must frame this

(Psst: Pokemon Crystal came out nearly 15 years ago. Can you believe it?)

I don’t know why Ryder was so quick to trust that Dr. Aridana must be framed when she claimed that she would never hurt an AI and the virus she had Ryder install that would shut down SAM had nothing to do with her. I mean, I know there was later some sort of anti-AI conspiracy but Aridana does not seem that convincing. I am still very suspicious. 

I honestly would like to keep as far away from the SU animation discourse as possible, but after seeing so many posts about it, I’m honestly getting really annoyed with everyone throwing words like “lazy” out there like it’s nothing. Here’s the thing; the animation itself is fine. The problem everyone is complaining about comes from the fact that the show is board driven.

In animation, the storyboarding process is pretty damn nightmarish under a strict TV schedule. Despite common belief, TV storyboards are not the same as movie boards and don’t just feature a singular basic movement. TV storyboards are really just animatics; meaning that every key frame must be conveyed in the boards. (Basically a movie board will be more inclined to use arrows to convey movement while a TV board actually has to have multiple drawings to show it.) So it’s basically animating lite.This is all because the boards/animatics are meant to be step-by-step guides to studios overseas because a constant back-and-forth for animation approval would be too time consuming.

Unlike animators who are only in charge of the scene they’re assigned to, board artists are usually in charge of the entire episode. Anyone whose ever animated will know that it can take over an hour just to animate a few seconds, so imagine being in charge of a full 20 or 10 minutes, whether it’s just keys or not. Storyboarding is probably one of the toughest parts of the industry if only because of deadlines and strict TV production schedules. The industry standard for boarding assignments tend to be 2-3 weeks, though I’ve heard many nightmare accounts of just one week.

Many storyboard artists outright advise people the exact amount of minutes you should take doing each individual drawing, and I could be wrong because I haven’t seen the Cartoon Brew article in a while, but the best advised time seems to be 2-5 minutes. Obviously, this doesn’t lead a lot of room for perfection. Storyboard drawings are often really loose and sketchy. They are still required to make the characters recognizable to help overseas staff, but being 100% on model for boards is not the goal. While it gets easier to draw the characters properly over time, time constraints are still working against you.

Now you can argue whether or not it’s a good idea to tell the animators to follow boards instead of model sheets, but please do not go accusing people of being lazy. Animation is one of the most stressful art mediums out there and while it’s fine to not like the output, insulting the staff is just so rude and condescending.

My 25th birthday​ is in 6 days

There’s a dellima of space
Both increasingly
Trafficked
There aren’t any more places to resettle
So it may break down into early middle ages, like regionalism
Just yesterday wherever I went
Across Southern California
McDonald’s became
Indicators of why
If I was 6 again
No one would’ve stopped that train
So as my aunt said
“You know they’re everywhere right”
Yes I do
Just tonight crossing the street
One gave me a thumbs up
Same entitled smug face
That encroached during my last few months at Target,
I hate these people
I hate them for populating our spaces
As these ironic automatons of
What the world believes are our negatives,
These people are the inebriated
Hot whipped
Shit drawn mules of empire
Who they’ll never get rid of
In fact no one is getting rid of anything
Things are settling
Recalibrating
So what I must do
No longer frames
Because what I must do
Belongs to those who stopped that train,
Those who said to go home when the street lights came on,
Those who knowing my parents through association
Still respected still cherished an unspoken lineage,
Transfigured in blue vans
Or lessons in hardware shops,
Frankly
Like yesterday in Los Angeles
Gazing up at those gigantic
Calvin Klein billboards
I’m not listening to it all
I’m going out for myself
My escape
My physical escape from
All that encompasses days
Only known
By debit card wielders

[T]he complete dissolution of any alleged truth content of language, and the realization that this content is nothing but a sort of phantasmagoria of the spirit. Moreover, from this standpoint, not only myth, art, and language, but even theoretical knowledge itself becomes a phantasmagoria; for even knowledge can never reproduce the true nature of things as they are, but must frame their essence in “concepts.” But what are concepts save formulations and creations of thought, which, instead of giving us the true forms of objects, show us rather the forms of thought itself? Consequently, all schemata which science evolves in order to classify, organize, and summarize the phenomena of the real world turn out to be nothing but arbitrary schemes—airy fabrics of the mind, which express not the nature of things, but the nature of the mind. So knowledge, as well as myth, language, and art, has been reduced to a kind of fiction—to a fiction that recommends itself by its usefulness, but must not be measured by any strict standard of truth, if it is not to melt away into nothingness.
—  Ernst Cassirer, Language and Myth

anonymous asked:

Why is koichi so small? He didn't even grow in Vento Aureo. He looks like an angry turnip

In an attempt to appeal to kawaii demographics, Araki decided to create a chibi style character…but since he can’t draw chibi to save his life, Koichi was the result - so he is permanently stuck in a smol frame and must be protected

  • Me: *has three hundred different things to get done*
  • GoT: *releases new trailer*
  • Me: oH mY gOd this is not happening. serious measures need to be taken. i must analyze every frame and inspect every detail. is jon alive???? what's happening with sansa???? arya what are you doing???? tyrion are you with the dragons???? Daenerys are you okay???? what the actual fuck is happening.
  • Me: *avoids all responsibilities to rewatch the new trailer*

anonymous asked:

How do you make your manips so good? Whenever I try to make a character transparent, they're not as smooth-looking as yours. What's your secret?

Refer to this post X

Top-left GIF: After Effects | Method 1

Top-right GIF: Photoshop and After Effects | Method 2

Middle GIF: Photoshop and After Effects | Method 2

Bottom-left GIF: After Effects | Method 1

Bottom-right GIF: After Effects | Method 1

Frame-rates (fps):

Before starting any edits on After Effects I have to make sure the composition has a frame-rate close to the original video. For example, the How to Train Your Dragon footage of Hiccup i used has the frame-rate of 23.959 per second (23.959 fps); therefore, I set the frame-rate in After Effects to a frame-rate close to that. In this case I chose 23.976 fps (24 fps is also good). You must choose a frame-rate your program can render or else it will round off to a different frame-rate, so in other words, do not type down a custom frame-rate, just choose one your program has offered. 

Choosing a frame-rate far off of the video’s frame-rate will result in duplicate frames when creating the GIF. It may not be much of a problem but some people might notice the stuttering effect in the GIF. When you create a manip you are combining two videos together, so if two of the videos contain stutters in random areas then it will not appear right and the GIF will look odd. Another note to add is that the keyframes added in the video will also not sync with the footage.

This is a GIF I uploaded in 29.97 frames per second.

Pay attention to Rapunzel as in some frames she does not move. Even though it’s happening, Hiccup is moving in the frames she is not moving in. You can also see an error that occurs in the 4th frame with the outline of Rapunzel’s hair, an example of the keyframes not matching up.

NOTE: If the original video contains duplicate frames then you should remove the frame using Photoshop or After Effects.

METHOD 1 - After Effects & Pen Tool

In this method I used the Pen Tool (G). In the top-left GIF, I used the pen to draw around Rapunzel. If you’re familiar with vectors and handles in Illustrator then this will make more sense to you. 

At the bottom-right of the screen you can see some diamonds, which represent a keyframe. For every keyframes I had to draw around Rapunzel that many times. As you can see not all of the keyframes are in every frame. If I did do every single frame then not only would it waste time, but it would also make the manip appear “choppy”. The spaces between the keyframes are like tweens in animation, so the movement of the mask around Rapunzel will be smooth.

^This would be the result if all frames were done with no tweens.

^This would be the result if not all frames were done. The areas where the most movement occurs determines if a keyframe should be added, in this case it is Rapunzel’s hand.

METHOD 2 - Photoshop & Background Eraser Tool

I only use this method for things with complicated shapes such as Merida’s hair or Hiccup’s hair. The Background Eraser Tool (E) is used whenever a character is in a background where it heavily contrasts with the character. Refer to the top-right GIF where Hiccup is the one being edited into Tangled. In the original footage Hiccup is in front of a waterfall where it is mainly white and grey, it contrasts with Hiccup’s dark brown hair so therefore the Background Eraser Tool can be easily used.

But it’s not as simple as that, eventually I found a trick to make it smooth when creating the manip. Instead of erasing the background in every frame where the colours of the background constantly change, I added a colour palette around the character.

Ignoring the text, the colours are merged with every frame in Photoshop. This may take a while to prepare but it will save you many hours of work and the manip won’t look “fuzzy”. The colours are selected by the Eye Dropper Tool (I) and then created into a shape. The shape of the colour is merged to the frame of Hiccup. Then the Background Eraser Tool is used on the selected colours to see if it works. So basically creating the colour palette is just by using trial-and-error.

After doing this step the colours are then erased in a particular order, that order must always be followed in every other frame. This method is more effective because in every frame, the Background Eraser Tool will remove the same colours so therefore it is consistent. Whereas by not adding the colour palette as a guide for your eraser, it will remove different colours in every frame. The tolerance and limits are always varying, choose the ones that suit your needs.

^Without using the colour palette.

^Using the colour palette. 

NOTE: The green background is a separate layer, so it does not interfere when I add it to After Effects. 

After erasing the background in all frames, the file is then saved as a Photoshop Document (.PSD) and then it is import into After Effects to merge it with the video; In this case it would be the lantern scene of Tangled. Extra filters and masking is done to polish the final product.


Summary:

1. Always keep the frame-rates as close to the original as possible in After Effects.

2. When creating masks, add keyframes to frames where a lot of movement is present. Leave gaps to create tweens if those frames don’t need a keyframe. This will save a lot of time.

3. Create a colour palette and merge it into each frame before erasing the background of the frames.

Fear comes into being when I desire to be in a particular pattern. To live without fear means to live without a particular pattern. When I demand a particular way of living, that in itself is a source of fear. My difficulty is my desire to live in a certain frame. Can I not break the frame? I can do so only when I see the truth: that the frame is causing fear and that this fear is strengthening the frame. If I say I must break the frame because I want to be free of fear, then I am merely following another pattern which will cause further fear. Any action on my part based on the desire to break the frame will only create another pattern, and therefore fear. How am I to break the frame without causing fear, that is without any conscious or unconscious action on my part with regard to it? This means that I must not act, I must make no movement to break the frame.
What happens to me when I am simply looking at the frame without doing anything about it? I see that the mind itself is the frame, the pattern; it lives in the habitual pattern which it has created for itself. Therefore, the mind itself is fear. Whatever the mind does goes towards strengthening an old pattern or furthering a new one. This means that whatever the mind does to get rid of fear causes fear.
—  Jiddu Krishnamurti