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BOOKS AND ARTICLES Filming a cartoon
Phasing-animation When working on the phasing of the wheel, one inevitably got the feeling that some kind of mechanical work was being done: press, turn on, turn... And on the monitor screen, a monotonously boring movement of the wheel appeared, necessary, of course, but only in some cases. Remember, for example, how the wheels of the cart on which the Bremen Town Musicians travel behave. As if they were alive, they dangle and bounce on bumps, deform from blows and seem to mimic the expressions on the characters’ faces. The authors of the film clearly sought to revive the wheels with the help of phasing and give each one its own character. Or, for example, the objects in the cartoons Tom and Jerry by the Warner brothers: a broom, a salt shaker, and a pepper pot - all of them are characters with a pronounced individuality. And this is in a household sitcom. What then to say about fairy tales, like the film "Beauty and the Beast", where the plot itself requires the humanization of objects, because they are all bewitched people. In a well-made cartoon, not only the main characters of the film are humanized, but everything else is animated to one degree or another. That is why it is so important to learn the techniques of complex phasing-animation. One of the characters in our hypothetical cartoon was Bird. Quite interesting problems arise during the phasing of a bird. First of all, it is necessary to make the bird fly truthfully. The audience should not have the impression that someone's clumsy hand is moving it - the flight should resemble a real one. To do this, you have to draw 7-8 frames of different positions of the bird during the flight, and in each drawing you should slightly change the position of the wings, body, head, beak, eyes and paws in accordance with the flight path. In this case, you can use your own observations of flying birds or special graphic flight patterns created by ornithologists. They capture birds in flight and then turn the photographs into graphics. One of these schemes, slightly modified, is shown in Figure 1. Using the scheme, it is necessary to master the principle of flight, in which more or less monotonous movements are made: wings rise and fall. Let's call such a repetitive movement a "cycle", as in the case of a wheel phasing. The cycle of movements, depending on the nature of the flight, is divided into several phases - in this case there are only seven of them.
Thus, purely technical problems were solved, and we also face a creative task: to create a hero of a work of art with his own unique character traits. The more expressive the hero is, the more likely it is that the audience will be carried away by him. It is necessary to make sure that the character not only moves naturally, but also in a certain way, peculiar only to him. Let's remember the script, the general artistic and aesthetic concept of the future film, and think over the image of the Bird. She, for example, can be very frightened by a fire, while her movements will be hectic and impetuous. If you try to imagine her in the form of a person (the most fruitful way for an animator), she will look like an agitated woman running at full speed along the road, stumbling over bumps, clapping her hands, etc. Let's take this image as a basis and start phasing, using the great features of the animation program. Modern 2D programs contain a function that displays the "ghost" of the previous frame, like a tracing paper, which is used for rough phases by animators working on animation by hand. Different companies call this device differently: in the Autodesk Animator Pro menu it is called Blue Frame (blue frame), in most other programs - Onionskin (translucent paper or literally - onion peel). So, having opened the program, first of all, you should set the frame size, set a transparent background (Zero Alfa) and determine the length of the animation segment. And, in addition, do not forget that the playback speed should always correspond to 25 frames per second. Let's say that the phasing lasts 12 frames, which means that the length of the segment should be 12. Let's draw a bird in the starting position. For those who do this for the first time, we advise you to draw it without wings and beak, that is, only the body, head and paws. This allows you to phase only the wings and the beak, and you can connect everything together later. So, we take a preliminary sketch of a bird, made on paper, and enter it using a scanner into a computer. You can draw it with a mouse or tablet, which is much more convenient. The drawing entered into the computer most often has to be finished with the help of a graphic editor: correct the contours, colorize, etc. After making sure that the size of the bird satisfies our tasks, we place it in the first frame of the cartoon segment and turn on the Onionskin function.
Now, when moving to the second frame, you can see a dim image of the first frame on the monitor screen, and draw the outline of the bird in the next position on top of it (Fig. 2). Previously, in rough sketches, you need to divide the cycle of movement of the wings up and down into 12 positions so that in the thirteenth frame the position of the wings coincides with the first phase of movement. After the contours of all twelve phases of the flight are drawn, we will look at them in motion and, if the phasing turned out to be successful, we will paint over the contours (Fig. 3). Now, by copying this segment in time mode (menu Edit\Copy Segment) and pasting it into the animation sequence (Edit\Paste), the finished phasing can be repeated any number of times. Save the phasing file with a memorable name using the File\Save As menu item
Now our Bird is flapping its wings as intended, but it also needs to move. To do this, Autodesk Animator Studio provides the Sprite tool. You can use it like this: after placing a background on the screen (an image of a fire tower or a fire flame) on which the Bird will flutter, the background segment should be extended to the desired length by pressing the V key or by clicking on the icon of the toolbar, which shows a ball and three brackets. The name of the tool will appear in the information panel at the bottom of the screen, and the Sprite control panel will appear on the work surface. To load a file with bird phasing, you need to press the Load button on this panel, and do not forget to check the Loop function in the Sprite control panel so that the phasing repeats the required number of times. Now, if you move the cursor over the working area of the drawing, you can see how the first phase seems to be glued to it. After placing it in the right place, you should click the mouse. The phase will turn into a blue silhouette, and the second phase will stick to the cursor, and the program will automatically go to the second frame. Focusing on the blue silhouette, you can position the next phase. Too fast movement of the character across the screen is usually not used: in this case, the audience does not have time to perceive the image. Dynamics depends not only on the speed of movement of the object, but to a much greater extent on its plasticity, or amplitude and frequency, in technical terms. In order for the character not to move across the screen at an unacceptable speed for perception, animators choose the distance between phases no more than 1/3 of the object's size. In our case, it is better to choose even smaller distances, otherwise the bird will quickly disappear from the screen.
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