Hello and welcome to this timelapse. Commentary will be in the form of subtitles, like so.
To start, I open the Vertical Swing animation file, as the Power Hit is the follow-up hit in the combo.
I remove from the Power Hit sketch file all unnecessary animations, and the white background.
I then add the Vertical Swing cleaned animation and its white background to ensure its correct placement
The file is now ready, and it's time to start cleaning!
I create a new empty layer above my first sketch frame. This is where I'll do the clean drawing.
The red layer at the bottom is my reference pose (from the Idle animation), and the blue layer is the sketch for the current frame.
I toggle the visibility of the sketch layer to create an "onion skin" effect, and preview the motion
I don't follow the sketch exactly, as it's very loose. Instead, I refer mostly to the idle's pose proportions.
Just to make sure, I rotate the frame to fit it over the reference frame.
I'm not looking for the proportions to be exactly the same, as some slight differences will occasionally help put emphasis on some limbs.
I'm moving the line here to thin the leg a little, as I find the curve right, but not its position.
Most of the sketches' hair is too small, so I'll have to interpret their motion based on the reference's proportions.
I'm now drawing overlaid details, so I'm using an additional layer.
For the club, I'm using smears when it's moving relatively fast, like here.
I didn't really plan for the smears on the sketches, so I'm making them up as I go.
Also, ovals are the bane of my existence.
For most lines, I attempt to get them "right" in a single hand motion (and erase/repeat until I do)
I sometimes erase parts and reconnect to others to save time.
Taking parts, moving them and resizing is useful: it can create some slight compression artifacts...
...but at the game's zoom level, they're not visible. It's fine. I hope.
To complete the smear I add motion trails, inspired by comics. They'll be whitened when I color the frames.
Looking at a distance, I'm not happy with the arm's proportions, so I go back and do it again.
Time to erase the parts of the "main" cleaned layer that are under the overlaid details, before merging them.
I forgot some of the mace's details, so I make a new layer.
That's one frame down! The general idea, then, is: non intersecting main body mass on one layer (head, torso, legs, back arm, hair)...
...then added layers on top for overlaid details, before erasing hidden parts, and merging, to end up with one cleaned frame.
Since you've got the main idea, let's speed up the video a bit.
The sketched leg position and proportions were really wonky, so I basically resketch them, before cleaning them proper.
Some lines I simply can't get right even after several attempts, but I want the energy that comes from a single hand motion.
For this raising motion, the character moves up, and the secondary detail trails behind (aiming down).
I'm planning to stretch the character a bit to give her more height to accentuate the vertical motion, so I'm playing loose with the feet/leg proportions.
The club has a more standard angle here, so I'll reference it off another "base" layer, much like the idle.
However, to accentuate the strength of the motion, I'll draw it slightly curved, to give it a more elastic feeling.
...and then, I resize and transform it some more, because it wasn't enough.
Time for the third frame, let's speed up a bit more!
This is what I was talking about earlier, about stretching the legs.
Oh, let's slow down a minute. Here's a trick you might know: flipping the canvas horizontally to check for mistakes.
Here, I wasn't happy with the back leg's width, but I couldn't figure out why until I flipped the image.
While I'm at it, I check the previous frames, see if they need fixes too.
Okay, back to the regular facing. Let's speed up again.
I'm adding a slight rotation to the club's axis here, as it'll add to the motion - it's very small, but should still be perceptible.
Since the bottom part of the face is hidden by the arms, I don't bother drawing it anymore for now.
I pause a bit to consider this part, as I find the sketch more interesting because of the angle of the arms.
The arched elbows will help show the forward motion, so I redraw the arms entirely to accentuate that.
Here, the angle of the face becomes completely different. Before I referenced it off the previous frame, but now I'm following the sketch more closely.
I flip the canvas again to make sure it's angled right.
Since the main motion goes down, the secondary detail (hair, mantle) trails up.
I have a problem with this frame, as the sketch was a little too big with very wide legs. Following it, the head now looks too small.
I struggle for a bit, attempting to reproportion the different limbs while still putting emphasis on the legs.
...aaand in the end, the face was hidden by the arm, so it didn't really need to be drawn, either.
It also alleviates the proportion issue, so...moving forward!
For the impact detail, the sketch was non-descript, and I'm going with a fire motif for most special moves, so I'm cleaning them as more fire-like.
Here, I basically don't like the sketches, so I'm redoing them before cleaning them.
The face likely won't stay either, so I don't go into too much detail. Just enough to have fun!
I see here I'll have a problem with the arms, as the proportions are different from the sketches, and they'll look a bit stretched in a few frames.
I'll keep the issue in mind moving forward and deal with the problem when it happens.
At this point, someone contacts me on Steam messenger, so it makes for a short break!
I pause here to consider the arms, in regards to what I cleaned before and what comes next.
I try stretched proportions, see how it works. I'll fix it if there's a problem in motion.
...meaning, it's time so see how it works in motion!
Some of the most difficult frames to clean are the minute motions, with very slight variance from one to the other.
For idles/"still" motions, I tend to zoom at maximum and be as precise with lines as I can.
Here, though, as it's part of a "dynamic" motion, I do the opposite and allow for a higher degree of line variance, to make visual vibrations.
The character is starting to shift her weight, the torso rises up and the legs still arch down. I reference a lot off the previous frame, and move it around.
Since these frames have a lot of emphasis on the footing, I start by drawing the legs/feet, rather than the head.
Inti starts to slowly pull the club towards her to shift her weight. I reference it off the previous frame, then rotate it slightly.
When I reach the end of a small arc, I attempt to see how it looks simply through onion skinning.
Here, I found the legs didn't work as I wanted them to based on the sketches, so I erase them and start over.
Again, when only proportions are way off, I resize and check if the change is too drastic, rather than redraw entirely.
Another instance of the sketch being too imprecise and unsatisfactory, so I redo it before cleaning.
Woops! The foot's position and the club's position don't mesh well. I'll fix that by raising the foot position a bit, so it's behind the club.
Here, since it's a rather important leg motion, I'll draw the thigh entirely to see how it connects to the hips.
I proportion it off the references, before erasing everything that's not needed.
The sketch had a hard angled foot on ground motion, but upon review I find it a bit jerky, so I try a smoother landing instead, with plant/toes last.
We're going back to the idle, so I'm making liberal use of the mace reference now, and basically drawing entirely off it.
...same for the head.
Also, proportions, eh?
I struggle for way too much time on this disk. Ovals really are the worst.
The character slowly resets back to idle, so limbs refer more and more to the base reference.
Done! Time to see how it looks.
Looks okay, but I'd like to try adding a slight detail to the impact, so I'm making a backup folder.
Time to check again...
I adjust the frame timings here (I'll do much more detailed timings in engine, but I'd just like to see how it might look)
Looks done. Next!
OVALS, MAN
Không có nhận xét nào:
Đăng nhận xét