new to forum

Too familiar? Sorry. Your avatar, Simpson quote and location description paint a portrait, my mistake :blush: Bird
 
I don't know if I have a kindred spirit.. oh well.

Welcome aboard!! You may notice that there are 2 mr.blonde's .. one is me... & the other is... the other... yeah.

I have an avatar & he doesn't... booya!!
 
Bad Haircut-mymistake for assuming I knew ya :blush: . Xuetang, howdy! Mr. Blonde, Tarantino is a master, alright, how about Peckinpah or Kurosawa, even Tex Avery :shock:
 
Zensteve, I'm not sure if you're being sarcastic or not, but I came from a background in painting and film and after going from many different visual mediums, I discovered animation to be the perfect mix of many disciplines. For those unfamiliar with cel animation, I draw one cel for every two frames of film (or a variation, depending on how you want something to move), that's 12 drawings for 24fps. That's pretty standard for 16mm, which is what I shoot on. At this point, I'm hoping to switch to digital. The expense of just test-rolling is getting to be too much. (Anyone in the market for a really nice Beaulieu R16 PZ plus accessories?)Bird
 
No, not sarcastic. Wondering what kind of process the hand-drawings have to go through, to end up on a thin strip of film.

I imagine each complete frame would have to be photgraphed individually by the camera... but that is thousands of cels in a row, each having to be aligned exactly the same way, same focus, same light. Sounds daunting!
 
Zensteve: Sorry for doubting your sincerity, but I was a little surprised at the question considering this is a filmmakers forum (but then, there's alot about digital I don't know!). Yeah the task sounds daunting and at times I wonder if I'm some sort of masochist, but you use the tools you have available. I draw the action on simple 8 1/2x 11" bond paper (it's cheap), as for registration/alignment, I use a three pin pegboard (not the commercial acme or oxberry-too expensive) thepaper punch you can buy for 10 bucks at office max. I use pencil, pastels, paper inks, and water-based paints to create the images. All my backgrounds and action happen on one layer-so I don't have to worry too much about focus. Once the cel is set up on my makeshift stand- I measure from the film plane to the drawing and set the f-stop for single-frame shooting. The lighting proves to be the most problematic-after shooting for hours, the color temp of the bulb changes-I don't have a meter for this so it's a bitch replacing them when I 'think' they're changing. It's an expensive endeavour and that is why I'm trying to switch to digital. It seems I can get alot more effects easier. Bad Haircut: I don't mean to put you off animating-I'm just bitching about my particular rut. Try it, either the old-fashioned way-analog/hand-drawn or digital. The thing I would recommend for either-is life drawing-see how things move in the 'real' world than ya can start playing with exaggerations. :D Bird
 
bitch away!!!! it is our right :D i'm still gonna try to get into animations, but for now i shall just draw to my hearts content!!

bitching: editing sucks when you've lost some of your footage and your music won't work *grrrrrr*
 
All I can say is, I can do the most basic kind of animations in Flash (I suck at that)... It's hard enough setting a start & stop point for simple shapes with the computer automagically generating the tweens. I can barely begin to comprehend what must go into having to hand-draw each frame.

I guess you'd have to have a pretty good concept of spatial relationships to hand-animate well, too. Having objects in the same frame that move at different relative speeds? Then add in the extra concerns of objects in a deeper DOF, moving relative to the foreground? Holy cow! :shock:

I'm going to look up some piccies of what the camera setup looks like.
 
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