73 Forum Posts by "NoperDoperTrooper"
I see potential here but unfortunately there's a stiffness problem.
I think the problem is that you've been using those square guides not only for proportional accuracy, but also to develop your sense of animated motion. Those blocks may be useful proportional guides, but they will not teach you to create appealing, believable motions.
Try studying more fundamental animation concepts like ease-in, ease-out, extreme poses, passing poses, arcs, timing, antics. Those little test animations are a great way to practice. Also, avoid moving shapes around and draw each frame over again to practice drawing quickly and accurately.
It'll lead to better keyframes and will thus make your animation look much more fluid even with less frames!
Sheep worm? great idea, brb
Do you use onion skin? It helps a lot when trying to animate in FBF. In fact, I think it's impossible to work quickly without onion skin. Also, trying to tackle a motion all in one go is a bit difficult. Try to nail the key poses of your character, such as the extreme positions of the movement and points of contact, before moving on. While the key's are the most important bit of the movement, the in-betweens are what flesh the movement out. The in-betweens are the drawings that fit between the key poses. Here you can add little accents and variations to the movement while smoothing out the motion between key poses.
Guess what? It's Marth vs. Link.
How trite, I've got no imagination.
In exchange I'll try to make it epic.
Keeping it simple is not the important bit. The important bit is to preserve the flow of motion. Whether you want to animate on twos or ones is up to you, but I generally go with twos and even threes as long as the motion looks good and is timed well through the key poses.
Nailing the key poses is crucial when animating a motion.
Worrying about in-betweens and smoothing out the motion should come second, because smoother motion does not always mean better motion. When drawing in-betweens always remember to preserve volume.
In-betweens will not fix a motion with awkwardly timed and awkwardly posed key drawings.
Of course there's always the method where you animate one frame after another, but that's a bit riskier as the volumes can distort over time.
When dealing with UI, always use keyboard shortcuts. My favorites are ctrl+z, e for eraser, b for brush, v for selection tool, and q for transformation tool. Also, the "," key and "." key can be used to move one frame in either direction and you should toggle onion skin when drawing in-betweens and such.
Finally, get a tablet. It's impossible to try to have a decent workflow without one.
Incidentally, is there already a peloader?
I have great respect for your focus on quality and your menu looks spectacular. I want in, but my part might take a while because I'll be busy over the summer. You can check out some of my previous stuff on my userpage, though that stuff is old and I've gotten quite a bit better.
Just a heads up. :D
To animate anything well, you need to learn some rules of motion.
Some basic rules are:
1. Volume must be consistent.
2. Everything moves in an arc.
Of course, how you choose to time movements and how you choose to shift around weight affects the entire movement and, consequently, every single drawing. It's a mix of thinking and creativity.
13 year olds? Then whats with all the Mature and Adult content ratings? =O
..how we spoil our youth :P
Uh, be more consistent from now on? :P
Honestly I don't think there's any way around that one. If they're multiples of each other, like 12 and 24 fps then that's obviously not a problem. Maybe Flash has a fps conversion plug-in somewhere on the net, but it's hard to say. Then again, you could just do it manually by throwing out some frames while maintaining the timing of the key poses and extreme and such, but it's probably the most painful (though most effective) way to go about solving this problem.
It was about Piconjo releasing all of the dead and blammed flash files from the graveyard, which start to terrorize the rest of the portals. Then Pico and crew beat them down and face Piconjo.
Well, maybe for a future Pico Day I'll do something like it. The problem was, as I already said, that I didn't know where to take it and I had such a limited amount of time to complete it. If I wanna make something for Pico Day, I want to take some time to plan the thing out and animate it.
Started this for Pico Day 2010, but it fell out of focus and quality was not as high as I hoped it to be as a result of trying to rush things with little to no planning. Next time, I'm probably going to nail everything down before I start to animate, rather than doing it as I go.
Actually 60 fps for games is a framerate cap to ensure that "screen tearing" doesn't become an issue when framerates get too high. It's during the more complex moments of the game where framerate drops because of the increase of scene complexity, thus more processing requirements, thus slower frame turnout.
Yeah for a movie it's pretty ridiculous. If you want to do this, think of it as a consistency exercise. By no means should you try to learn timing at 60 fps...
I'd say that the focus here would be maintaining volume and consistency when drawing inbetweens rather than working on timing in 60 fps.
To be honest, people are too obsessed with making animations look smooth. Whats the point of smooth animation when the character or object doesn't move well? The point is smoothness. It's suspension of disbelief.
This wasn't practice. This was torture.
60 fps PUNCH
30 fps PUNCH
Animation: Looks like you have a nice outline going. I suggest messing around with camera angles rather than having most of the action be flat to the front or flat to the side.
Technical Stuffs: Is the .fla 35 MB or the .swf 35 MB? Even "Last of the Dashkin" is only 12 MB or so. If the .swf is really 35 MB try tweaking audio quality in the publish settings or output panels.
Holy shit. I just got called a fag by a duck-creature.
Watch the hair on the anime-esque one. Looks like you are pretty good at drawing characters and stuff. Wanna see what you whip out next!
If you want to really rip your hair out, I recommend animating some slow character movement. It sucks balls to do. :D
Rough frames are alright, but I take at least an hour finalizing frames. And if at the end I think something looks funky, I erase it and draw it again. Thus I can sometimes put in 4 hours of work into 3 frames. It's probably because:
1. Tablet drawing is hard (easier than mouse though).
2. Animation is hard.
3. I suck at drawing.
4. I suck at animating.
And I call this a hobby... :D
You're very good. This is the kind of classical training I want to receive... but my major won't allow it.
Ideally you should go full Frame-by-Frame unless:
1. It will look better by using tweens (scrolling background, shifting camera)
2. You have time constraints to deal with and have opportunities where tweens will fit the bill
Tweens look good if used effectively, but nothing beats FBF imho.
Yes it is. Watching the Revival movies and anticipating Rebuild 2.0 has made me feel like animating Evangelion. It's ridiculously difficult animating mecha -.-. Each frame takes me at least an hour and a half to draw and paint and I'm the type to erase things and delete frames if the movement or proportions are unacceptably off... ...but if it's Evangelion it's worth it.
Be careful of making the mistake of shading things into flatness, if you know what I mean. Be aware of the global light and how volume causes shadows to be cast.
Frame by Frame.
Of this fool's calibur: Dis foo.
...jk.
Welcome to Newgrounds.
Cool vid, loved the atmosphere.
My crap:
Explode in Smoke
Raise a Gun
Grab your Hand
Practice Water (almost)
Explode a Bomb (Rough)
Shoot a Lazer
Make a Wave
Imitate Adam Philips...
This last one I technically submitted to the Portal, but I think it's just a collection of crap, so check it.
Eva Punch
And now I can breathe a little easier.
My tablet's a crappy Graphire3 4x6 and my desk is too high. A cushion helps, but the brush tool flies across the screen at the smallest twitch of my hand, forcing me to keep my hand PERFECTLY MOTIONLESS whilst I painstakingly bend my wrist to get the stroke I want after about 30 undos, leaving me with an aching wrist, an aching shoulder, aching fingers, but a job well done.
lol I needed to get that out. I really dunno why I put myself through this... ...maybe cuz it's damn good fun.
I often use 24 fps but animate on twos or even threes. Cool little animation btw, just watch the timing of all of the movements. Sometimes it's difficult to keep track of the motion especially when you're just messing around (I do that a lot :P) and doing straight-ahead animation, but using keyframes for important poses makes it easier to nail timing. Then you inbetween for the win.
The bottom one is the hole in the ground.
