Short Orded Crooks, a comic written by Christopher Sebela (High Crimes, Heartthrob, Injustice Ground Zero, We(l)come Back, I Live in A Clown Motel), with art by me and colors by Lesley Atlansky, is on Kickstarter! Go take a look and if you like it, share it ,support us or do both! Plus you can read a 6-page preview of the first issue!
Dragbody for the tutorial on alpha transparency Elianora for the tutorial on putting the items into the game jonwd7 for B.A.E. and nifskope Ousnius and Caliente for the Outfit studio Gibbed for F4 gibbed tools ElminsterAU for the FO4Edit Bethesda for the great game
Hahaha, more Mesa/Wind harpy shipping shenanigans.
So I’ve decided in order to *try* to be more canon compliant, Windcarve did a sort of reverse-Mulan thing. Because boy harpies aren’t allowed to fight, he fluffs himself up in order to hide his more glaringly male traits, mask also helps.
Also because harpy fighters aren’t allowed to show any personally identifiable stuff (that’s why they wear masks if you haven’t read the lore in a while), Windcarve keeps a feather from his beau (and his own) attached to his spear instead of on his person.
Tbh, I don’t think malexmale relationships would be well received in harpyland because boys are so rare, gotta concentrate on repopulation with the whole dragon fighting there’s going on… Their relationship is most likely kept in the hush-hush. :x
Top right: How Mesa’s clothing thing works
Bottom right: Mesa and Wind sans masks + cuddling
Bottom left: I can’t remember, did Windcarve Harpies take one Scratch or two? Haha…
(You’ve known each other since you were 5 years old)
1. It was already the ‘joyous’ time where people do extravagant promposals, you already knew you wanted to go with each other more than anybody else. It was just the asking part that was the most awkward. You wanted it to be a big typical promposal but even though you two were so comfortable around each other, you don’t really know when too much was too much.
You were at Dylan’s house, as usual and you were watching Supernatural in his room. “So, this prom thing is coming up?” Dylan began. “Yeah, I know. It’s pretty huge.” you reply. You moved closer to his chest as he held you tighter against him. “So, I was thinking-” he started while playing with your hair. You really wanted him to ask you, since you never really do things like this, it was really exciting. “Should we order Chinese and not go to Prom or?” you immediately sat up and stared at him. “I’m just kidding! Do you wanna- wait! Just give me a sec. Just hold on!” Dylan got up from the bed and went into his bedside drawers. He rummaged through the drawers trying to find something until he finally stops and holds a velvet box in his hands.
He gets on one knee and holds the box up in the air. “Y/F/N, you are my best friend and I can’t imagine myself doing this with anyone else. Will you please do me this honour and go to prom with me?” you smiled and nodded repeatedly. You were still kneeling on his bed and you jumped on him, he fell back on the floor holding you close, he put his head in your hair as you hugged each other while you were giggling hysterically. Dylan gave you the velvet box and you opened it, it was the most beautiful ring, it was rose gold and it had both your initials engraved on it, you quickly put it on and wouldn’t stop glancing back at it. “Thanks Dyl, I love it.” you hesitantly pecked him on his cheek and you couldn’t help but notice a light blush covering them.
You were still laying on the floor until his mum entered the room, she looked down to see you and Dylan lying on the ground, “What are you guys doing on the floor?” you and Dylan looked back at each other and started laughing uncontrollably, “Well, she attacked me and yeah…”. You stood up from the floor and ran to his mum, you took out your finger with the ring on it and she covered her mouth in awe. “He finally proposed!” she shouted and you started jumping up and down and she took you in her arms. “Wait, did you say proposed or promposed?” you asked. “Um, well,” Dylan got up from the ground and faced his mum behind you making silent actions telling her to stop. “I meant to say promposed…?” you smiled at her and looked down to look at the ring.
“Well, I should probably leave you to it I guess.” she said turning around to the door. “Yeah, that’s probably a good idea…” Dylan replied shooing her off towards the door. His mum started walking to the door and she quickly ran back to you, “Trust me, he will propose one day.” you smiled to yourself and put a piece of hair behind your ear. “Please, just go, please!” Dylan pushed her out of the door and closed it, he then made his way to his bed again and sat down, you followed him to his bed as well .”What did she say to you?” you chuckled and replied. “That’s for me to know and for you to find out.”
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
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.
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.