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MrReD
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More tests : -
Nice Max, you have updated the animation. You can still add more in-between at some parts! It looks pretty rad!
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I'm still a little confused about the workflow of Cacani,in complicated scenes.
I'm doing several tests, to learn the correct way.
Jose you have to do a tutorial or a making of showing the workflow of a production with Cacani. provide a file of a complex scene
It could be for example the making of this action scene between the girl and the robots:
INTERNET EXPLORER - Inori Aizawa
"For me it would be better a scene from CALYPSO AGENCY"
This would be very useful. Thanks Master -
Hello Max, the key is to accept that CACANi can not automate between every key frame. For example, If a character changes direction and the shapes change too much and there is rotations, we advise to do this in-betweens manually. We also try avoid closing and opening hands, since fingers have complicated "rotations" and ending with "occlusion"
For action scenes try using CACANi on the slow-ins and slow-outs, or anything in which the shapes (topology) are not so different. The objective is to figure how to best use CACANi to save time, rather than force it to use the automation within the entire scene.
Action scene sample:
Calypso Agency was done on a much older system and many of the core functions that we rely on now where not available back then.
I may be animating a short animation sample soon and perhaps I will film some of the process and post them. There will be plenty of action sequences on it.
If you have certain keys that you have problems with or don't know how to tackle them, you can open your own project thread and I can comment on specific scenarios, or at least how I would handle it.
Last edited by Jvelasco; 12-07-2014, 11:42 PM.
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Thanks Jose
In fact the Cacani is very intuitive, my doubts are about the same workflow, how to plan the scenes when using layers or cel.
For example my workflow "summarized" by trial and error
1- I do a sketch with separate colors it helps me indentificas the layers
2- drawing each layer based on the colors of sketch
And recently discovered that this is wrong, I have to create cel not layers, it gives me more control when using the paint tool.
So I do not know if I'm doing the right track.
Surely with your Making Of this will open the mind
I will await anxious!
I can only thank so much for your attention.Comment
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Regarding color and multiple Cels. Something to note is, we currently have not yet implemented "cross Cel" interactions. We will add this on a later release. So if you want to use the cling function across Cels this is not possible. But what you are doing workflow wise is good.
Also, until we start posting technique videos, it will be great for you to be creative and find how to best use CACANI. We really want to see how artist can be creative and maximize workflow through experimentation.
If you find something that works for you, you can make videos and share it with other users. We want to maintain CACANi as flexible "as possible", leaving as much room for artist to work on their own way.
I think you are doing great so far and want to see more of your work progress!
Last edited by Jvelasco; 12-09-2014, 06:40 AM.
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Simple test
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Thanks Jose yes I was inspired by macross more roughs:
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Quick study: Cacani + After Effects
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Quick study: Cacani + After Effects part 2
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At the beginning it looks like the character is about to punch (antic poses), but suddenly it turns backward so not sure i I followed it correctly. Looks interesting, will wait till is more finished, but seems cool so far!
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Thanks Jose
Is there any technique on the narrative and timing and poses in Japanese animation? Any site or book that talks about this?
For example the poses, visual storytelling, and animations Calypso Agency, are fantastic, is a source of inspiration.
The drawings are very detailed, there is some technique to speed up the process of clean Up? Or is pain how long it takes to finish a complicated shot?
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