Instruction
1
In creating mutiplication film with a computer there are typically two difficulties: technical difficulty, ie you need to have certain skills and knowledge in drawing, anatomy, physics, and the use of appropriate software, and the complexity of creative – almost every user can easily get a set of images move across the screen is pointless and plotless, but a film to call it would be a shame.
Technically to create the effect of animation – motion graphics on the screen, you can use almost any software that has a function of controlling objects in time. For example, this popular people names from the line of Adobe: Adobe Flash, Adobe After Effects, or even the infamous Adobe Photoshop. In each of these products has a working space of the window frame, it is possible to place independent objects, each on its own virtual layer, and has a panel changes the characteristics of these layers in time – the so-called TimeLine (In Flash and AE from timeline is visible by default in Photoshop access to it is opened through the Window menu>Animation, where in the bottom right corner of the window there is a mode switch Frames/Timeline) In this panel in front of you vertically, there will be a list of layers, and the horizontal time axis, which will indicate, depending on the settings, the time in frames or seconds. Spending a few minutes to read helpa feeling and intuitive tools, you can easily learn the simple procedure: select one of the created layers, for example, there will be a drawing of a superhero, put in the beginning of the time axis near the setting position of this layer KeyFrame (keyframe), after a period of time, for example, a second along the time axis, put another keyframe and change the coordinates of your drawing, for example, raise it up on the screen, and in a second of screen time make a third keyframe and move the layer to its original location. You can start playing the animation, you'll see a new masterpiece of modern cinema – hopping layer. If loop playback over a new blockbuster, the audience will not be bored: every two seconds will occur action superhero will break your seat for a second and back down to its original position. Depending on the type of keyframe it will jump sharply or smoothly, changing position in time more or less smooth. Can start to petition for a tuxedo. Oscar is yours.
Technically to create the effect of animation – motion graphics on the screen, you can use almost any software that has a function of controlling objects in time. For example, this popular people names from the line of Adobe: Adobe Flash, Adobe After Effects, or even the infamous Adobe Photoshop. In each of these products has a working space of the window frame, it is possible to place independent objects, each on its own virtual layer, and has a panel changes the characteristics of these layers in time – the so-called TimeLine (In Flash and AE from timeline is visible by default in Photoshop access to it is opened through the Window menu>Animation, where in the bottom right corner of the window there is a mode switch Frames/Timeline) In this panel in front of you vertically, there will be a list of layers, and the horizontal time axis, which will indicate, depending on the settings, the time in frames or seconds. Spending a few minutes to read helpa feeling and intuitive tools, you can easily learn the simple procedure: select one of the created layers, for example, there will be a drawing of a superhero, put in the beginning of the time axis near the setting position of this layer KeyFrame (keyframe), after a period of time, for example, a second along the time axis, put another keyframe and change the coordinates of your drawing, for example, raise it up on the screen, and in a second of screen time make a third keyframe and move the layer to its original location. You can start playing the animation, you'll see a new masterpiece of modern cinema – hopping layer. If loop playback over a new blockbuster, the audience will not be bored: every two seconds will occur action superhero will break your seat for a second and back down to its original position. Depending on the type of keyframe it will jump sharply or smoothly, changing position in time more or less smooth. Can start to petition for a tuxedo. Oscar is yours.
2
And now for the other, less talented and more hardworking.
The creation of the animated film begins with defining the idea of the film. What do you want to tell the audience that in the world there are heroes, that everything is bad, that everyone dreams about freedom, about how to do a real woman, how can you enjoy a new morning? When you realize that you are unique bearer of such thoughts, experiences which is not enough for a modern viewer that you can help him to realize it, you can proceed with the next step.
The creation of the animated film begins with defining the idea of the film. What do you want to tell the audience that in the world there are heroes, that everything is bad, that everyone dreams about freedom, about how to do a real woman, how can you enjoy a new morning? When you realize that you are unique bearer of such thoughts, experiences which is not enough for a modern viewer that you can help him to realize it, you can proceed with the next step.
3
Script. It is better that it was recorded, even if you claim that writing a script is a waste of time and have already bought a Tux. The fact that in the simplest scenario, like, "one dude runs up to the second, gives him on the head, and their eyes fall out, he falls, and the first says: ha ha ha" there are at least six segments and seven time points in which to begin and end an action. The number and meaning of these points will be familiar to you before you proceed to the distribution of the film on the timeline – that is, the script needed in order to plan a reasonable technical means.
4
Then it makes sense to pay attention to important stage – the creation of the characters. Here it starts with sketches: take a pen and paper and draw those who need to impersonate the role, painted in your scenario. Some believe that it is better to do in boring lectures. The choice is yours, especially if as prototypes of the characters you are the fellow on the Desk and a caricature of the view of the teacher. In fact, the potential of animation does not limit your imagination, and the characters in the film can be as primitive balls with eyes and inflated yokels with all anatomical details – it all depends on the art of your drawing and from the available amount of work to animate conceived character.
5
There are several approaches to the technical implementation of animated characters:
the image of the character from frame to frame can be drawn again – it's classic hand-drawn flat animation, giving unlimited opportunities for transformation features and bodies of the characters.
- parts of the body of the character can be solid objects, hand-drawn or created in some other way, for example, photographed with real body parts, and animate such a character is in the mutual change of position of these parts.(the so-called "animation relaying") overall, it's more like a truth of life – your hand or head is never in the sky, and not flattened like a Saturday morning cartoon. This technology prevents infinity of experiments on the form of the characters, but often in these delights there is no need to transfer the idea of the film.
- characters can be modeled and animated in three-dimensional space. Their movements, therefore, will depend on how the time change the coordinates of the key points in the system of three-dimensional vectors.
For each type of animation has its "ground" under the necessary technology of a computer program. Three dimensional animation is done in 3D graphics packages, usually using different programs: one for the geometry modeling characters, creating textures and colors, and others – actually, for programming their movements, the fourth – to render and the final image.
Classic hand-drawn animation, too, has their favorites among the software, from highly specialized professional system to be simple enough and "omnivorous", type favorite with all the a Flash. Very unassuming to the level of training of the animator is animation reruns. Here you can use and as already mentioned Flash, and, for example, AE, which proved the presence of these required options, such as working with lighting, camera movement, depth of field, etc.
the image of the character from frame to frame can be drawn again – it's classic hand-drawn flat animation, giving unlimited opportunities for transformation features and bodies of the characters.
- parts of the body of the character can be solid objects, hand-drawn or created in some other way, for example, photographed with real body parts, and animate such a character is in the mutual change of position of these parts.(the so-called "animation relaying") overall, it's more like a truth of life – your hand or head is never in the sky, and not flattened like a Saturday morning cartoon. This technology prevents infinity of experiments on the form of the characters, but often in these delights there is no need to transfer the idea of the film.
- characters can be modeled and animated in three-dimensional space. Their movements, therefore, will depend on how the time change the coordinates of the key points in the system of three-dimensional vectors.
For each type of animation has its "ground" under the necessary technology of a computer program. Three dimensional animation is done in 3D graphics packages, usually using different programs: one for the geometry modeling characters, creating textures and colors, and others – actually, for programming their movements, the fourth – to render and the final image.
Classic hand-drawn animation, too, has their favorites among the software, from highly specialized professional system to be simple enough and "omnivorous", type favorite with all the a Flash. Very unassuming to the level of training of the animator is animation reruns. Here you can use and as already mentioned Flash, and, for example, AE, which proved the presence of these required options, such as working with lighting, camera movement, depth of field, etc.
6
Depending on the chosen technology, you should recreate your characters in the figure. Likely to begin this work is with a simple scan sketches and ciscoview with paper. You can use these drawings directly, just treating them, or specifically leaving the image is not processed, then the movie will retain the color and texture of paint and material. Or you can build on the basis of scanned paper images vector duplicate of the character. Flat or three-dimensional.