saturation, the levels meaning the darks, the whites in the mids hands Oh, just add effects. Or, like possibly lighting effects. Teoh Back row paintings say Look no more like the original and or enhance some just checking to see if I missed any lines, and I guess I spotted some. So I'm still checking once again to see from miss any spots. It's a mountain to me, So my eyes were just starting around the image to make sure that I have covered everything that I needed to cover. Now I don't want to change the painting too much. I don't wanna really add any elements or Rechy pills branches to make him look better. So I decided to start messing with the levels. So I opened up a level layer, which is, in effect layer. And it's adjusting the mid tones now the brightness and contrast and now human situation. So you can totally change the look of your painting and when they posed for a long time, just means that I'm staring in debating which way I should have the painting look. So in Syria now it's ah, overly saturated a bit compared to the result, and you can see all the different things you could do is just to Hugh alone. So now it's a melting photo fools here to make the colors pop and with photos, filters you can chains more or less like season tone, comically look like it's summertime or fall or spring or even, um, not so much winter colors that there's still leaves on the trees pending on the trees. We could make it look like a bright summer day. Uh, overall blue cast. I think it's on it down and undecideds you the same overall blue cast. So now when I try to do is I'm gonna try to black out some of the background, and I'm using the wand total slight areas, so I just use. It's just like large areas. And then they go in when Gasol tool in China crap. All those areas within one man. No, I'm not trying to have the edge is too sharp. - So giving sky, I'm grabbing the buildings and grabbing a little bit of the ground in the background. So it's OK to me and, um, grabbing a bowler effects. And if you can see in my preview window, you can see how the poor effects is got sick the background. So, instead of doing it on the original, decided to duplicate the layer, so I have a safe backup is a blurred over and this layer, let's have a key player. I can blur it. So the reason did that to give it sort of Ah, the field, even though it's totally fake. And if I was gonna do this in the production, I would have made different background plates, meaning out have made the sky one plate buildings. Another played the ground, another plate and the trees and foreground another plate. So I can, uh, do a parallax can remove. Or I can blow up the background and that have to deal with any limitations of just a flat plane background. So off camera I messing with. I inverted the mask. So now I could affect the foreground. And right here I'm saving the A mask just so I could. Well, I'm saving a selection so I can go back and use it if I want. So sound is changing the different born modes and missing with your passage E so I could mix the original, the new the person that I created, I once those trees in the foreground to be relatively dark but not too dark. That makes sense. I want the foreground in the background to have a separation. That's why I blurred. I blurred the back around a bit. So instead of using the original plate, I instead of using the result that complaint putting the great back ground underneath it so I can change the how much brightness there is without messing with the brightness itself. So I'm duplicating the value again just in case I mess up, and I'm going to use this much tool just to so much. Some of the areas that are to shop blur. I saw the photo filters again and is constantly stable Holmes analyzing the image to see what I like it when I don't like. So I'm just filling in the edges because edges have been it was cropped off. I'm trying to get the painting all the way to the edge, Noah probably eventually in the car Penis image, anyway purchased in case so down. This is zooming in and you can see how different scanned image with all these effects on it changed to painting. So if you look at the original compared to the affected one to the stark difference, denounces missing around more blending modes to see what works for me because he didn't see the different blending modes just alone can change the way that you might feel about doing my feeling. You're looking at the painting. I'm analyzing the image to see you. I like it or not. And now we skipped over to, um, sketchbook Pro. I exported the image as a PNG. That's all right now. I opened up version of the PSD and added in some characters of mine just so I can I have Ah , a feel of the depth of characters might look within the scene itself. It's only simply did was just import my characters you already PNG's that had the opportunity on it, and how does it pop them into the scene? I did this one to see how the depth of field, how it feels and how back level would look with characters on it, some just using an airbrush with a line tool. And it's creating more or less sun rays that are coming through the trees. Security to sun rays solid and I just changed the blend mode and just lower the capacity and then just you race some of the light rays so they're not in the foreground character. So much of the on the backgrounds like the trees, and I'm just suffering them up so they barely visible. But that there and for new air in an airbrush just gonna add in some shadows. So since the sun is in ambient light, it's pretty much everywhere, and it creates lots and lots of shadows. It all depends on where the sun is and where it has shipped soon it's in the east of the West is at high noon, and just training. Filling those branches better constantly have bothered me throughout. This whole lesson just started in the tree trunk, Doc Getting the leaves a bit. - I'm just trying tree form puta. Skeeto. Uh, my didn't art. - And now I'm just gonna use the same airbrushed added some highlights. - Adams analyzing the picture soon that I'm missing and check in the original with my highlights and my shadows pull the shuttle's level down a bit more capacity. Checking to see which blend mode works best. Its original sketch quickly has 41 modes. I believe the newer one has more, and I'm speaking from locking those layers so I don't overwrite them Quick save. - And now I have a press that they made of Allah Go. That's window frames. So I made to pressures a while back. You can see the default window for him, basically a square off a frame around it. These pressures are weird cause I need them. Ah, a bit big. So the strength is all the way down. So just a simple quick, just a simple click. I have window friends. I'm gonna use my ruler just so I can keep everything straight, much like it did when I was painting the windows. Cash is I saw usable to keep it straight. Since I have two different temple windows, I have two different types of shapes as well. So ones more square dealings with rectangle. - And now I'll just so after the race out of the windows that are behind the tree to get use the hearty racer. And the reason it's not working is because I have that ruler on. And then I want to change the opacity, bring it down just barely great to see it trying to put bun modes to see what works best. But ultimately, after this, change the opacity and that's going to wrap up this class for background painting. I hope you learned something, and I hope you can do a better job than I can. So that's your lesson. And, uh, I hope you enjoy the rest of the class. Thanks. 35. Background Parallax (example in SBP4): you're equipped. Storyboard pro looks like the things you can do with it. For instance, you can dio parallax images for Ana Matics. So this we consider a parallax meaning. It's a two D background, but it's moving in a three D space deposit there and I'll show you the stage. Let me see if I can now. Yeah, so this would be the top You off the three d stage. I grab my camera and show you that you they're all just truly Myers in a three d space. - So film able to pull it can't wait back. It's a big It's a big cut. Think until it is all of this to the elements in a three D space playback scene. We like to cut using the three D cameras I can create this parallax seen 36. Parallax BG (short example): did we do this? Ah. 37. Inbetweening: and I have a project open. My project is Ah, it's, uh, about 60 frames in total. Display it back real quick. It's a little bit. You see this character? Her name is Giffey, and it's cute, but it does need some in betweens. And then after that, some cleanup in color. Sorry. Now it's going to show you, uh, hopefully a quick way how to do in betweens. You stop this and I take off the loop so you can see it. Not that many frames, but an enemy. Most thing they're shot on threes to save money in time threes, meaning that each exposure of the cell Let's say, for instance, this is one cell that would be 12 three frames and then the next frame would be exposed So quick, way how to do in betweens. So let's say I'm going to in between just the right arm over this shot. So in between actually means in between, like in between the two frames. So I'm just gonna go to my arm lair with you can't really secrets off on the other screen. So this is my arm layer right here, and I I don't have a in clear. Right now. Nora Fix Lair does a lot of pink. The color card is just the yellow background car caused by default. It's this about 50% agree, and that's kind of hard to see the companies that I'm using since I am using another agree for one of my underlay layers. So I just added a color card so I could see what's happening. So the pencil that I have is the under layer, which is just a hold of the character and arms is my arms layer set later, I'll be animating on somebody putting the in between. We're here in between these two between 1 30 from 31 and I'm just gonna extends exposure to 70 and I'm going to let's see if I can duplicate this duplicates. It's drawing, so hopefully it creates a key frame, and I also duplicate destroying all right, actually duplicate that Troy exist at a frame, which I really don't need. But and if you frames and in harmony used, you use, uh, shoot and the plus shoot them plus two creating que frame, make sure everything's even, And if I do that correctly, 31 32 and 33 will be the frames that I will be basically read. Deleting these right now well, and so I could create a new to treat a new frame in between these two. So put my timeline back in my other screen so I could saving space. And if you hear my computer warring, it's just because I I have my friends spinning very fast. So I get optimal performance out of my Mac. And I'm sorry about the neighbor's door. Get forgetting that. So is this foot in between And so there's a few ways that you can do in between. I usually I usually just use, um I mean skill, which might be a little hard to see. Hopefully, you can see the immune skin there if I turn off this card second, CB onion skin right here. And the way that I haven't sermon work should be Ah, where should my in between go in between should be. And when we zoom Inglis, it's frame right now. It's where their hands at least I in between where the middle finger is. So let's say this is the start and stop, And if I was gonna put in between this would be where milking would be, and so I can't either push it. So it's over here that's closer to this frame. All right, Put in between over here what's causing this green frame, but I don't want, uh I don't want a quick action between biggest steel screams, so I'm literally gonna put it in between now. I believe harmony has something called a light table. We can send. It's your friends into another window, more or less, and you can overlap them. I don't want to use overlapping when I'm in between. It just doesn't feel right. And that's called off peg registration. I do it sometimes on paper and an enemy. They do it sometimes, but for the most part, off pig registration isn't really a thing. Everything's digital, it can be done. But this lesson I'm gonna show you how in between years Diamond without using off peg registration. So what's the times? I wouldn't even use an onion skin. I would just keep jumping back and forth between two frames. But for this lesson, we can use, uh, we're gonna use that news. So I'm literally just going to draw roughly. Ah, hand position. Basically. What? So we know that this middle fingers like a 3/4 position, and this is almost like a side. So I would start out by pushing out where I think the rest would go. And you would have you seem like a lot of the poem in this drawing, and that would just the most part just guesstimate and keep looking back and forth between the drawings when they think I have a good position. No, lots of enemies still done on paper. And the shift sue, mostly digital, is happening. It's not there 100% yet. I mean, the industry is still using reddest, pro to do enemy, and Tim Bill is moving into the market. They just had a big conference in Japan, and they were, ah, they're showing off there products like Harmony and Enemy And they were talking Teoh companies about going over to a paperless animation and I completely using, too. So that's that's a plus. So syndrome is getting to the market of enemy, and there will be, ah, I think it will be happening soon. That enemy will be produced a lot using tuned of software Now you see this? All right. Here. This was a guide that I created for this, uh, this animation a bit parliament linking skin. You'll see that this hand, which was ah, rest position kind of lying, but they created so I could print frames all along this guideline. So you know where my animation should fall. So that's why you see a line here that's going through the wrist of this other frame in the back. I'm sorry. It's another favor. That's, uh, after the frame I just created. So every time I animate our position for this shot, but it's cut, I, uh I make sure that the wrist falls along the lines somewhere along this guy that I created because I wanted a an elaborate hand move this figure eight information in the hand. And I know I actually caught it yet. Sure, it still needs to work with it, But once I play this back, I'll make sure that it showed up on that and I'm keeping this left arm, as in someone's gonna do is cola trace back, which is basically tracing over existing animation and its hold. But the trace back there's something I prefer, and it happens a lot in the enemy, and that would be the some back there. I'll just felt in, but a bit so it looks like it's in shadow. So reason out. Check up there. I mean, skin, and we put back the color card. Excuse me, and we placed back in the loop. I'll just mark this just so you can see that this isn't between. So when you're playing back, let me just next a limp, All right, so that's where in between years, and if I played back, you can see how in between fits right in. It was kind of joined to see that run, that big guy letter popping. So I'm going to go back to the frame and it's sticking out and we'll see if it's moving at and you can see that I called it left arm before what's actually right on on the right arm. It kind of just floats while the left arm is moving more. No, that's the effect I wanted when I was doing examination. Didn't want both arms to move at the same speed I wanted collect on that basically pop so cake out of nowhere to move more have more animation than the right arm. Right arm is basically just there is a distraction. So, you know, really paying attention to the left arm, even though it's having more action happening with it, it within it. And that's one way how to you create in between us. It's fairly simple, but there's a lot of work when you turn in between this and this and between here. So I'm not paying attention much to volume at this very moment. Value, meaning the size of the characters wins, making sure that the characters on model right now this is just like rough animation. So that's the frame before investing in be tuning that was just created so you can see the animation happening. You know, it's it's like now you can tell the difference between the fingers, and I would, of course, going and treatment in betweens. Here it create one betweens here as well to make it more smooth. But for enemy purposes, it's coming out kind of well, so thanks a partner, Constantine for ah allowing me to use his character for and a meeting, and that's your quick lesson in between. In between now I'm going. Teoh. Nick. Well, let's see. What can I put out between it? Okay, so between these two frames right here, where Kate just magically appears into her hand, the right arm isn't really doing much animation. It's a moving a little bit. I might hold it. Meaning? Now retraced one of these. The the close of our position. And I'm going to Couldn't in between on the left arm, the arm, which is would be screen. Right. So when you do that, I'm just gonna duplicate this frame. I'm doing his off screen toe. Don't be concerned, Duplicated and basically, just erase it. So I have an empty cell in between. It's you trying. So I turned on the light table. Zoom in here. You can see the two frames. Now, The last lesson I talked about this figure eight and figure eight guide right here. How is using the wrist to do animation? And I find correct. I was going in this direction up there, here, up and around and ending over here. So following his arrows is the way I was going with this animation. If I didn't correct, that's why that Say this is drawing A is here enjoying B is here. So you went from a to be and I want to put but drawing in between and let's say no. This would be the in between right here. I'm gonna push it medium but, uh, choose either to have the frame closer to here. Four different poses a here, So it's a smoother transition, and the action goes faster to be the center. But then it eases and and it gets slower hope their mics sense to those who, uh, actually the enemy. And I understand a little bit of our animation. A lot of automation, some celebrating this frame would say, almost in the center. I'm gonna push it over. I haven't been a little bit more toward where the cake hand is. Let's get rid of that stuff. But, you know, it was put stripper here to know where my guide is, which would be my with my risks should be so in the in this frame, the wrists should be. I'm sorry. The finger should be almost pointing towards towards the camera. I want them to me a little bit off, and actually the hands would be more towards facing that way would be a risk. And let's say this is a home right here. I say this is the poem and put in circles Teoh indicate with the knuckles. Should be I want to start pretty in the fingers, always sketching. I'm not doing any lines like this. I usually just sketching in to get the shape and I could see that the pinky is a little bit shoes ball. And then from there of this round out the hand, maybe you give her from extend it not a little bit. And the palm, of course, isn't that bad. So just send out the palm. Well, like I said, right now, I'm not thinking about volume on the thinking about how this, uh, how large the fingers are. I'm just thinking about the movement itself and see if I'm actually turning the hands properly. So I hear your intelligence, his fingers of this totally botched should be a lot smaller than other pointing towards the camera. But at the moment, I'm looking really, really be concerned about that right now. And the pinky told you, just get lost in here. I don't know what's going on over there It's always lines going on, so I just want the movement down. And I know that this frame there's no cake, but in this room there is So I'm gonna do kind of like a a month. I'll use a ready and I just just do a puff. So since this character is a ninja, it could be like some sort of like ninja magic. I don't know. She's a ninja. And the chef for the cake just comes out of this puff. No, we all have. Ah, the candle and make the candle. Somehow it's the longest part I felt it was. Put the candle somewhere in here instead of the smoke. Since I have a fine science out of it, the proof or the King will come out. Remember the Kendall appeared before kingpin. But like every man, get rid of those guidelines. And when I go back and put another in betweens, I would do a whole animation of this cake appearing first candle. A period of a Finnair are this proof and then the cake would just magically appear one of this change animation. Do something else with it. I don't know. Maybe the cake comes flying in here, You know, she catches it. I don't know, really. Exactly what? I was doing it with this final animation of the cake appearing. But this is one way I could do it. And I was. The red stuff is just like drag. Nope. Instead of Poth. Okay, I don't know what this would be. He's coming off. Do you follow through? Maybe in view in this frame could show some of the who just disappearing even more. Uh, getting back to the animation. Um, in between the the elbow would be a different guide because the ever doesn't have part move . This is the further since moving and it's moving from small arc. So I probably just put this animation cel right in between the subway line in this elbow line, so that would be where the elbow would be. And since I'm the payments in joint notes of volume since I'm just animating, I'm not going for a finished product just yet. I just put well, im there just follow for in between its shoulder. So I have something to look at when they played back. I don't have to know the way out of the in betweens. So three said camera turn off done in skin and I should just do a trace back quicker. This right arm. It looks like a pillow in between literally is gonna put lines in between the green ones in the red ones. So it's basically like a true in between. You know, there's not much moving brown and here sketching we're laying down, they finished line almost. But of course, when I go and I actually do, like, clean up once again look at these lines and make sure all my lungs are correct. So that is not lines like waving and going the little place of watching upset of, uh, an old episode of Kim possible. It was some scene where there was like cheerleaders and what nine. Some one of, uh, can possible friend challengers. Her legs kept changing shape and volume, and this was unfinished animation. This wasn't even on a, you know, rough or anything. It was and actual on air animation, and it looked like all the in betweens from whatever company they outsourced totally just botched the animation, and it was kind of kind of hilarious and just being a Disney cartoon and they're still have big, huge mistakes like that. So I'm gonna look just playback, you know, playback. And this is in between right here. This is the frame before, and this is the frame after. So if I jump our way to the front the beginning of the animation, well, it seems to watch No. Well, it doesn't look like it's proofing on us midair that actually makes animation some other. So it goes fast in between the drawing without any cake or proof or whatever you wanna call it, and it goes through it and any questions a bit. Signet's sees on cake particles flying off Orson proof, whatever you wanna call it. And with that secondary animation, meaning all that that stuff flying off of the proof And this the flame of the candle. I would go in after I finished my, uh like, that's my main animation. I would go back and do secondary animation like that. Fix things like the hair and, uh, the skirt, possibly. Or maybe not all depends on how much time I have, but that's ah, second way, how you do in between and it's not this. And thats yours in second way out of do in between us 38. Retas! Traceman HD: right now, we're gonna get a program by Celsius. The Japanese company, it's called Trace Man. H D. Uh, treats. Man is using the enemy in the streets a skin cells and backgrounds. It's also too, uh, clean him up to take a dust and to get them ready for thinking, Um, not thinking, I'm sorry, getting them ready for painting. Trace man takes the line working. You can bet to trace the black, red, green or any other color that you specify in the trace. And I'll show you some old video from, ah, product that never got off the ground. But I had some footage that I was gonna teach a lesson with. So here's trace managed to. So just like any other Celsius program, you need to first open up your project filed, and it comes to you in the folder. That's all the images in the background. So it here is a raw scan of a pencil, uh, pencil drawing. And we're doing now is I'm gonna check to see what I what my image would look like if affected. Trace it. So on the left is the original, and on the right is the better trays you're going to see this one's a little too light. So I just docking it up and the school through the image. Just make sure that the character is look, that look like they're gonna be well in the vector trays. So it's vector trace, and from here I can cleaning up even more. Curate the race. ALS black spots on the left and right. I could add filters. I could specter trace more colors, and I was using an old computer. To do this with an old PC might have been like a gate wear simple. I'm not so sure. So from here are breaking into payment. Make sure I'll save it as, ah, PNG just so I can look at it and other programs. Also, I will say the project file itself, which would be a dot cele ce l and I just make sure that the naming configuration is consistent. So I know what frames match up with the PNG's, and it's basically how you use Trace Man is really no much to it can go in depth and with it, but there's not too much that you need to dio No, this make sure I save files before it closed at the program, and they close out my folder And is it the program? That's a That's truth, man. So for you, if you see my lesson on enemy specs, uh, within the lesson, they talk about scanning images into the computer basically the skin and your drawings as any, uh, as any other drawing you would skin in, um, the DP I would be between 144 DP eyes and 200 DP eyes. So going into 300 BP eyes, it's usually not, um, needed for high def. But since the industry will be going into four K by 2020 um, the specs will change a little bit. It would be a little higher. So during the DP, I or more would probably become a standard soon. Uh, that's it would trace, man. It's, ah, part of the Cell sis animation package, which is called of readiness reddest pro eats. Do you think might be called? No. Mr Older Program on an English language version is available. I think the whole package itself is about four K. Um, you can get much superior quality from Tim boom harmony or to New enemy or and me pro? Uh, it all depends on your needs, but you definitely should Ah, at least know about the history of enemy and the program that they're using right now. So in the future, you'll know, Just know your history of animation. Uh, this stuff isn't talked to you a lot of times, but I, uh, and the American companies or any American institutions meaning colleges are technicals two schools of educational schools, so help you learn something, and, uh, I'll see you soon. 39. Retas! Paintman HD: not everyone. So we went to the majority of the process of production. So right now we're going to show you is a little bit of old footage that I recorded quite a while ago. It's using the program Readiness register, paint man and hopefully another program called Reddest Trace Man. So paint man is what to use in enemy to paint their cells. And right now they're actually moving over to, um, software from tune boom called Harmony. So it's Ah, it's just starting out in Japan to be, uh, part of the standard of painting. Animation settles and in Korea and China, um, I know right now Tune Boom is doing a lot of teaching over there to show people and companies how to use harmony to do their painting an animation. So that's Ah, that's what's gonna be happening very soon. So at the moment they're using reddest paint man and ready speak man H D. So here's some old footage and I'll be narrating it. It's kind of short, but I'll show you. The quick process of painting sells in readiness. So in Japan they use software that's, ah, two or three generations old, so every company is using the same type of software right now in reddest pain. Man, it's D. But I did it. They opened up a file folder, which is where you keep all your cells and all your layouts and your backgrounds that wouldn't know right there. It's Ah, character, That's, Ah, a sub, uh, men. You are a sub palette. It's basically what you used to choose, only our colors, so it creates a drop, or every time you put the your cursor over it. So you get this, the pain. I drop paint, I gather the color and then just go over to your picture and use a paint bucket. So this was, ah, PC based, and it was running on an old PC right now. What I'm doing is I'm just trying to block out. I'm trying to block out, um, parts of the image so I don't paint over it. So just creating lines and curves so I don't paint inside of the white of the eye. And that would go for any other part of the picture itself. And this process is brunch like any other painting flats. You basically just used your eye dropper. You got the color, connect your image and you just filling pain. It was a paint bucket. I was going to see this PC was really slow. That's trying to record the the video. It was like very, very much. So what is doing? This is, uh, mathematically trying to figure out all the contours of the lines so can fill in all of the spaces. But it's not a perfect system, so there's lots of holes left inside of the cell, so most is using ah, paintbrush to try to fill in those holes. So back then, I was using, um, a small, I think is four by six inch writing tablet from Wake, Um, one of the early versions of it. I didn't have any sick cheeks at this time, so the process was painfully slow for May, and I was just getting to learn how do use this? Ah, the software as well as the tools. Right now, I shortly realized that I was using the wrong character, basically for myself. Palette. I'm so joint now for the correct palette to use, so that's the character looks not on model the sub palette. So basically, just gonna go back, gather my pain and repaint any of the areas that I messed up on. So this process doesn't make it fast. They're so store these ease that is a lot faster, like tune, boom, harmony, Enemy animate, pro even tune. Boom Studio has a they faster paint process, especially since there's new Ah, nor computers. And I am better GP use and all that other stuff that computers have. This process is a lot better. Register works. It's a still ah, standard in Japan, but we go over to like Canada or states. Uh, you wouldn't find reticent really being used, if at all, since it's Ah, the package itself is, I think, like $400. The English version. I'm sorry, $4000 English first and and it's just not economically worth it in the technology is really old, so just changing a piece of the outline right now. So the spaces goodies processes. Just, um, click together your color and painting campaign bucket and then go in and use a brush to fill in any gaps that you're missing. I didn't do this in almost all pain programs, but before I guess you can use a vector based character and painting using raster, which is like, uh hopefully you know what master in Vector is right now. So you can tell this is, ah, a painfully long process. And this is because I didn't know how to use, uh, equipment that I had. Basically, at the time, I was really young, but it is basically just painting flats right now. What you're seeing is that was ah, a color check that read it hasn't it Has part of their software. I think like you're using a short quite like a short cut, like the B button or something like that. And you're returning into a silhouette, which is something that I like, right Once again, read, This is quite old program. So the average the pain time of animation cells? Um, it's roughly about 10 minutes. Lots of companies in Japan there, they're painting department. They use either a just a regular tablet, not us antique or not, an LCD tablet that issues a a plane tipple, top tablet or I've even seen people use just a mouse click and keyboards. And if you're painting sells, you should be going a lot faster than this is just say once again answer, read and write that I was. I was very green and I didn't know I was doing some trying to paint in this little gap right there. Read. It has a lot of coal tools. It's used, but yeah, unfortunately, like I said, I can can not keep reinforcing the idea that this is really old. It is still a standard in Japan software by Celsius, which is who make readiness It comes. A package comes with reddest stylists. Each day paint managed the trace, managed the and read a studio, which is kind of like, uh, I would have to say it's like after effects. So will your palate, you see in the side is much like any palette you would find in a paint program. The only difference is that they have different layers for a shadow market. So right now I'm just thinking where I should put my shadows. So I'm just gonna drag a line and carve it and keep your snake hunt or editor Teoh to curb my lines. So the process is pretty simple. I'm going painfully slow. If you were doing this for the career, you would have to move a lot faster and you're shedding walk up so would usually be already set by the animator, um, to show you where all the shadows should be. And that would be the the lead animator or director so you could turn off and on those lines and the pain role, you know, paint up to that line. That's a good part of having this type of ah option in a program like this, and I'm thinking more just, ah, where is your permission of us? And this tool is basically ah ping behind toll so it won't paint the lines itself. The outline, you know, paint just basically pain behind the lines. And once again, it was going to use line in contour toe to paint into millions lines. And I was just consider this process until I have all many shadows and the places that I want them to be basically, - so they're zooming in. Turning down the Karl are a little bit so I got a a darker shade using a line told, Create a line and it automatically used turns into a contour tool out. You're like, Oh, and then there was this feeling that color. So the story here is kind of just like a smudge tool. It fills in the gap where you want the color to be extended into, so those processes. It's a little TVs, but it's a necessary process, really, basically painting the animation cells and it's tool right here is our instant air burst tool. It's kind of handy, but it looks very, uh, very digital. Not so much an in law, like an actual sale would be painted right now, it is comparing the two looking at the difference. I know the character isn't on model, the chain is way off, and but not. But so right now, I'm just looking for any inconsistencies trying to fill in the blacks, giving a little hat a little, uh, little shadow, as you can tell him, spending way too much time on his hat. - No sane gent. Bright yellow highlight into a lime green, more or less. I'm just trying to fill in any gaps that I could I couldn't see, and that's pretty much it. All right, so it's cream into the process of painting animation cells amusing. Read it. Um, you can do this in tune. Boom in any of the software is you could use paint shop pro you can use Ah, Photoshopped Hughes among the studio. But you want to keep consistency of the colors. So that's why you I would always suggest use a professional animation program. Um, with, uh, Tim boom harmony. You can paint multiple cells at once. So you're not painting 80 individual cell. Uh, there is too old for that. There's ah, that's a good things that you can do in harmony, especially so you might want to start looking into that. If you want to start doing Anna makers like I said earlier, there is Ah, a huge, um I guess turn that's gonna be being made in the enemy industry soon. Uh, I think that to boom is gonna be one of the top players in enemy, but very, very soon. So you might want to start learning to Ingram software and just have fun with it. That's the best I can do for you right now. Um, keep watching. And now try to teach use more as best they can. Thanks 40. Clean up: All right, So today's lesson is gonna be about cleanup. Um, this is a stage after you've done your animation and hopefully you've gotten here in betweens and all your breakdowns and your key frames in. So the tools will I'll be using our line tool and a contour toll. All three using the brush tool just to, um, get the lines that the line and Contra tools can't seem toe create very well. Or they are snapping too much to each other. The lines, I mean, So I'm already in the process of doing ah, clean up on this one cell. So Ah, at first I just wanted to talk to you real quick about, um, clean up. Did that really much Teoh? No. Cleanup is basically just getting a nice clean line in a consistent line. 12 All the cells. So you're choosing your best line between its cell and you're matching those lines. So you're matching the thickness. You're matching the texture if you have a textured brush or pencil, and that's ah, what you're trying to use for your final animation. I'm just using a straight hard black line. I'm animation, which I usually dio when I'm doing my own productions. So as you can see, I'm using the burst tool. And prior to that, I was using the line tool and I and the Contour Tool Teoh, bend the line. If we're doing ah this in Japan, we would using stylists pro, which is, Ah, a Celsius program that it's part of the reddest package. So it would be stylists are stylised HST that we would be using. But since, uh, tune boom is is I getting more and more into the enemy field in companies are using it, I'm using Tune from Harmony 11. So when you doing cleanup, you on a course, create another layer. So you're filed. Violence are, you know, clean and you don't have to join the erasing what's like if you're doing paper animation, you would use a fresh piece of paper on top of the other on top of the original drawing, and you would be using a light box to trace over that drawing in a nice clean pencil line. And then, from there you would scan in the computer and you invective rise it. So here I'm just looking at the two cells that I've done thus far and seeing if the lines are shift too much, which is something I don't want to happen. So off screen, uh, soon I'll be going all screen, and I will be turning off my under original drawing pencil air. So is gonna see. I'm just checking the animation. And I didn't have any, uh, any in betweens on this, Uh, this is one part testing and one part just for, uh, the educational use of this class. So it is filling in the contour off the rest of the hair goes behind. The character says, you can see between these two frames the symbol on hair under chest, it changes size. But right now, I'm not too concerned with that. I'm just, ah, looking to see that the animation is working, and the color on her sweatshirt is also changing shape. But I'm not too concerned about that right now. Since I'll be going in and doing a bunch of in betweens, you will go and make that work. So off screen, uh, prices toe shifting around some drawings. So that was my onion skin that I turned on. And this is the playback with tells our this couple of cleanup drawings that I did so screen. I'm possibly moving the old pencil drawings often to a ah, invisible. And then it is voluntary. I'm a layer that I could turn off so it won't be visible. So I can see how this all looks with that with the rest of the animation. So just bear with me as I'm changing different layers and turning them on and off. I had two layers for this Ah, character. I had an arm layer and I had the body layer. So, um, just checking right now, just I'm trying to find, ah, what layer I'm missing. And what I'm missing was, Ah, there's an arm earlier that I had, so I just went and turned that off. So when you play it back, you can see those couple of clean frames Right now, I'm just trying to think of like, what's the next frame? We're gonna be cleaning up Sometimes I go in order, but it's good to go in order. See, airlines aren't jumping around too much. Did he have to go back and figure out what lines should be a there and what lines should be replaced? This is going to see him using the line and the contour tool. So create a line and then I'll contour it. Meaning now use the tool toe, bend the line and to create an ark. So usually I would use a Wii mote with, uh, with a blues who software that's connected. Teoh, uh, blue suits on my computer and through an application on my Mac I can control were white buttoned. Does what? Shortcuts in harmony. So here, since I'm going kind of slow, I'm just using the contour and line tool, respectively, so have to constantly click on each one. Should have learned the shortcut keys, But I want you show want you to see what's so amusing at what point in time So it gets repetitive. And that's just the nature off the art justice, some lines that keep snapping together. And it's because I have, ah, snapped, Ah, the line, our staff to contour or something like that, uh, on in my school thing with, uh, the line tool. So when I kept happening, I just I went and just used my paintbrush in, just did it by hand, and I try to keep my hand Ah, as stiff and as, ah, as smooth as possible, even though museums antique and sometimes the surfaces of the screens can be able to slippery. So you get a little wobble in your lines, just tools to fix that. I'm just a smoothing tool in harmony, but I haven't used yet. I haven't found any to, but I'm sure there is. Ah, point in time I'm gonna have to. So this is basically what you do in your cleaning up your creating a smooth line, and you these incontrovertible or you're using a pencil like a brush, and then you go in and use without the line if it's a little ah weekly or jagged E. But there's the same method that you would use if you're using flash or if you're using ah , where the students of reddest stylist pro or read a stylist, or if you're using TV paint, it would be the same process in Japan. I keep reinstating that they use readiness. I made my Celsius. You could find out website things like Celsius dot jp. There's a English section which, in the issue of the update very often, if at all these days, but you could find readiness, uh, on the market, But it's it's so much money. And it's so like, outdated, regardless, how much updates they've done. And Tim Boom recently has just ah, they've been in Japan and they've been having about your conferences and going to a bunch of industry conventions and showing off the new harmony. And they're storyboard pro software. And there's lots of companies that they've been awesome meeting with, according to the Facebook. And they have a bunch of new companies on board with using their products for their productions. So enemy will be heading over more and more into the Tim Boom software. Um, production. There's already a few, uh, shows. I'm not sure off the top of my head, but at timber posts, often about, ah, the companies that are using their software in the website, see if you're interested, he could look into that. See? So right there, my lines will keep snapping. And I don't want Teoh snaps that a specific line. So I possibly just going to go in and use my brush tool. This is ah, pre recorded video. So I had a delay earlier with, um my audio. I can't get my wireless Twerk. So I'm recording this right through ah ah, standard microphone. So there's really not much when you're doing cleanup. I mean, there's there's times that you ah, you have to definitely no animation when he's doing cleanup, you have Teoh, you have to make sure you pick the right lines. For instance, if you look at the picture that's on the screen right now, the top of her bang on our rights, there was too much of a curve, and it and the character her bangs wouldn't curve that way if she was in the street. Fourth angle. So I just made ah, an artistic decision not to do that whole curve and to straighten it out a little bit more and privet more towards the top, uh, less Stan the Leinart. But that's the type of stuff you need to choose, and he needs. You understand? When you're doing clean up, you have snow animation you can't trace over lines and trying to metro lines, you have to understand what lines should be there. What line shouldn't I feel to look on? Ah, the flares on her, on the hair on the right. Um on the pencil drawing. I had four, but on this cleanup on well, using three of them. So little spiky parts of the hair article flares. I only story even though that in the previous drawing that was four. But as a head turns, the hair changes some time to figure out, like how far out should her bang go? And I also notice that there's a line that goes right for this year, so I'll just add that into the frames that I already created. But sometimes when you're doing clean up, you have to go back and change your friends, or you have to just start from the beginning. If you, uh if you choose decisions or do things like that, sometimes it requires that you need to go back and start all over again. It's just it's just, ah, way of the beast. It's like, That's just what you need to dio. So I can't say on the best cleanup artist, but I get the job done when you're doing animation, clean up in something, let's say like flash you. Sometimes I wanna overshoot the lines, meaning you want to two lines, um, to cross over each other. But you also want to extend the lines outwards past the original, uh, line. So it's a instead of ah, you instead of like you're doing the letter y you would make an X or like the majority of, like, fax. So the part that crosses over to make the the Y shape on it on the top you would. She's over the line here, crossing over it, and then you're going back and delivering the extra part so you can make a why out of that X, if that makes any things. But when you're doing ah, stuff like Tim boom in harmony, our studio are animated. You really don't need to do that. You can if you want Teoh. But for me, I kind of don't want to dio more work than I need to. But sometimes it's. You have to make sure that the lines are connecting, or else you have to go back and you have to use ah, close gap tool to close any gaps that might be open. Which tune Boom also has and Tim Boob on with the paint bucket. You can also have ah, a close gaps selection. You could ah have close big gaps or small gaps are medium gaps. I'm not sure if you could, uh, you could specify what, um, how many pixels to close, But one of those three selections should work for you, and if not, you just go over. And he's a close gap. Close gap tool. And that'll work. So right now I'm using a paint bucket. I'm sorry. A paintbrush. So you just, um, do lines on her sweatshirt that hi. Can't seem to get right when I'm using the line tool in the concert. So together. And I'm just trying to keep versus stiff as I can, and I'm trying to draw by moving my elbow instead of my wrist. So I'm not pretty to one strain on my wrist. And I'm just making another artistic this, like decision right there. I put a little bulge in her sweatshirt because their bodies twisting. Okay, so I hope you can see it. Ah, the line tools from a snap to a specific spot that I don't want it to. So I'm just gonna go in there and use my brush tool. It's a very skirt. I'm just making everything flat right now. And you can see the tool is trying to snap to someplace I don't want it to. But that's just because I have Ah, I haven't set to snapping. Yeah, so right now I'm just using contra tool to carve out some lines. So I have, ah, flat lines and has, um, contour, uh, shapes within that skirt and for her legs. I'm just going to use the first tool. And for fingers, I'm also making ah Sri making another artistic another stick to sickle and every more shape to the fingers, even though it's not drawn in the in the pencil sketch. And I'm just gonna I should, uh, just check the animation again. Off screen. I'm using my timeline to shift around some some images so I can have a clean the clean drawing. I'm just checking to see if, uh, my volume changes the way I wanted to, because now she's bending towards the camera, which changes her shape a little bit, some still just making Ah, my choice is off. I want to sell it. Keep flipping back and forth between the two are actually four different cells today. Just cleaned up and they noticed that her her hip is a little two big on some of the some of the cleanups. So just redrawing him and making out a match so I wouldn't let her and go back and put in some in betweens, maybe some more breakdowns. I just, uh I'm not that great of Ah, in between her, even though it's it's an entry level job, the same ones that great. It's just, uh I was kind of pressed for time when I was doing this, so I just wanted Teoh. So you guys some cleanup? So now it's just a playback with those those few cleanup drawings And I just turned on the camera mask so you can see it better. And now I'm just gonna zoom in. And I noticed that the characters off models, So I have to change the bangs and answer, bring them down a little further. So I'm just gonna use my contract soul. It is. Click on it and drag. So all the hair was pretty much Ah, too short, basically. So I'm describing the ends and just drinking it. So the concerts was pretty cool. You can reposition lines like you couldn't any vector drawing. - Yeah , I'm just trying to find Ah, I'm looking for something I can't really even really was looking forward when that's doing this. So just bear with me here if you can, okay? So checking that year to see, uh, to see if they match or not. I know in one cell that cell, her face is kind of sharp. And I'm just repositioning that eyebrow on making it a little smaller. So you think right now I'm looking to see if if the lines of her eyes they go over her hair over her bangs or are they hidden underneath? So I'm just using the racial toll on them, putting her eyes and her eyebrows and eyelashes underneath the hair to see how that looks because it just used a contra tool in Just select those lines and deleted them. But I'd just rather have used uh, the re certainly stylist. Oh, my, my Wickham's antique pen, which I guess is called a cilice. So I'm checking out to see which one I like better. And if I remember the original model sheet, the lines are showing through so you can see her eyes and her eyebrows on top of her hair, even though it's painted over, painted over. But the outline is still there as you've seen a numerous amount of animation. So you're basically gonna be foot being back and forth a bunch between all your cells. What's like, What needs doing any other animation you want to make sure your lines are consistent and they seem like they can fall into this. Kim, the correct places depends on your style or what look you're going for. You don't need to always be 100% which I don't think any animation is 100% because that's like rotoscoping in. Even though rotoscoping is a type of animation, I personally don't really like it that much, even though I have to have done a bunch of times. - So now just play it back. No. Sometimes it's easy to spot it. You know, it's easiest by things that are wrong, and I'm sure there's lots going on that's wrong, but I just wanna you know what is best. They can no