So here is the source of my idea for my 120 animation. It's my character Toni doing what she does best, telling a story for her little brother (and possibly some stuffed animals) to enjoy. I'm thinking about doing a combination of cells and paper for this one, but I have to solidify the actual 30 second sequence first to make sure that I will or wont (as well as empty out part of my savings to buy cells, anyone know where I can get a sizable number of cells for cheaper than 75 cents a pop?).
Also, ignore the ghost that appeared due to scanning diffi(laziness)culties
Wow, I love your style! Just remember to keep it simple. That's something that took me a long time to learn, and produced many senseless films.
ReplyDeleteI think I've got some cels left over. Some people say "hell with cels," but I think that any film shot on cels immediately stands out from the paper 120s as more professional and complete.
i don't fuckz wit em myself.
ReplyDeleteask yourself what you want to accomplish. more story? more practice animating movement?
or more colors?
...using an archaic process that is waaaaaay expensive and extremely difficult. Not to mention completely inapplicable the digital skill set you'll be developing in the coming years.
the great animators from back in the day didn't learn to animate on cells. they animated on paper. they had inkers and painters do all the transferring to cells for them.
also, i've seen lots of student projects animated on paper that look and read as well or better than ones done done on cells. it's all about good design and good cleanup.
oh JJ seems we are destined to debate... :D
i love it though, and have a bucket of respect for you dude - just presenting my perspective is all.
JJ and I have long disagreed about cels as well :) (I too mean you no disrespect when I say this, you were very helpful with my freshman film, JJ!)
ReplyDeleteI did them on my 120 and it was the worst (and most expensive) decision I made. I wish that I had spent more time working out the character animation. Your goal should be not to make a fancy color film, but to learn the very basics of animation and timing.
That said, it is up to you of course!! If you need cels, I have extra, they are super expensive and I'd be more than happy to hand them off to you!
I cant really disagree with Brian and Kiki. Cels are totally outdated and generally offer nothing you'll need late on (although Kiki's film is a bad example of why NOT to use cels because her animation was great and the film looked AWESOME, and I'm sure if you could see it you'd say "HOLY SHIT I'M USING CELS").
ReplyDeleteBut 120 is about learning how animation works. There are later classes that focus on performance and storytelling. Based on MY experience, I'd say dont tackle performance until you figure out animation itself. My first two films were a MESS because of it! Again, based on my experience, you'll better serve yourself if you take on/understand the fundamentals first, then tackle performance/character animation later.
And given the complexity of most 120s, you really, really dont need complicated/Disney-esque character animation (look at the 120s from Marnie Brumder, Meghan Short, Kieth Henry, Scott Jonsson, David Reilly, and David Woo).
And hey, as recently as last year failing to take your film to completion hurt your grade (I think it guaranteed you at most a B) so choose the polish that works best for your story! Judging from that art, I see watercolor backgrounds and cels.
Don't focus too much on whether you want to do cels or not. If you think you want to do them, leave a couple weeks at the end for massive amounts of painting. However, focus on the animation. That's the part you really need to learn from! :3
ReplyDeleteLove your style, Stef! It's gonna turn out awesome no matter what you do!