![]() ![]() We had a clean-up team just like the old days where assistants and in-betweeners would do all the rest of the drawings and nice clean lines. No puppet animation, it was all hand-drawn frame by frame. From layout we did animation directly in Toon Boom Harmony. ![]() We would split layout depending on whether it was a 2D shot or 3D shot (see below). The great thing was, from there we could go straight to layout. We would storyboard with Storyboard Pro from Toon Boom. Everything from storyboarding through to ink and paint was all based on the Toon Boom pipeline. The other extremely important part of it was Toon Boom – the whole pipeline is built around Toon Boom Harmony. We called the tool ‘Klaus Light and Shadow.’ What came out of the partnership was this insanely intuitive tool that works in real-time and it allows artists to do an amazing amount of work in not much time. Not just vector drawn lines, but even bitmap lines. ![]() Les Films Du Poisson Rouge figured out how to derive a tracking system from drawn lines. ![]() It was Marcin’s recipe and Les Films Du Poisson Rouge’s proprietary solutions – we merged those together. They had been developing tools for 3D and 2D for a long time. This is when we reached out to Les Films Du Poisson Rouge. That proof of concept was incredible, but it was a time consuming process. ![]()
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