Anime animation light box series#

Once I answer these questions, I can choose what kind of spline I think will have thatР”В®ffect in the motion. Is the ball heavy and depressed like this? Or maybe it's happy. As an animator, it's my job to bring to life a specific character. Looks more realistic, but it's still pretty generic. I can adjust the shape of the spline to change the timing. Now from physics we know that the ball should accelerate on the way down and decelerate on the way up. By default, the computer makes a linear interpolation of the motion and we get something that The computer draws all the other frames by evaluating the spline. I'm going to make itР”В«ounce from here to here with four main poses that I define by setting keyframes. The simplest way to see this spline idea is through a bouncing ball. But each can be described using a mathematical function called a spline. And there are many different ways of filling in the in-betweens. We refine the in-betweens to turn this robotic motion intoР”Р„ polished performance like this. Of course, the computer can't act, so it gives us this. These in-betweens are the result of a computer interpreting what motion would move an image from The poses we create are translated into coordinates that are In computer animation, we animate by moving virtual digital models. We call in-betweens that connect the motionР”Р‡rom one pose to another.

Anime animation light box series#

Animators draw key poses and then draw a series of pictures Making changes to a series of images and playing those images back in sequence. Before we talk about computer animation and algorithms and all that, let's just talk about whatР”Р„nimation is at it's core. Hi, I'm Rob Jensen, and I'm an animator.