Apologies for my scratchy ASMR voice on this! I was just getting over a nasty cold and could barely roll out of bed when I recorded it. I hope you like it anyway.
Dude... you are my hero! Out of curiosity, what amount of time do you think you would be able to animate a Star Wars type of show that is 13 episodes and or 26 episodes long using this software?
*I stumble across this video by a recommendation from UA-cam, and I'm glad, I always like to learn about animation, and how to make my life easy while I'm trying to create my own*
CG and before that, physical models have been part of anime mech animation since at least the 80s. And in extreme cases you could even go to the methods found in films like Heavy Metal where they would build models, paint them white, draw on black lines on the models and shoot them on top of white backgrounds using high contrast black and white film. And then print those frames out as animation cells. The more common techniques fir the lovely anime mechs we loved would be to build rough 3D wireframe models and use them as reference but still keeping all the lines hand drawn. My thinking here is that instead of using the cartoon shader renderers output in 24fps you could have rendered it in 12 or 8 fps to mimic the limitations of the time and then by hand draw all the lines and artistic smears. Because the final result you did get, while looking good does still feel a bit too smooth in its motion, the lines too correct. It ended up looking a bit too much like CG to my eyes. It's the artistic imperfections and limitations that really sells the 80s and 90s anime look for me. Slight color bleeds outside intended lines. The subtle unintended movement of cels. The exaggerated angles during the flybys. The way they were forced to utilise stills sliding over detailed backgrounds and such. Those are my humble thoughts anyway.
I love, the style in which you've created. I'm from that childhood of the early 80's, this type of animation is what drew me to watch cartoons of the type more. It has a profound influence on my imagination, overall. You should probably go into business, creating cartoons for networks or someone wanting to create a series to sell to a network.
...That ship looks beautiful. I'm not commenting on the overall layout of the ship or anything, because I don't yet know how it's laid out, but just seeing it really does evoke feelings of old 90's space shows. I think that ship will do well with whatever you decide to put it in. It does look a bit clean and smooth for something flying through an asteroid cloud, and if it's a mining vessel then it would be a bit more banged up than, say, a ship in the space navy, but I don't think it necessarily needs too much more done to it to get to that point. Maybe a faint impression of panels, make it look more like it was welded together in a shipyard somewhere instead of spat out of a giant nano-fabricator. But hey, it's just an idea. I'm not gonna tell anybody how to do their job, especially when I don't know a thing about it. Take what you will from this, and I hope you find it useful!
Thank you friend, you enlightened me with the removal of the ink lines from the animated 3d model, you have saved me years of slavery, again thanks and greetings from Argentina
The blending of 2D with 3D has been taking decades to get into the standards of old animations, but it's getting there. Still looks uncanny though, seeing 2D looking 3D models with rendered lighting and shadow effects rather than the old crude impressionable hand drawings.
This is incredible. Better than the reference. When you export the black and white line work maybe try giving some small wobble or very slight change in thickness to the lines before you colour it. That will help give the hand drawn look. Its pretty much perfect already but the only thing that gives it way is just the sharp geometric straitness of the shapes to me.
This is great , I'm impressed by the amount of work done here , it looks beautiful ! I think the only thing missing to look like hand drawn animation is simply less frames in the 3D animation , if is was more jagged it would have definitely looked more organic and human made . That's the only thing that is giving away the 3D render look to me , apart from that the hand drawn details are a really great idea to sort of hide the 3D model .
It's actually a seriously well done piece, it looks and screams Cowboy Bebop in term of animation looks and quality which is a good thing in my opinion.
Using CG to get your base form and movement is something I bet they wished they had inthe 80s. I was thinking wouldn't it be easier to do texturing in the modelling process and then add accents to frames but then I realised it wouldn't feel as natural as what you've shown here, almost anime uncanny valley
have you thought about just texture painting on the details? that way you would only have to draw them once instead of on every frame, while still getting that handpainted feeling.
That was amazing, but I feel like a couple things that might be causing it to look too 3D are the frame rate being too high making things look super smooth, and the lines of the ship are way too consistent and clean. If you have the ability to apply a small amount of noise to the lines and occasionally break them in areas to create a small amount of visual inconsistency, it might look a little more hand drawn.
I feel like it might be possible in the future to emulate hand-drawn animations of the good old days with generative AI. That way we can have the best of both worlds without sacrificing as much manpower (convenience + aesthetic)
i really love the old animations the most where its all hand drawn, i understand financially its not feasable anymore. but a lot of anime now put some cg in that pops out to much that really puts me down. i notice that more and more series do their best to hide they use cg/computers. i think a part is that the animations are to smooth for example some monsters/horses cars or other moving objects are rendered in full smooth 3D while the animation itself is more like still images. not sure if its possible to have some kind of way to reduce the smooth animation of 3D to reduce the gap between the 2. then combine it with the animation style in this video to have a good compromise
There's something about the 80s 90s sci fi animes that just has that weird vibe connected to them that is almost impossible to make nowadays. You achieved that good job.
i think whats missing from today's animation compare to 80s and 90s is passion and love. Ota's work have that missing spice! everytime i watch his Starwars T-fighter short i am just blown away
To be honest, as a programmer, I don't think I'd ever have the patience to do animation, watching this has shown me what people have to go through to make all the animated shows I love, and I now have massive respect for the work you do!
I dont think I could do the animation thing...I don't have the patience for it...but for a webcomic, most of these techniques still apply. Map the scene in 3d, render in sketch, color, use individual frames.
Well thats because those animes use the 3D models as the final product, and not render it out as black and white lines. Not only that but they have a tight schedule.
@@edentheascended4952 no it doesn’t, this isn’t a fricken South Park episode, while depending on the studio it does vary *slightly,* it never does it go down to 2 weeks
Really impressive! But one of the tricks to make stuff look hand drawn, is the imperfect foreshortening. If you got some footage of a hand drawn 80s mech, and made a 3d model of it, and animated the 3d model in the same motions as the hand drawn one, and placed them on top of each other, you could see exactly how the foreshortening is inexact. And maybe some algorithms could be written to simulate that imperfection...
That wouldn't work, heres why. The idea that its imperfections by someones hand? discounts the reality which is that the layers of analog tools used for something like a cel animation yield a look unique to that form in the same way that a pencil sketch can be differentiated from something thats a digital sketch. So even if you add in those imperfections frame by frame, it won't matter. Your eyes are much harder to trick than you might think. Plus I never understood that thought process anyway, because honestly? most anime are still drawn by hand just with a digital tool rather than a analog tool, the imperfections are still there, quite frankly they dont matter at all.
@@brandonden795 Not how that works bud, AI does not simulate animation only the references of digital artists lines and brush strokes. Even then it looks horrifically ugly when AI generated, it's not able to create its own lines, only patterns from other already generated lines. That's not really something you can replicate, Cel animation since its all analog tools. Don't believe me? Try doing a pencil sketch then do a sketch on your best digital drawing pad. Then tell me they look the same, you can't. Ones pixels, the other is shades of light processed biologically.
i grew up with Macross and Mospeada. Their ship designs were the best and most impressive. I still hold those two as bench mark against everything there is out there today and they just cant live up to those in the 80s.
Idea; parameterize your model so it's dimensions can warp very slightly from frame to frame, it'll give that kind of organic motion to old animation where the ship isn't drawn exactly the same every frame. Notice how your hand drawn details seem to wobble and vibrate as it wooshes pass, you'd be programmatically replicating that with the while model
Exactly, 3D animation is too perfect in terms of coherence of geometry through time, it needs randomness introduced to emulate hand-drawn 2D animation. This is the reason I don't really like most 3D animations, they are too sterile and shiny, the main reason I think Pixar movies look like each other.
@@Gustav_Kuriga For it to look 2D animation. You might have noticed it, but our world is analog, with a lot of imprecisions. Many people like traditional 2D animation because the imprecisions show through. "Mistakes of artists", are you sane? No artist can draw 100% realistically or 100% visually consistent, especially not by hand.
a tiny gaussian blur & 5% noise in video editing software can also help sell the effect. and if you are very adventurous, export as 720p and upscale it back to 1080p also blurs things a little bit and reduces details in the frames.
I shall have you know the otaking is omnipotent and all knowing in the ways of cool animation stuff He doesn't need piddly superpowers when he has the powers of anime on his side
The ship looks killer! Getting some wiggle on your 3d line drawing will make it feel a lot more hand drawn. If you have After Effects you can use turbulent displacement to simulate a hand drawn wiggle. I would also recommend you diving more into multi pass rendering out of C4D. You can save a lot of time filling in flat colors with some object buffer passes or even an rgb matte.
13:20 It's certainly far closer than most (is there anyone else legitimately trying?) to trying to emulate the style, but I think the things that are adding to the "Fake and digital" look, The rendered linework obviously has perfect motion and uniformity by design, if there's some way to ever so slightly randomize the line placement and thickness between frames, and add a touch of line wobble where it'd probably be free-handed, (as well as not having any line corners be sharp, because pens can't really do that) that'd make it look far more hand drawn. The line thickness especially, it's night and day with non-animated drawings the difference adding varying lineweight does in comparison to having uniform line thicknesses. Everything looks hyper sharp, like digital artwork tends to. While that makes working with it far easier, even 4K scanned old anime has a hint of softness to it, probably mostly because of the film the cels and backgrounds are composited on. Adding film grain and scratches may help to that end, but usually in a restoration job the latter is what you're trying to avoid at all costs. I assume you sample colours straight from old anime, but for some reason despite that all of your stuff looks really digitally sharp and harsh in the colour department, while old anime has a softness to its colours, whether that's because of the linework influencing that or not I'm not entirely sure. There's also the fact that physical paint is only 99.99% uniform unlike the fill bucket tool, despite the best efforts of the colourists in the 80's and 90's, not to any point that anyone would be consciously able to tell, but enough that when it is absolutely perfect it feels off. Maybe add a slight cel shadow as well? I see people who do that tend to go a tad overboard, but if done subtely it does add a lot to the feeling of physical cels. I think going out and either looking at cels physically or buying your own if you don't have some already would do wonders to trying to match the look. I hope for the best for future endeavors and that we can see more of this kind of stuff from both you and anyone else who'd try and take up the mantle.
You said exactly what I was thinking about the line variances. I wonder what kind of paint was used for the coloring for the classics. The backgrounds for sure feel like watercolors because of the way the gradients blend and bleed into each other.
you could image trace the frame in illustrator and add some width to the strokes and even fleek some lines maybe even copy the strokes and add a inked brush so it looks hand drawn?
Illustrator is complete garbage for emulating traditional linework. Clip Studio Paint is the way to go. The EX version has an animation feature aswell so it would probably be possible to rotoscope it
To get the classic look he needs imperfections. Think the easiest thing he could do in this case is to take some random computer linework cels, erase the more detailed portions and rotoscope/free hand before colouring. Concentrate on the beginning and end shots of the scene where the eye really gets a chance to focus. Disney and Bluth rotoscoped their vehicles in the 70's/80's giving them a Xerox look. I actually love the scene as it is since the mistakes of the details used to bother me watching them as a kid...I had no clue about deadlines and pressure back then...lol.
Now that I think about it you could probably render the scene several times, with every version having a different line width and then randomly splicing them in the editing softare when you drag them over, you could even go so far as to "split" the image in half or whatever, so every frame is actually two or more images just cut together, it will be the same frame in the animation ofc but the line thickness will vary even inside every frame, it might be possible to do :D
Unless it's just a straight forward moving shot from side to side with no perspective involved, it'd be extremely difficult to do so. For a shot like this you'd have to do one huge drawing that is itself warped in perspective to the extent that panning it along makes it appear as though it's going from the front to the side and then the back of the ship which requires pretty masterful understanding of perspective. And you'd have to break down bits into different layers for overlays and so forth. Never as easy as it seems.
@@Jhakaro oh my god he was making a joke about how so often in anime, you'll see one super detailed drawing just... Move flatly across a screen for a "wow" shot. Jeeeeesus.
You don't need to simulate dust and scratches on every frame. Just record your animation onto a VHS tape and record it back into your computer. That would probably cover up the digital fakeness as well.
This really wouldn't work very well in terms of quality preservation. VHS is fairly noisy and there's the obvious limitation resulting from the fact that analog formats such as VHS don't have pixels, but lines instead. That being said, the original artwork done during that era can clearly be seen to be of very high quality when viewing a BD of any given series produced then. The only real "problems" I can see with OtaKing's methodology is that the linework is too crisp and it's missing the characteristic grain that results from the amount of ink or paint used.
@@pseudonymous1382 VHS can be higher quality than you would expect from seeing trendy vaporwave. To get that "lo-fi" noise effect for both audio and video, you have to re-record the same material onto the same tape. And even if the quality is poop, you can probably use your typical video effects to mask out different video elements. You could pretty much do anything you want if you have the original copy.
@@SenorEuphoria Eh. Agree to disagree. VHS can be higher quality than one would typically expect, but that requires higher-end recording equipment than regular consumer-grade. Besides, the whole point here is merely to emulate the style of animation. There's no emphasis here on "lo-fi aesthetics," just on trying to match as closely as possible the flat 2D perspective from a 3D model. In this specific instance, grain might be a nice added detail, but if you were going for something post-2000, then grain and line sharpness wouldn't be a concern because of the transition to digital animation.
I'd say a single analog gap would probably help. Instead of copying to and from VHS, you could just point a digital camcorder at a digital display showing the material. The introduction of the light phase means that there is a digital>analog>digital conversion without the introduction of things like VHS tape wobble and noise artifacts. One could even try it with multiple generations of re-recording, but with a constant, high encoding bitrate.
When I saw how much work was needed, my lazy-ass self decided this was not the solution I was looking for. I watched to the end because that would be the least I could do. Much respect to you for your skill and your work ethic. Absolutely stunning workmanship!
Dude has anyone told you you're a mad genius? Emphasis on the mad. I mean granted your method looks a hell of a lot better than any of my efforts with shaders but still... you've got a lot of dedication to your style... (Also I'm not jealous)
Have a couple suggestions you might consider to help continue reduce the 3D effect. As you noted in your video having excess detail in a 3D model can cause issues for the process of converting to 2D so you might try making 2 versions of your 3D model: a detailed version for closeup camera shots and a more basic version for your wide angles. Now this will create more work on the front end of production but it would hopefully improve the workflow on the 2D side and also help reduce 3D nature of the work by transitioning between the 2 models depending on their proximity to the camera -- think along the lines of your reference clip of Unicron where his model detail drastically increases as he flys by the camera but then is reduced again as he gets further away. Also another thing to consider is selective motion blur. A lot of 80s space opera anime will partially distort certain parts of ships, mechs, missiles as they fly past the camera. Its not accurate to how motion blur works in real life but it simulates the effect for the human eye while retaining a lot of model detail. One of the biggest hurdles for capturing 80s style anime is simulating the celluloid grain. There are plenty of plugin filters on the market you could explore for that. Also something to bear in mind is the deep color contrast present in 80s anime. Most space opera anime in particular have very deep shadows but then skew lighter with their midtones. Hope this is helpful feedback for you. Love your stuff, keep at it!
I agree with everything you said. About the choice of color, the subtler shadows is something I like about more recent anime, I think it adds unity to the frames. That said, color contrast is a tool and all styles can work well for different moods. going all the way to black shadows can look awesome, like in the movie Redline for instance, which combines lots of fluo and light colors with full black shadows and thick lines. And some old cool rotoscoping of vehicles.
noobenstein Yes, that is perfectly possible. I can't speak for Ota's choice on the matter but I would hazard a guess that it's a combination of having more control over the color palette and personal preference. Also bear in mind that a lot of 80s anime have color fluctuations from either celluloid deterioration or from colorists making occasional mistakes -- so Ota's manual method is more in line with emulating that aesthetic.
@@nightwatchm4n it would save him a lot of time if he could just add the highlights and shadows afterwards. Adding some variation is still possible and faster than the tedious use of the paint bucket on every frame.
Really good advice dude with both model , one with some details and the other one with just a basic version , but how can you do a "transition " between both when you animate ? because there will be a sudden change from one second to the next between the two models ? thanks you
When I see it I still hear the music. ua-cam.com/video/cJRfABxL4R8/v-deo.html about 20 seconds in like a robotic heart beat. Then you think of a galaxy out there that is eating three of it's neighbors or how we are gonna collide with another in a billion years or something. lol
This honestly looks so damn good and quite close to the original animations found on VHS tapes. It’s like watching a HD version, so a filter to simulate a lower res, slightly scuffed look would really sell it! Amazing work man 😊
LOL! "A very basic model", you say? I think it looked pretty damn good, and with some good texturing and bump maps it could look amazing! You make everything look so damn easy, dude! I've tried some 3D modelling myself, and honestly, I barely understood anything of what I was doing. Texturing, bump maps and displacement maps however, THAT I can handle! I guess that my biggest flaw when it comes to any kind of work, is that I can't learn by intructions and tutorials, but by copying what I see others do step by step while they're doing it. I've been told by so many people that working with and designing in 3D isn't all that difficult once you understand the basics! To me, that is close to being bullshit LOL! I think it is some damn complicated stuff, and I really admire those who can wrap their heads around this with little to no effort at all! I strongly encourage you to keep on with your awesome work, but I think I'll stick to making textures and stuff as far as the 3D related stuff goes LOL! Keep on being awesome, dude!!! And thanks for sharing ;)
Couple of notes for quicker work flow and less digital looking animation, speaking as not an expert on animation, I just know a fair bit of software. 1. you could have all you detailing done on your model by using a texture and rendering that out as secondary lines, i.e. a texture with all the details on it already. Will look more digital but also give you a real quick representation of where details would go. 2. In Star Wars from 1977 when they shot the models the backdrops of the stars didn't move consistently with the shot, because they didn't have this digital cube maps and all that jazz, but what it brings is a more complex composite movement, as the backdrop either rotates, moves contradictory, or not at all it will simulate gliding, spinning, etc. of a ship with very few means. 3. Dependent on what you have available you could have the lines of your ship thicker based on the angle between the faces the edge has, additionally it could be affected by the depth buffer so things in front have thicker lines. 4. I don't know what you have available, but additionally if your line art exported frames of the 3d model used a drawn line filter to introduce wobbliness, unevenness and slight curves to your exported lines, it would look less digital and sterile. If all else fails I'd use something like Premiere to add some wave warping of subtle sine curves and noise waves pulling on each frame to make the outlines a bit weird. Not entirely sure how to do this in a video editor but using Spatter and Accented Edges (in that order) on black lines on a white background in Photoshop gives a more classic pencil style line. If you're a wiz with automation maybe Photoshop could simply be used. 5. To make things look more 80s or even 90s Channel offset can be your friend, remember how VHS and old media have that red outline smudge on the left of sharp lines and vice versa green on the right? Happens on old film rolls, VHS, anything not digital, can really help sell the classic look if you do it right. Just doing slightly subtle in your video editor afterwards can do wonders. Usually called channel offset or RGB offset, but buzzwords like VHS can help find tutorials too. Hope that helps you or anybody else.
great info for others in the future. i'll just add on to his list and fix a small mistake you made. 1. this is great piece of advice! this can help tons of people, including me, cause its always a struggle to keep details not jittering about from frame to frame, with a texture map as reference you are able to trace the details perfectly for each frame. 4. wave warp wont do the trick here, it'll look too generated and fake even if you do a lot of keyframe automation. I would however get some VHS noise stock footage (black bg with white tracking lines) and use Adobe After Effects to create a distortion map from that, it will cause the lines to wobble and slightly distort where the white parts of the noise is only, which gives a lot more dynamic and authentic VHS feel. if you also use the the original noise stock as an overlay (blending modes Lighten and Screen works best, sometimes soft light and overlay can work too) it will give the effect that the visible noise is affecting the video and pushing pixels around. 4.2 Wave warp is however great if you want to create that bad tracking smearing that normally happens at the bottom or the top of the screen on old VHS tapes. for this just duplicate your footage and on the top set the wave to go along the bottom across the footage, but not high waves. play around with settings so you get a good smear. then just crop the footage so only the bottom is visible, and then add a feather to the crop so the footage blends in with the footage below with no hard edges. 5. its called an RGB SPLIT and you can do this by seperating the color channels and moving them right/left. alternatively in Premiere Pro you can use the Color Balance (RGB) to isolate colors. I would recommend to add a small gaussian blur to the RGB split shots as to soften up the edges so its not just a red/blue/green hard crisp line. 6. reduce framerate to 24 fps, remove half of the frames and slow down video by 50% to effectively animate "on two's" (each image is on screen for 2 frames) will give a more cinematic animated feel.
We'll never see anime like this ever again. It's quite sad really. Which is why all existing 80's and 90's anime must be preserved for future generations.
You wanna hear sad? They might not care. Titans like Akira will become Mozart or Bach. Unappreciated by the people of the "modern time". Relegated to a dusty shelf. I hope not, but I worry sometimes that most everyone is becoming too fuck-tarded to appreciate anything besides the thing that gives them that immediate dopamine rush.
And because the culture is becoming strangely both more insular and co-dependant on cults of personalitites the chance of exposure to the classics drops off like a cliff to whole groups of people.
@@noisemarine561 Mm, yes. A small niche can totally change the culture. Unfortunately it still requires marketing and luck aside from the obvious hard work. But hard work is the final decider. I assume you're talking about personal animation projects that pay homage to the era, or are in their own right sharp and high effort.
@@isaiahdaniels5643 Cant really say, but Ive got something big planned. I just happened to discover this animation trick... But for now Im still in the early stages of development.
I love this kind of animation style that gives us the best of both worlds. I have nothing against CGI in two-dimensional animation, provided in particular that it's aesthetically pleasing-which this certainly is more than most uses of it these days in actual anime! It's basically along the lines of what I would do if I was making this kind of animated film or other project because I love the old styles so much and really want to take it to a new level for the modern era. Also, regarding what you mentioned at the end about making it look more like an actual filmed celluloid, I've experimented with telecine (i.e. dust/scratches/gate weave) techniques in After Effects for a few projects. It's kinda tough getting everything just right to make it look almost like a genuine film transfer, especially with dust particles because a lot of them were too big and cheap-looking, and thus had to be adjusted A LOT. I'm not sure what's out there for the programs you normally use, though.
I believe the main problem with cel-rendered or rotoscoped 3D is its use with fast and especially _arcing_ motions. In those places, there needs to be either a morph or warp applied in the renderer to _bend_ the model with the motion and create "squash and stretch" extremes or a conventional artist should step in and create distorted and/or creative smear frames to simulate those visual illusions we are used to in real life (like that deal where you can hold a rigid pencil between your fingers and teeter-totter it at speed until it appears to be bending like rubber). Conventional animators use those effects a lot, especially if they have to work at 12fps like older TV anime. I even remember seeing animators use composition to enhance the effect by making the motion flow toward or away from the screen-plane along an _arcing_ perspective line -- toward or from an on-screen vanishing point (either mirrored in the background art or along with a complimentary abstraction like speed lines), so even though there may not have been enough clear frames to really convey the motion, the viewers' eyes would have a guide to help comprehend the full arc in as little as one or two frames. Without properly mimicking that kind of stuff, 3D animation starts looking jittery or mechanical and throws us out of the immersion. And it can never be as fast without becoming incoherent.
That's the kind of stuff i want to learn in our Animation lessons ! And we do use TVpaint as well , but our teachers are ... ugh ... borderline incompetent . As soon as my studies are over in a couple months , i'm picking TVpaint up by myself , you've motivated me to do some animation ! :D
for people who think _just_ reduce frame rate to make 3D looks more like 2D *That's totally wrong* The main difference between 3D and 2D animation is 3D animation is a projection of 3D space but there's no projection in 2D, it's just animator trying to mimic perspective in a 2D space in other word, perspective in 2D animation is not 100% accurate but it looks fluidity due to how inbetween is created animator can deform object a little on paper or adjust timing on exposure sheet to compensate low frame rate, creating a fluidity animation in 3D animation, perspective is 100% accurate but looks laggy in low frame rate because object is following an already set up path. without additional timing adjustment, a low frame rate 3D animation will looks like a laggy computer game driving you mad ---- please do check "12 basic principles of animation" about how to create an animation
That's exactly why many all cg shows fail, they use a low frame-rate! If a Naruto or Dragonball game running IN REAL TIME looks better and more fluid than your pre-rendered TV show, you're doing something wrong.
The 2D hand-drawn stuff is often not perfect in terms of perspective, especially in movement. Not that it makes it worse, just different. If they had the man-hours to draw everything in 50 or 60 fps back in the day, they would, and it would look amazing.
To me it's the perfectly computer drawn lines that set it off, there should be some filter that randomizes line "distortion" to some extent while exporting the .mov file to make it seem like they were hand drawn. Also, using less uniform brushes should help give a more natural feel to the frames. Hope I'm not wrong
In Spiderverse and DBFZ they make the characters moving in 3D space follow the camera movements animated on 1s to emulate 2D without looking laggy. So if you watch it in slow mo the characters are "sliding" along the camera to compensate for the low framerate, like they usually do in anime
Shifting the line weight in the outline as it goes from frame to frame would get a more hand drawn animation look. Those old Macross style animations, since they were so dependant on fast hand drawing, often have inconcistencies in line weight and exact line placement. Because a 3D model keeps the continuity of outlines so crisp, at a high frame rate, it looks TOO perfect, thus losing that analog feel. I'd say play with adding line weight in some places of your 3D model outline, or even erasing entire lines and redraw them just for effect. The fact that not all animations during that time were completely accurate to perspective also could be taken into account. Having some planes not completely in absolute correct proportion or perspective in certain frames would help with getting that nuance. It's much like the wobble or pulsing of old reel to reel tapes. Those slight inaccuracies gave particular tape recorders a "color" that was added to the sound of the final product. Great tutorial! I learned a lot!!!!👍 👍
Before I started watching: Well it must be some fancy celluloid style cartoon shader for 3D software now where's the download link? After watching this: Holy sh- that's serious skill!
Try to export the black lines on transparent background and then run it through After effects, using the Roughen Edges effect. Depending on it's settings, it should make the lines somewhat less consistent in their thickness, giving them more natural look. Also, to get closer to the 80s reference pictures, some blur should help. Lot of the lines on the reference footage is blurred to the point where it mixes the black with the filling color. So at the end the linework is not perfectly black (except larger black areas). Also, great work! I really like what you have managed to do in this video and I am looking forward for your next pieces!
This is awesome. I remember reading about Guilty Gear XRDs methods for faking 2d with 3d. A lot of it isn't applicable because it's game engine technology and some things like "lowing the FPS" might not be desirable but one note was using mesh distortions pretty much every frame to break up the perfection of the 3d model juuuust a little bit to break up that out of place 3d perception.
This reminds me of the method that Disney used to animate Tarzan and the Treasure Planet. I think it was called Deep canvas. Loved the video, keep up the good work!!
Honestly I have to say you have achieved a pretty good balance in my opinion. This looks way less out of place than cgi and probably would not look out of place at all if paired with a similar style like the one TIE Fighter video of you.
That is a fantastic process. Still... Workflow. Optimization. Needed. There must be a way to intelligently fill a bound area. Adobe is all over this kind of thing.
As a BIG mecha mobile suits / space opera fan (growing up in the 80s) this is SO impressive!! The amount of dedication and stylish additions to the shot is nothing short of amazing! 😳 Loads of kudos to you @OtaKing (Animation), you truly are an artist that should be hugely recognized! ❤
Jesus Christ, I swear traditional animators (and what you are doing by extent) are among the most respectable people to me. I can't fathom how much dedication you must have to your craft to produce this wonderful stuff. I'm so glad you guys exist. Thank you so much.
13:35 I feel like this could be easily fixed by adding some filter to the lines of the 3D render so they have a varied width, this would more accurately mirror the older style of artwork
this "Warmth" that hand drawn animation/line drawing have is because our hand slighly presses/depresses the markers, it create minute/almost unnoticable weight differences in lines that 3d software struggles to replicate. However with today's shaders capability, you can introduce a bit of of it by properly scripting a bit of guided randomess into it.
Amazing! You got a real talent for animation and a dedication unseen since Ralph Bakshi. The Star Wars short alone would get your foot in the door with any large animation studio. Keep up the good work! _\\\ Oddly enough, '80s "Japanimation" did a lot of what you are doing right now: Rotoscoping over 3D software models. Super Dimension Fortress Macross pioneered that technique. Before that, spaceships and mecha used to look terrible! Watch the original Mobile Suit Gundam. The iconic RX-78-2 had a man-in-a-rubber-costume look about it -- it looked ugly and it did not age well! Once CGI-rotoscoping become available, everything got waaaayyyyy better! Although, with hand-drown animation getting more and more expensive, and 3D software getting better at rendering objects, Japanese studios are now just cutting corners. Don't think of the digital tools as a bad thing: Hand-drawing cell after cell after cell after cell, all by yourself, would utterly destroy your drawing hand, and you may think your work looks "fake and digital", but it still has a lot of quality and effort put into it. You managed to do a lot for just one person and it is that dedication that I respect!
"Super Dimension Fortress Macross pioneered that" I was always so impressed by Macross, the zenit of hand-drawned animation, and know I lern they did use "computer assist" still a great feat but not that superhuman feat I did beleve it was....... One more thing OtaKing77077 you are one person... the 80 anime did have a full studio of peopel....or somtime more then one studio....
@@runningcoyote9972Blender 2.8x brought a major overhaul to the grease pencil, going from an annotation tool to a 2d/2.5d animation tool. He's asking if Otaking's considered using it as an alternative to TVPaint.
Going to be honest, I love this medium style so much. It looks new and high definition like modern animation while having the 80s hand drawn feel to it.
And don't forget Krita to cover the Photoshop aspects. Newest version(s) have some nice animation features. In Blender you'll probably want to look into Freestyle and the toon shaders, since those are made for this kind of thing.
Open Toonz is freeware for animating, it has its origins in studio Ghibli. I'm not super familiar with it but it should be able to cover the parts he does in TV Paint. (?)
@@zep909 OpenTooz is a 2d animation tool. What is primarily in this video is 3d animation. To achieve this style in 2d would be a huge waste of time and be borderline impossible.
I'm a programmer and thinking like one,. One thing that could be made, is an algorithm so that you can make the ship as detailed as you wanted to and when you zoomed out tell the render to not render small lines and that would look even more like a drawing and I'll make everything faster
Also I'm pretty sure I could make an algorithm to shake a little bit the sharp lines drawn by the renderer and give them any effect you wanted to, like small irregularities. P.D. fucking amazing.
I mean whats gets me about the modern CGI effect is just how flat everything looks. there's no lighting playing off the surfaces or and kind of spectrosphy. I would like to see what raytracing with a simplification filter can achieve with some hash bounce lights for the highlighting. might save you some time
late to the party... I would of thought maybe dropping the frame rate down might give it a more hand drawn/less CG feel...? At the moment the ship moves through too SMOOTH (hence the CG feel)... hand animated animation thats "too smooth"... how's that for a critique??! ...haha! Less frames equals less work too ;) Still amazing AF! I really do love your shading skills.
Absolutely amazing rotoscoping and texture work here, the one thing I would add to help blend it all together is a subtle film grain and maybe even organic lens flares to mesh all these elements together. Also you could finesse the camera movements in Cinema 4D to make it feel less robotic. Other than that this is brilliant work of a classic aesthetic reacreation with modern technology!
I understand the kind of merging of 2D and 3D you're going for. You've got an incredible style that's your own. One tweak I might suggest is to not use the contiguous super smooth camera movement. So many hand animated shots of ships going by have a kind of time stretching to them. Something typical might be a ship on slow approach but when it's pretty close the camera is whisked into the close up details of pylons and whatnot. Then in an instant you're some distance from the ship and it continues to lumber. So my idea is slow approach, whiz bang fast "in the details" section, slow depart. I'm not sure if it would be easier to get results tweaking a single camera move in your 3D application or perhaps divide your animations into sections of 3 different camera moves each with near matching frames linking them. If I've been clear enough what I suggest is a more herky jerky camera movement speed. It's part of the character of classic mecha anime. Admittedly your camera move does seem to have a faster mid section but it's not as pronounced as in the old anime. Also thanks for sharing. Your work is amazing. Sorry I keep adding to this but I'm also fairly certain animators of the past treated the close up section like it had different lensing. Picture photographing a scale model. You might use a standard lens on the ship approach and departure to give the effect of telephoto. It's kind of flat. But when you're close in on the spacecraft you switch to a macro (or a fisheye) lens giving a little bit of fisheye distortion. That makes the details of the sip pop from the screen. Again, sorry for the novel.
Watching ua-cam.com/video/cJRfABxL4R8/v-deo.html till about 23 in to see exactly what you are saying about the speed of it passing by, time dilation. 1:07 His slower but constant. Speeding up a mid section could work unless it's his personal preference?? It does seem to break the feel even as the ship passes us. Unless we are in motion as well? But the camera is stationary and tracking right? I have no clue about these things just trying to say what I see. The thing with time dilation is how much information we get. Like in the fight or flight response. Your in a fight your eyes get bigger and you catch every movement from every direction. So as a ship gets closer the details become greater and it feels like more time even though it is passing you by quicker as you are in one point and it's passing you at the same speed. Crimson Mark was also talking about it but I didn't grasp what they were talking about till you mentioned this. "(like that deal where you can hold a rigid pencil between your fingers and teeter-totter it at speed until it appears to be bending like rubber)." how when a sword or ruler is a straight edge but when you slap it down it looks like it's curving for an instant. That might be the difference from an outside observer seeing the fight compared to the two in it who see everything slower even when moving faster.
Fascinating ideas. It makes me think that using a tilt-shift lens on the wide shot and possibly decreasing the tilt shift angle, but I don't know if that's possible or an option in virtual-lense rendering software. I would suggest you break up your paragraphs, though, to make it more readable (double spacing.)
Huge respect for your work ser! Im also fan of hand-drawn old school animation and In my opinion, the 3d digital versions gives a "fake" feeling cose they movements are too smooth and mathematically precise. If where is a way to make kinda randomly shake an object and make a bit wrong perspective when camera moves, it could helps to gives an 80s vibe :D
Great video! Super helpful. I'd say one thing that could help give you a more authentic '2D' feel is removing every second drawing so that it all animates on 2's. Also cuts the workload in half!
He doesn't seem to understand the significance of fps, he never once mentioned it … and yet this is about animation and the recreation of a particular type! Computers have clearly ruined this industry for the younger generations coming through and currently in work.
Anime is one of the most beautiful forms of animation, and is also the hardest form of animation. this is incredible even if it's had help from a computer software. you obviously have a lot of patience and talent you have sir is beyond me. you are a big inspiration for me! thank you for these amazing videos!
Greetings mighty Otaking, I am TheExecutorDragon. I have a question about animating. I saw this video and it really got me thinking that I could try that as well. The only problem is that I do NOT have 'Cinema 4D' nor 'TVPaint', I only got 'Blender 2.9'. And while I do have an idea on how to use 'Blender 2.9', I am still learning everything. As for my 2D Animation software, I use 'Adobe Animate'. So my question is this: Can 'Blender 2.9' and 'Adobe Animate' be used in a similar fashion as 'Cinema 4D' and 'TVPaint'? And if yes, could you please make a video on how its done? Or, do I absolutely NEED 'Cinema 4D' and 'TVPaint'?
Amazing dude, so cool to see how you make your art
Admiral Eckharts is here!?! 😮😮😮
Thankyou! I actually had some of your videos on in the background whilst working on this.
@@OtaKing77077 wow! That's crazy to hear man, I'm a huge fan of your work. If there's anything I can do to help out your or your channel let me know!
Lol what a coincidence XD - to of my favorite channels interacting
This is surreal.
It's weird to see popular channels actually using their account for more than just posting videos.
Apologies for my scratchy ASMR voice on this! I was just getting over a nasty cold and could barely roll out of bed when I recorded it. I hope you like it anyway.
No problem, your voice is sexy.
Feel better soon!
I got same thing, 2 nights in slighty colder room, and my voice is shit
Hi, Otaking! I was just wondering how you were doing!
Dude... you are my hero! Out of curiosity, what amount of time do you think you would be able to animate a Star Wars type of show that is 13 episodes and or 26 episodes long using this software?
This is really nicely done. I think you've struck a good balance between hand drawn and CGI. A real labor of love.
*I stumble across this video by a recommendation from UA-cam, and I'm glad, I always like to learn about animation, and how to make my life easy while I'm trying to create my own*
CG and before that, physical models have been part of anime mech animation since at least the 80s. And in extreme cases you could even go to the methods found in films like Heavy Metal where they would build models, paint them white, draw on black lines on the models and shoot them on top of white backgrounds using high contrast black and white film. And then print those frames out as animation cells.
The more common techniques fir the lovely anime mechs we loved would be to build rough 3D wireframe models and use them as reference but still keeping all the lines hand drawn.
My thinking here is that instead of using the cartoon shader renderers output in 24fps you could have rendered it in 12 or 8 fps to mimic the limitations of the time and then by hand draw all the lines and artistic smears. Because the final result you did get, while looking good does still feel a bit too smooth in its motion, the lines too correct. It ended up looking a bit too much like CG to my eyes.
It's the artistic imperfections and limitations that really sells the 80s and 90s anime look for me. Slight color bleeds outside intended lines. The subtle unintended movement of cels. The exaggerated angles during the flybys. The way they were forced to utilise stills sliding over detailed backgrounds and such.
Those are my humble thoughts anyway.
this was awesome, glad i found this channel again after years.
It's very smooth, that feels very 3d. If you decrease amount of frames per second, it will probably feel right
I love, the style in which you've created.
I'm from that childhood of the early 80's, this type of animation is what drew me to watch cartoons of the type more.
It has a profound influence on my imagination, overall.
You should probably go into business, creating cartoons for networks or someone wanting to create a series to sell to a network.
...That ship looks beautiful.
I'm not commenting on the overall layout of the ship or anything, because I don't yet know how it's laid out, but just seeing it really does evoke feelings of old 90's space shows. I think that ship will do well with whatever you decide to put it in.
It does look a bit clean and smooth for something flying through an asteroid cloud, and if it's a mining vessel then it would be a bit more banged up than, say, a ship in the space navy, but I don't think it necessarily needs too much more done to it to get to that point. Maybe a faint impression of panels, make it look more like it was welded together in a shipyard somewhere instead of spat out of a giant nano-fabricator.
But hey, it's just an idea. I'm not gonna tell anybody how to do their job, especially when I don't know a thing about it. Take what you will from this, and I hope you find it useful!
Man this is stunning. Really enjoying your videos. Great recommendation from UA-cam.
Thank you friend, you enlightened me with the removal of the ink lines from the animated 3d model, you have saved me years of slavery, again thanks and greetings from Argentina
The blending of 2D with 3D has been taking decades to get into the standards of old animations, but it's getting there. Still looks uncanny though, seeing 2D looking 3D models with rendered lighting and shadow effects rather than the old crude impressionable hand drawings.
This is incredible. Better than the reference. When you export the black and white line work maybe try giving some small wobble or very slight change in thickness to the lines before you colour it. That will help give the hand drawn look. Its pretty much perfect already but the only thing that gives it way is just the sharp geometric straitness of the shapes to me.
This is great , I'm impressed by the amount of work done here , it looks beautiful !
I think the only thing missing to look like hand drawn animation is simply less frames in the 3D animation , if is was more jagged it would have definitely looked more organic and human made . That's the only thing that is giving away the 3D render look to me , apart from that the hand drawn details are a really great idea to sort of hide the 3D model .
It's actually a seriously well done piece, it looks and screams Cowboy Bebop in term of animation looks and quality which is a good thing in my opinion.
80s animation truly is an era of unsurpassed skill both the designs and the drawings. I hope that with the rise of AI we can reproduce these times.
one of the most interesting videos i've seen in a long time
Simply amazing, you are a master of your craft!
Using CG to get your base form and movement is something I bet they wished they had inthe 80s. I was thinking wouldn't it be easier to do texturing in the modelling process and then add accents to frames but then I realised it wouldn't feel as natural as what you've shown here, almost anime uncanny valley
Really appreciate your time and effort! Thanks for sharing the technique!
first video of yours ive seen, definitely make more like this ,I want to try this out
I would buy this as an anime. Looks and feels amazing. How is Bandai not kicking down your door and dragging you off as an animater for their studio
have you thought about just texture painting on the details? that way you would only have to draw them once instead of on every frame, while still getting that handpainted feeling.
That was amazing, but I feel like a couple things that might be causing it to look too 3D are the frame rate being too high making things look super smooth, and the lines of the ship are way too consistent and clean. If you have the ability to apply a small amount of noise to the lines and occasionally break them in areas to create a small amount of visual inconsistency, it might look a little more hand drawn.
This is invaluable to me
I feel like it might be possible in the future to emulate hand-drawn animations of the good old days with generative AI. That way we can have the best of both worlds without sacrificing as much manpower (convenience + aesthetic)
Know this is old, but have a sub, purely for including MACROSS clips!
Brah, that is awesome!
Really cool video.
i really love the old animations the most where its all hand drawn, i understand financially its not feasable anymore. but a lot of anime now put some cg in that pops out to much that really puts me down. i notice that more and more series do their best to hide they use cg/computers. i think a part is that the animations are to smooth for example some monsters/horses cars or other moving objects are rendered in full smooth 3D while the animation itself is more like still images. not sure if its possible to have some kind of way to reduce the smooth animation of 3D to reduce the gap between the 2. then combine it with the animation style in this video to have a good compromise
This is amazing!!
I think you've done a very good animation but the problem of the 3D being noticed is in the camera's shots
I like my starsector ships
Hegemony rules, tri tach drools
No i will not explain why ive militarized all my populations kites
Amazing
People who animate mecha have my deepest respect. The opening shot of Unicrom from the 1986 Transofmers film always puts me in awe.
Ah yes Transofmers. With Scumbletree and Floptimus Lime
@@TheDGAF06 lolz
Unicrom Transformaiom was baller too
Bro, just one word i gotta say for you, Evangelion ... That shit is in another level of aesthetics and animating mecha things right ?
@@TheDGAF06
❤
Www
W
W
😂w
There's something about the 80s 90s sci fi animes that just has that weird vibe connected to them that is almost impossible to make nowadays. You achieved that good job.
Gods Universal love is the ONLY vibe that
animates the aesthetic in life of reality
Not impossible, but not have intention.
And lazy !
no computers. real film. It is something that you cannot replicate with computers.
i think whats missing from today's animation compare to 80s and 90s is passion and love.
Ota's work have that missing spice!
everytime i watch his Starwars T-fighter short i am just blown away
To be honest, as a programmer, I don't think I'd ever have the patience to do animation, watching this has shown me what people have to go through to make all the animated shows I love, and I now have massive respect for the work you do!
I dont think I could do the animation thing...I don't have the patience for it...but for a webcomic, most of these techniques still apply. Map the scene in 3d, render in sketch, color, use individual frames.
Local man tries to save anime from his backyard!
The anime industry doesn't care.
because people are probably buying that shit up in numbers like never before
F
Does anyone read that in a cartoony last century announcer voice?
@@reinisrorbahs6575 I did and I regret nothing.
local nobody struggles with his troll game.
1:40 says he starts off by making a really really basic model. Then cuts to a low poly masterpiece 😓
"Really really basic" For 80's anime standards.
TikiShootah It’s like the “add details” step in one of those kids drawing books.
yeah LOL he just whipped it up like nothing. I'd be impressed with myself just for making that shit LOL
This is all amazing. I love everything you do.
This is so much better done than Studios do when using 3D animations in anime, incredible.
Well thats because those animes use the 3D models as the final product, and not render it out as black and white lines.
Not only that but they have a tight schedule.
Because anime studio's often have 1-2 weeks per episode. They'd never be able to do this on a weekly basis.
@@BassLiberators they have 3 months to make 1 episode they don't actually make whole episodes in 1 week
@@IzzySnoor depends on studio
@@edentheascended4952 no it doesn’t, this isn’t a fricken South Park episode, while depending on the studio it does vary *slightly,* it never does it go down to 2 weeks
Calls it crappy, 99% better than what I see and draw
He is a Perfectionist.
True my people look like f%@£ plastic man without strerchy powers
Wow, you must really suck, then.
Kidding
Really impressive!
But one of the tricks to make stuff look hand drawn, is the imperfect foreshortening.
If you got some footage of a hand drawn 80s mech, and made a 3d model of it, and animated the 3d model in the same motions as the hand drawn one, and placed them on top of each other, you could see exactly how the foreshortening is inexact. And maybe some algorithms could be written to simulate that imperfection...
I agree, and that's exactly what Guilty Gear now does! though it's obv done by hand and not an algorithm
One day AI will simulate that to the point where you might not recognize the original from the generated.
And people will still complain 🤣
In blender, I found setting the camera to render in orthographic view makes a lot of difference.
That wouldn't work, heres why. The idea that its imperfections by someones hand? discounts the reality which is that the layers of analog tools used for something like a cel animation yield a look unique to that form in the same way that a pencil sketch can be differentiated from something thats a digital sketch. So even if you add in those imperfections frame by frame, it won't matter. Your eyes are much harder to trick than you might think. Plus I never understood that thought process anyway, because honestly? most anime are still drawn by hand just with a digital tool rather than a analog tool, the imperfections are still there, quite frankly they dont matter at all.
@@brandonden795 Not how that works bud, AI does not simulate animation only the references of digital artists lines and brush strokes. Even then it looks horrifically ugly when AI generated, it's not able to create its own lines, only patterns from other already generated lines. That's not really something you can replicate, Cel animation since its all analog tools. Don't believe me? Try doing a pencil sketch then do a sketch on your best digital drawing pad. Then tell me they look the same, you can't. Ones pixels, the other is shades of light processed biologically.
I LOVE the 80's Mecha esthetic. Those ships were amazing to look at.
Facts.
i grew up with Macross and Mospeada. Their ship designs were the best and most impressive.
I still hold those two as bench mark against everything there is out there today and they just cant live up to those in the 80s.
Idea; parameterize your model so it's dimensions can warp very slightly from frame to frame, it'll give that kind of organic motion to old animation where the ship isn't drawn exactly the same every frame.
Notice how your hand drawn details seem to wobble and vibrate as it wooshes pass, you'd be programmatically replicating that with the while model
Yeah, that is exactly my thought. The one thing that is still too "perfect" with CG, not that it looks bad, just not the same.
Exactly, 3D animation is too perfect in terms of coherence of geometry through time, it needs randomness introduced to emulate hand-drawn 2D animation. This is the reason I don't really like most 3D animations, they are too sterile and shiny, the main reason I think Pixar movies look like each other.
@@revsnowfox5798 Oh god, the "it needs to replicate the mistakes of artists to be correct" school of thought.
@@Gustav_Kuriga
For it to look 2D animation. You might have noticed it, but our world is analog, with a lot of imprecisions. Many people like traditional 2D animation because the imprecisions show through. "Mistakes of artists", are you sane? No artist can draw 100% realistically or 100% visually consistent, especially not by hand.
a tiny gaussian blur & 5% noise in video editing software can also help sell the effect. and if you are very adventurous, export as 720p and upscale it back to 1080p also blurs things a little bit and reduces details in the frames.
This level of patience isn't a virtue.....
it's a superpower
I shall have you know the otaking is omnipotent and all knowing in the ways of cool animation stuff
He doesn't need piddly superpowers when he has the powers of anime on his side
christians have been worshipping the wrong guy this while time
If 3D animation is a superpower, what is hand drawn animation, godlike?
Yeah, Austism will do that.
The ship looks killer! Getting some wiggle on your 3d line drawing will make it feel a lot more hand drawn. If you have After Effects you can use turbulent displacement to simulate a hand drawn wiggle. I would also recommend you diving more into multi pass rendering out of C4D. You can save a lot of time filling in flat colors with some object buffer passes or even an rgb matte.
13:20 It's certainly far closer than most (is there anyone else legitimately trying?) to trying to emulate the style, but I think the things that are adding to the "Fake and digital" look,
The rendered linework obviously has perfect motion and uniformity by design, if there's some way to ever so slightly randomize the line placement and thickness between frames, and add a touch of line wobble where it'd probably be free-handed, (as well as not having any line corners be sharp, because pens can't really do that) that'd make it look far more hand drawn. The line thickness especially, it's night and day with non-animated drawings the difference adding varying lineweight does in comparison to having uniform line thicknesses.
Everything looks hyper sharp, like digital artwork tends to. While that makes working with it far easier, even 4K scanned old anime has a hint of softness to it, probably mostly because of the film the cels and backgrounds are composited on. Adding film grain and scratches may help to that end, but usually in a restoration job the latter is what you're trying to avoid at all costs.
I assume you sample colours straight from old anime, but for some reason despite that all of your stuff looks really digitally sharp and harsh in the colour department, while old anime has a softness to its colours, whether that's because of the linework influencing that or not I'm not entirely sure. There's also the fact that physical paint is only 99.99% uniform unlike the fill bucket tool, despite the best efforts of the colourists in the 80's and 90's, not to any point that anyone would be consciously able to tell, but enough that when it is absolutely perfect it feels off.
Maybe add a slight cel shadow as well? I see people who do that tend to go a tad overboard, but if done subtely it does add a lot to the feeling of physical cels.
I think going out and either looking at cels physically or buying your own if you don't have some already would do wonders to trying to match the look.
I hope for the best for future endeavors and that we can see more of this kind of stuff from both you and anyone else who'd try and take up the mantle.
You said exactly what I was thinking about the line variances.
I wonder what kind of paint was used for the coloring for the classics. The backgrounds for sure feel like watercolors because of the way the gradients blend and bleed into each other.
you could image trace the frame in illustrator and add some width to the strokes and even fleek some lines maybe even copy the strokes and add a inked brush so it looks hand drawn?
Illustrator is complete garbage for emulating traditional linework. Clip Studio Paint is the way to go. The EX version has an animation feature aswell so it would probably be possible to rotoscope it
To get the classic look he needs imperfections. Think the easiest thing he could do in this case is to take some random computer linework cels, erase the more detailed portions and rotoscope/free hand before colouring. Concentrate on the beginning and end shots of the scene where the eye really gets a chance to focus. Disney and Bluth rotoscoped their vehicles in the 70's/80's giving them a Xerox look. I actually love the scene as it is since the mistakes of the details used to bother me watching them as a kid...I had no clue about deadlines and pressure back then...lol.
Now that I think about it you could probably render the scene several times, with every version having a different line width and then randomly splicing them in the editing softare when you drag them over, you could even go so far as to "split" the image in half or whatever, so every frame is actually two or more images just cut together, it will be the same frame in the animation ofc but the line thickness will vary even inside every frame, it might be possible to do :D
You could have just made one SUPER DETAILED drawing and then SLOWLY PAN that across the screen.
That always works!
Unless it's just a straight forward moving shot from side to side with no perspective involved, it'd be extremely difficult to do so. For a shot like this you'd have to do one huge drawing that is itself warped in perspective to the extent that panning it along makes it appear as though it's going from the front to the side and then the back of the ship which requires pretty masterful understanding of perspective. And you'd have to break down bits into different layers for overlays and so forth. Never as easy as it seems.
@@Jhakaro oh my god he was making a joke about how so often in anime, you'll see one super detailed drawing just... Move flatly across a screen for a "wow" shot.
Jeeeeesus.
Alright, calm down there Dodger. It was late, I was tired. Mistakes were made. Not the end of the world.
To be fair, I enjoy my super detailed shots. Even Gundam OVAs use them.
Eva, with it's more organic looking mechas don't though
@@Jhakaro
It's always the end of the world
*spontaneously combusts*
You don't need to simulate dust and scratches on every frame. Just record your animation onto a VHS tape and record it back into your computer. That would probably cover up the digital fakeness as well.
This really wouldn't work very well in terms of quality preservation. VHS is fairly noisy and there's the obvious limitation resulting from the fact that analog formats such as VHS don't have pixels, but lines instead. That being said, the original artwork done during that era can clearly be seen to be of very high quality when viewing a BD of any given series produced then. The only real "problems" I can see with OtaKing's methodology is that the linework is too crisp and it's missing the characteristic grain that results from the amount of ink or paint used.
@@pseudonymous1382 VHS can be higher quality than you would expect from seeing trendy vaporwave. To get that "lo-fi" noise effect for both audio and video, you have to re-record the same material onto the same tape. And even if the quality is poop, you can probably use your typical video effects to mask out different video elements. You could pretty much do anything you want if you have the original copy.
@@SenorEuphoria Eh. Agree to disagree. VHS can be higher quality than one would typically expect, but that requires higher-end recording equipment than regular consumer-grade. Besides, the whole point here is merely to emulate the style of animation. There's no emphasis here on "lo-fi aesthetics," just on trying to match as closely as possible the flat 2D perspective from a 3D model. In this specific instance, grain might be a nice added detail, but if you were going for something post-2000, then grain and line sharpness wouldn't be a concern because of the transition to digital animation.
Megalobox did something similar and it looked good
I'd say a single analog gap would probably help. Instead of copying to and from VHS, you could just point a digital camcorder at a digital display showing the material. The introduction of the light phase means that there is a digital>analog>digital conversion without the introduction of things like VHS tape wobble and noise artifacts. One could even try it with multiple generations of re-recording, but with a constant, high encoding bitrate.
When I saw how much work was needed, my lazy-ass self decided this was not the solution I was looking for. I watched to the end because that would be the least I could do. Much respect to you for your skill and your work ethic. Absolutely stunning workmanship!
Dude has anyone told you you're a mad genius? Emphasis on the mad. I mean granted your method looks a hell of a lot better than any of my efforts with shaders but still... you've got a lot of dedication to your style... (Also I'm not jealous)
Heh, look who we have here, guess you had seen this one then.
Have a couple suggestions you might consider to help continue reduce the 3D effect.
As you noted in your video having excess detail in a 3D model can cause issues for the process of converting to 2D so you might try making 2 versions of your 3D model: a detailed version for closeup camera shots and a more basic version for your wide angles. Now this will create more work on the front end of production but it would hopefully improve the workflow on the 2D side and also help reduce 3D nature of the work by transitioning between the 2 models depending on their proximity to the camera -- think along the lines of your reference clip of Unicron where his model detail drastically increases as he flys by the camera but then is reduced again as he gets further away.
Also another thing to consider is selective motion blur. A lot of 80s space opera anime will partially distort certain parts of ships, mechs, missiles as they fly past the camera. Its not accurate to how motion blur works in real life but it simulates the effect for the human eye while retaining a lot of model detail.
One of the biggest hurdles for capturing 80s style anime is simulating the celluloid grain. There are plenty of plugin filters on the market you could explore for that. Also something to bear in mind is the deep color contrast present in 80s anime. Most space opera anime in particular have very deep shadows but then skew lighter with their midtones.
Hope this is helpful feedback for you. Love your stuff, keep at it!
I agree with everything you said.
About the choice of color, the subtler shadows is something I like about more recent anime, I think it adds unity to the frames. That said, color contrast is a tool and all styles can work well for different moods. going all the way to black shadows can look awesome, like in the movie Redline for instance, which combines lots of fluo and light colors with full black shadows and thick lines.
And some old cool rotoscoping of vehicles.
noobenstein Yes, that is perfectly possible. I can't speak for Ota's choice on the matter but I would hazard a guess that it's a combination of having more control over the color palette and personal preference. Also bear in mind that a lot of 80s anime have color fluctuations from either celluloid deterioration or from colorists making occasional mistakes -- so Ota's manual method is more in line with emulating that aesthetic.
@@nightwatchm4n it would save him a lot of time if he could just add the highlights and shadows afterwards. Adding some variation is still possible and faster than the tedious use of the paint bucket on every frame.
Really good advice dude with both model , one with some details and the other one with just a basic version , but how can you do a "transition " between both when you animate ? because there will be a sudden change from one second to the next between the two models ? thanks you
0:37 UNICRON!!!
ORSON WELLS
@zzz43452 song name?!
When I see it I still hear the music. ua-cam.com/video/cJRfABxL4R8/v-deo.html
about 20 seconds in like a robotic heart beat. Then you think of a galaxy out there that is eating three of it's neighbors or how we are gonna collide with another in a billion years or something. lol
Sir! We lost the frontal lens flare generators!
Damn it Sulu! Otaking, switch to manual!
Yes Sir! *"Cracks Knuckles"*
This honestly looks so damn good and quite close to the original animations found on VHS tapes. It’s like watching a HD version, so a filter to simulate a lower res, slightly scuffed look would really sell it! Amazing work man 😊
LOL! "A very basic model", you say? I think it looked pretty damn good, and with some good texturing and bump maps it could look amazing! You make everything look so damn easy, dude! I've tried some 3D modelling myself, and honestly, I barely understood anything of what I was doing. Texturing, bump maps and displacement maps however, THAT I can handle! I guess that my biggest flaw when it comes to any kind of work, is that I can't learn by intructions and tutorials, but by copying what I see others do step by step while they're doing it. I've been told by so many people that working with and designing in 3D isn't all that difficult once you understand the basics! To me, that is close to being bullshit LOL! I think it is some damn complicated stuff, and I really admire those who can wrap their heads around this with little to no effort at all! I strongly encourage you to keep on with your awesome work, but I think I'll stick to making textures and stuff as far as the 3D related stuff goes LOL! Keep on being awesome, dude!!! And thanks for sharing ;)
Couple of notes for quicker work flow and less digital looking animation, speaking as not an expert on animation, I just know a fair bit of software.
1. you could have all you detailing done on your model by using a texture and rendering that out as secondary lines, i.e. a texture with all the details on it already. Will look more digital but also give you a real quick representation of where details would go.
2. In Star Wars from 1977 when they shot the models the backdrops of the stars didn't move consistently with the shot, because they didn't have this digital cube maps and all that jazz, but what it brings is a more complex composite movement, as the backdrop either rotates, moves contradictory, or not at all it will simulate gliding, spinning, etc. of a ship with very few means.
3. Dependent on what you have available you could have the lines of your ship thicker based on the angle between the faces the edge has, additionally it could be affected by the depth buffer so things in front have thicker lines.
4. I don't know what you have available, but additionally if your line art exported frames of the 3d model used a drawn line filter to introduce wobbliness, unevenness and slight curves to your exported lines, it would look less digital and sterile. If all else fails I'd use something like Premiere to add some wave warping of subtle sine curves and noise waves pulling on each frame to make the outlines a bit weird.
Not entirely sure how to do this in a video editor but using Spatter and Accented Edges (in that order) on black lines on a white background in Photoshop gives a more classic pencil style line. If you're a wiz with automation maybe Photoshop could simply be used.
5. To make things look more 80s or even 90s Channel offset can be your friend, remember how VHS and old media have that red outline smudge on the left of sharp lines and vice versa green on the right? Happens on old film rolls, VHS, anything not digital, can really help sell the classic look if you do it right. Just doing slightly subtle in your video editor afterwards can do wonders. Usually called channel offset or RGB offset, but buzzwords like VHS can help find tutorials too.
Hope that helps you or anybody else.
great info for others in the future. i'll just add on to his list and fix a small mistake you made.
1. this is great piece of advice! this can help tons of people, including me, cause its always a struggle to keep details not jittering about from frame to frame, with a texture map as reference you are able to trace the details perfectly for each frame.
4. wave warp wont do the trick here, it'll look too generated and fake even if you do a lot of keyframe automation. I would however get some VHS noise stock footage (black bg with white tracking lines) and use Adobe After Effects to create a distortion map from that, it will cause the lines to wobble and slightly distort where the white parts of the noise is only, which gives a lot more dynamic and authentic VHS feel. if you also use the the original noise stock as an overlay (blending modes Lighten and Screen works best, sometimes soft light and overlay can work too) it will give the effect that the visible noise is affecting the video and pushing pixels around.
4.2 Wave warp is however great if you want to create that bad tracking smearing that normally happens at the bottom or the top of the screen on old VHS tapes. for this just duplicate your footage and on the top set the wave to go along the bottom across the footage, but not high waves. play around with settings so you get a good smear. then just crop the footage so only the bottom is visible, and then add a feather to the crop so the footage blends in with the footage below with no hard edges.
5. its called an RGB SPLIT and you can do this by seperating the color channels and moving them right/left. alternatively in Premiere Pro you can use the Color Balance (RGB) to isolate colors. I would recommend to add a small gaussian blur to the RGB split shots as to soften up the edges so its not just a red/blue/green hard crisp line.
6. reduce framerate to 24 fps, remove half of the frames and slow down video by 50% to effectively animate "on two's" (each image is on screen for 2 frames) will give a more cinematic animated feel.
Also export multiple passes from the 3d render for base colors, alpha mattes, maybe even lighting for referenc
We'll never see anime like this ever again. It's quite sad really. Which is why all existing 80's and 90's anime must be preserved for future generations.
You wanna hear sad? They might not care. Titans like Akira will become Mozart or Bach. Unappreciated by the people of the "modern time". Relegated to a dusty shelf.
I hope not, but I worry sometimes that most everyone is becoming too fuck-tarded to appreciate anything besides the thing that gives them that immediate dopamine rush.
And because the culture is becoming strangely both more insular and co-dependant on cults of personalitites the chance of exposure to the classics drops off like a cliff to whole groups of people.
So it's up to us to use the classics for inspiration and bring it back to the modern age.
@@noisemarine561 Mm, yes. A small niche can totally change the culture. Unfortunately it still requires marketing and luck aside from the obvious hard work. But hard work is the final decider. I assume you're talking about personal animation projects that pay homage to the era, or are in their own right sharp and high effort.
@@isaiahdaniels5643
Cant really say, but Ive got something big planned. I just happened to discover this animation trick... But for now Im still in the early stages of development.
I love this kind of animation style that gives us the best of both worlds. I have nothing against CGI in two-dimensional animation, provided in particular that it's aesthetically pleasing-which this certainly is more than most uses of it these days in actual anime! It's basically along the lines of what I would do if I was making this kind of animated film or other project because I love the old styles so much and really want to take it to a new level for the modern era.
Also, regarding what you mentioned at the end about making it look more like an actual filmed celluloid, I've experimented with telecine (i.e. dust/scratches/gate weave) techniques in After Effects for a few projects. It's kinda tough getting everything just right to make it look almost like a genuine film transfer, especially with dust particles because a lot of them were too big and cheap-looking, and thus had to be adjusted A LOT. I'm not sure what's out there for the programs you normally use, though.
I believe the main problem with cel-rendered or rotoscoped 3D is its use with fast and especially _arcing_ motions. In those places, there needs to be either a morph or warp applied in the renderer to _bend_ the model with the motion and create "squash and stretch" extremes or a conventional artist should step in and create distorted and/or creative smear frames to simulate those visual illusions we are used to in real life (like that deal where you can hold a rigid pencil between your fingers and teeter-totter it at speed until it appears to be bending like rubber).
Conventional animators use those effects a lot, especially if they have to work at 12fps like older TV anime. I even remember seeing animators use composition to enhance the effect by making the motion flow toward or away from the screen-plane along an _arcing_ perspective line -- toward or from an on-screen vanishing point (either mirrored in the background art or along with a complimentary abstraction like speed lines), so even though there may not have been enough clear frames to really convey the motion, the viewers' eyes would have a guide to help comprehend the full arc in as little as one or two frames.
Without properly mimicking that kind of stuff, 3D animation starts looking jittery or mechanical and throws us out of the immersion. And it can never be as fast without becoming incoherent.
@@crimsonmask3819 Yep, I tried animating 3d at 12 fps and it looks terrible!
"I have nothing against CGI in two-dimensional animation" You do realise that they're using that dogshit to replace 2D anime?
@@jakecass43 Followed by "provided in particular that it's aesthetically pleasing" :/
@@otabot4036 I know he said that but it just doesn't look the same man. Full 3DCG and mixed media shows shouldn't be allowed to replace 2D anime.
I LOVE the 80's Mecha esthetic. Those ships were amazing to look at.
That's the kind of stuff i want to learn in our Animation lessons !
And we do use TVpaint as well , but our teachers are ... ugh ... borderline incompetent .
As soon as my studies are over in a couple months , i'm picking TVpaint up by myself , you've motivated me to do some animation ! :D
HOW ARE YOU SO AMAZING?!?
for people who think _just_ reduce frame rate to make 3D looks more like 2D
*That's totally wrong*
The main difference between 3D and 2D animation is 3D animation is a projection of 3D space
but there's no projection in 2D, it's just animator trying to mimic perspective in a 2D space
in other word,
perspective in 2D animation is not 100% accurate but it looks fluidity due to how inbetween is created
animator can deform object a little on paper or adjust timing on exposure sheet to compensate low frame rate, creating a fluidity animation
in 3D animation, perspective is 100% accurate but looks laggy in low frame rate because object is following an already set up path.
without additional timing adjustment, a low frame rate 3D animation will looks like a laggy computer game driving you mad
----
please do check "12 basic principles of animation" about how to create an animation
That's exactly why many all cg shows fail, they use a low frame-rate! If a Naruto or Dragonball game running IN REAL TIME looks better and more fluid than your pre-rendered TV show, you're doing something wrong.
The 2D hand-drawn stuff is often not perfect in terms of perspective, especially in movement. Not that it makes it worse, just different. If they had the man-hours to draw everything in 50 or 60 fps back in the day, they would, and it would look amazing.
Yes, thank you! Deformation is the key difference, an artist can use it to exagerate proportions for effect too.
To me it's the perfectly computer drawn lines that set it off, there should be some filter that randomizes line "distortion" to some extent while exporting the .mov file to make it seem like they were hand drawn. Also, using less uniform brushes should help give a more natural feel to the frames. Hope I'm not wrong
In Spiderverse and DBFZ they make the characters moving in 3D space follow the camera movements animated on 1s to emulate 2D without looking laggy. So if you watch it in slow mo the characters are "sliding" along the camera to compensate for the low framerate, like they usually do in anime
Shifting the line weight in the outline as it goes from frame to frame would get a more hand drawn animation look. Those old Macross style animations, since they were so dependant on fast hand drawing, often have inconcistencies in line weight and exact line placement. Because a 3D model keeps the continuity of outlines so crisp, at a high frame rate, it looks TOO perfect, thus losing that analog feel. I'd say play with adding line weight in some places of your 3D model outline, or even erasing entire lines and redraw them just for effect. The fact that not all animations during that time were completely accurate to perspective also could be taken into account. Having some planes not completely in absolute correct proportion or perspective in certain frames would help with getting that nuance. It's much like the wobble or pulsing of old reel to reel tapes. Those slight inaccuracies gave particular tape recorders a "color" that was added to the sound of the final product. Great tutorial! I learned a lot!!!!👍 👍
Mesmerizin, I miss the oldschool animations from the 80s so much, especially macross. Thanks for this.
Before I started watching: Well it must be some fancy celluloid style cartoon shader for 3D software now where's the download link?
After watching this: Holy sh- that's serious skill!
Try to export the black lines on transparent background and then run it through After effects, using the Roughen Edges effect. Depending on it's settings, it should make the lines somewhat less consistent in their thickness, giving them more natural look. Also, to get closer to the 80s reference pictures, some blur should help. Lot of the lines on the reference footage is blurred to the point where it mixes the black with the filling color. So at the end the linework is not perfectly black (except larger black areas). Also, great work! I really like what you have managed to do in this video and I am looking forward for your next pieces!
Otaking saves Anime! More news at 10.
This is awesome. I remember reading about Guilty Gear XRDs methods for faking 2d with 3d. A lot of it isn't applicable because it's game engine technology and some things like "lowing the FPS" might not be desirable but one note was using mesh distortions pretty much every frame to break up the perfection of the 3d model juuuust a little bit to break up that out of place 3d perception.
_ exactly..I suggested/mentioned it also... hopefully he can apply that look he's shooting for...his work is amazing.
This reminds me of the method that Disney used to animate Tarzan and the Treasure Planet. I think it was called Deep canvas. Loved the video, keep up the good work!!
Just amazing, dude.
I love that your inspiration for this is MACROSS. For me, that was peak space animation, and a personal fave anime.
Bravo!
👏👏👏👏
Honestly I have to say you have achieved a pretty good balance in my opinion. This looks way less out of place than cgi and probably would not look out of place at all if paired with a similar style like the one TIE Fighter video of you.
That is a fantastic process. Still... Workflow. Optimization. Needed.
There must be a way to intelligently fill a bound area. Adobe is all over this kind of thing.
I like this method. It’s like you get the smoothness of cg, but retain the incredible amount of organic looking hand drawn detail.
As a BIG mecha mobile suits / space opera fan (growing up in the 80s) this is SO impressive!! The amount of dedication and stylish additions to the shot is nothing short of amazing! 😳 Loads of kudos to you @OtaKing (Animation), you truly are an artist that should be hugely recognized! ❤
Why aren't you more famous?? You're top5 best animators on UA-cam
who are the other 4?
@@namesurname624 Harry partridge,psychicpebbles, hotdiggetydemon. In that order.
Jesus Christ, I swear traditional animators (and what you are doing by extent) are among the most respectable people to me. I can't fathom how much dedication you must have to your craft to produce this wonderful stuff. I'm so glad you guys exist. Thank you so much.
Using 3D the right way! Nice job!
too bad today they have less than a day to make such animations like those...
13:35 I feel like this could be easily fixed by adding some filter to the lines of the 3D render so they have a varied width, this would more accurately mirror the older style of artwork
I bowed down so deep for the King, my nose bled for the rest of the day!
this "Warmth" that hand drawn animation/line drawing have is because our hand slighly presses/depresses the markers, it create minute/almost unnoticable weight differences in lines that 3d software struggles to replicate. However with today's shaders capability, you can introduce a bit of of it by properly scripting a bit of guided randomess into it.
Amazing! You got a real talent for animation and a dedication unseen since Ralph Bakshi. The Star Wars short alone would get your foot in the door with any large animation studio. Keep up the good work! _\\\
Oddly enough, '80s "Japanimation" did a lot of what you are doing right now: Rotoscoping over 3D software models. Super Dimension Fortress Macross pioneered that technique. Before that, spaceships and mecha used to look terrible! Watch the original Mobile Suit Gundam. The iconic RX-78-2 had a man-in-a-rubber-costume look about it -- it looked ugly and it did not age well! Once CGI-rotoscoping become available, everything got waaaayyyyy better! Although, with hand-drown animation getting more and more expensive, and 3D software getting better at rendering objects, Japanese studios are now just cutting corners.
Don't think of the digital tools as a bad thing: Hand-drawing cell after cell after cell after cell, all by yourself, would utterly destroy your drawing hand, and you may think your work looks "fake and digital", but it still has a lot of quality and effort put into it. You managed to do a lot for just one person and it is that dedication that I respect!
"Super Dimension Fortress Macross pioneered that" I was always so impressed by Macross, the zenit of hand-drawned animation, and know I lern they did use "computer assist" still a great feat but not that superhuman feat I did beleve it was.......
One more thing OtaKing77077 you are one person... the 80 anime did have a full studio of peopel....or somtime more then one studio....
seen blender greasepencil?
what do you mean ?
@@runningcoyote9972Blender 2.8x brought a major overhaul to the grease pencil, going from an annotation tool to a 2d/2.5d animation tool. He's asking if Otaking's considered using it as an alternative to TVPaint.
Going to be honest, I love this medium style so much. It looks new and high definition like modern animation while having the 80s hand drawn feel to it.
Outstanding work
Looks good. Are any of those programs for free?
Cinema 4D isn't free (3D animation software), but you can do the same thing in Blender, which is free.
@@ClarkusMarkus Thanks
And don't forget Krita to cover the Photoshop aspects. Newest version(s) have some nice animation features.
In Blender you'll probably want to look into Freestyle and the toon shaders, since those are made for this kind of thing.
Open Toonz is freeware for animating, it has its origins in studio Ghibli. I'm not super familiar with it but it should be able to cover the parts he does in TV Paint. (?)
@@zep909 OpenTooz is a 2d animation tool. What is primarily in this video is 3d animation. To achieve this style in 2d would be a huge waste of time and be borderline impossible.
I'm a programmer and thinking like one,. One thing that could be made, is an algorithm so that you can make the ship as detailed as you wanted to and when you zoomed out tell the render to not render small lines and that would look even more like a drawing and I'll make everything faster
Also I'm pretty sure I could make an algorithm to shake a little bit the sharp lines drawn by the renderer and give them any effect you wanted to, like small irregularities. P.D. fucking amazing.
I mean whats gets me about the modern CGI effect is just how flat everything looks. there's no lighting playing off the surfaces or and kind of spectrosphy. I would like to see what raytracing with a simplification filter can achieve with some hash bounce lights for the highlighting. might save you some time
late to the party... I would of thought maybe dropping the frame rate down might give it a more hand drawn/less CG feel...? At the moment the ship moves through too SMOOTH (hence the CG feel)... hand animated animation thats "too smooth"... how's that for a critique??! ...haha! Less frames equals less work too ;) Still amazing AF! I really do love your shading skills.
Indeed. Its absurd that he doesn't mention it once! Presumably, keyframes are no longer emphasised when studying animation.
Holy crap... great job! This looks amazing!!
Absolutely amazing rotoscoping and texture work here, the one thing I would add to help blend it all together is a subtle film grain and maybe even organic lens flares to mesh all these elements together. Also you could finesse the camera movements in Cinema 4D to make it feel less robotic. Other than that this is brilliant work of a classic aesthetic reacreation with modern technology!
I understand the kind of merging of 2D and 3D you're going for. You've got an incredible style that's your own. One tweak I might suggest is to not use the contiguous super smooth camera movement. So many hand animated shots of ships going by have a kind of time stretching to them. Something typical might be a ship on slow approach but when it's pretty close the camera is whisked into the close up details of pylons and whatnot. Then in an instant you're some distance from the ship and it continues to lumber.
So my idea is slow approach, whiz bang fast "in the details" section, slow depart. I'm not sure if it would be easier to get results tweaking a single camera move in your 3D application or perhaps divide your animations into sections of 3 different camera moves each with near matching frames linking them.
If I've been clear enough what I suggest is a more herky jerky camera movement speed. It's part of the character of classic mecha anime.
Admittedly your camera move does seem to have a faster mid section but it's not as pronounced as in the old anime. Also thanks for sharing. Your work is amazing.
Sorry I keep adding to this but I'm also fairly certain animators of the past treated the close up section like it had different lensing. Picture photographing a scale model. You might use a standard lens on the ship approach and departure to give the effect of telephoto. It's kind of flat. But when you're close in on the spacecraft you switch to a macro (or a fisheye) lens giving a little bit of fisheye distortion. That makes the details of the sip pop from the screen.
Again, sorry for the novel.
Watching ua-cam.com/video/cJRfABxL4R8/v-deo.html till about 23 in to see exactly what you are saying about the speed of it passing by, time dilation. 1:07 His slower but constant. Speeding up a mid section could work unless it's his personal preference??
It does seem to break the feel even as the ship passes us. Unless we are in motion as well? But the camera is stationary and tracking right? I have no clue about these things just trying to say what I see.
The thing with time dilation is how much information we get. Like in the fight or flight response. Your in a fight your eyes get bigger and you catch every movement from every direction. So as a ship gets closer the details become greater and it feels like more time even though it is passing you by quicker as you are in one point and it's passing you at the same speed.
Crimson Mark was also talking about it but I didn't grasp what they were talking about till you mentioned this. "(like that deal where you can hold a rigid pencil between your fingers and teeter-totter it at speed until it appears to be bending like rubber)." how when a sword or ruler is a straight edge but when you slap it down it looks like it's curving for an instant.
That might be the difference from an outside observer seeing the fight compared to the two in it who see everything slower even when moving faster.
@@jayeisenhardt1337 , ah yes, transformers. More plot in the first episode than the entirety of the live action US movies combined.
Fascinating ideas. It makes me think that using a tilt-shift lens on the wide shot and possibly decreasing the tilt shift angle, but I don't know if that's possible or an option in virtual-lense rendering software.
I would suggest you break up your paragraphs, though, to make it more readable (double spacing.)
Huge respect for your work ser!
Im also fan of hand-drawn old school animation and In my opinion, the 3d digital versions gives a "fake" feeling cose they movements are too smooth and mathematically precise. If where is a way to make kinda randomly shake an object and make a bit wrong perspective when camera moves, it could helps to gives an 80s vibe :D
Great video! Super helpful. I'd say one thing that could help give you a more authentic '2D' feel is removing every second drawing so that it all animates on 2's. Also cuts the workload in half!
This is incredible mate... just amazing!
the 3d lack of smear frame and it should be in 12fps. anyway the idea is brilliant
He doesn't seem to understand the significance of fps, he never once mentioned it … and yet this is about animation and the recreation of a particular type! Computers have clearly ruined this industry for the younger generations coming through and currently in work.
Use Ian Hubert's plugin for camera movement
Anime is one of the most beautiful forms of animation, and is also the hardest form of animation. this is incredible even if it's had help from a computer software. you obviously have a lot of patience and talent you have sir is beyond me. you are a big inspiration for me! thank you for these amazing videos!
Greetings mighty Otaking, I am TheExecutorDragon.
I have a question about animating. I saw this video and it really got me thinking that I could try that as well. The only problem is that I do NOT have 'Cinema 4D' nor 'TVPaint', I only got 'Blender 2.9'. And while I do have an idea on how to use 'Blender 2.9', I am still learning everything. As for my 2D Animation software, I use 'Adobe Animate'.
So my question is this: Can 'Blender 2.9' and 'Adobe Animate' be used in a similar fashion as 'Cinema 4D' and 'TVPaint'? And if yes, could you please make a video on how its done? Or, do I absolutely NEED 'Cinema 4D' and 'TVPaint'?