When creating the bone structure, think about where you want the image to bend. In the Camera view, click and drag to create the first bone, following your design.
The bones and bone chains that are created first will be at the top of the Timeline layer stack when you are finished therefore, they will be located at the front of the visibility hierarchy. These are the parts you should start creating bones for first. Take a look at your character or object, and decide which parts will be at the back (hidden behind other parts). In the Timeline view, select the layer that contains your artwork.įrom the Bone Tools toolbar, select the Bone Creator tool or press.
To deal with the issue of a tail, at the moment the best way to animate it is simply to do frame by frame animation, or to morph drawings together, or lastly you can play with using the Glue module.Make sure you are working in the Camera view. Plan textures so that they only occur on parts that won’t deform (like a vest would be fine). There will be development of such a tool in the next version of Animate Pro, however I have no information as to when the release of that version might occur.įor the moment, I would recommend planning your characters so that you don’t run into issues like textures on the character’s limbs. In a traditional cutout puppet approach, you will get seams when you rotate the body parts if there is a texture applied.ģ) When deforming some spaghetti-like limbs, like a tail. There are only a couple of instances where a Puppet/Bone tool might be useful:ġ) When doing subtle animations on a bitmap image (think the cats in the Meow-Meow commercials)Ģ) When you want to work with a character that it wearing clothes that have textures on them, like a plaid shirt for example. In my humble opinion, for most scenarios, I still prefer a traditional cut-out puppet scenario. Morphing artwork with bones might look good on simple artwork but how does it look on a more complex character with multiple tones and a more dynamic range of motion being used in the animation? How much control do you have over joint deformation? I wish they would post some actual examples of bone animation in the Toon Boom Studio forum as opposed to a very brief overview so I could look for myself without having to ask some of these questions. Toon Boom Studio is being marketed to home enthusiasts who may be more concerned with production speed and less with the animation quality, especially in the case of cut-out or limited animation. If the only difference is the speed of bones I’ rather use the hierarchy system in Animate II and put it a bit of extra work to get a superior look. Besides the speed of creating the rig are there any other advantages to the bone tool over a hierarchy / pivot point system? I know that with the hierarchy system in Animate II you can still take advantage of an IK rigging system easily swap out drawing substitutions when the character changes angles or creates movement beyond the IK joint set up and eliminate deformations to the joints during movement by careful clean up, line work and tonal painting. I’m guessing that bones is the faster way to get a character rigged for animation as it can actually morph the artwork underneath with or without the preparation required to create a cutout hierarchy? Does anyone who’s used both methods have an opinion about the quality of the animation when you compare the two? I see a lot of people requesting or wishing for a bone feature in Animate II like the one in Toon Boom Studio.
0 kommentar(er)
