Animatic Tutorial animatic补习
This development entry will show the process of creating a scene, and its evolution from sketch into full blown animation.这一事态发展将进入查看的过程中创造了现场，而其演变，从素描到全面吹动画。 The scene I’m detailing is when Sparky turns quickly to face Meat, and then rushes towards him.现场，我很详细，是当sparky轮流很快要面对的肉，然后赶朝着他。
The first step has been shown before, creating the storyboard:第一步已被证明之前，创造故事：
Next, using接下来，用 Toon Boom香椿景气 , I loosely sketch out the keyframes that I want to be sure to hit. ，我松散的素描出keyframes说，我想一定要击中。 Doing this within the timeline creates a useful rough animatic.做好这一工作时间创造了一个有用的粗糙animatic 。 Here’s what that animatic looks like:这里的是什么animatic看起来是这样的：
I then create circles to represent the head and body of Sparky.当时我创造，各界代表头部和身体的sparky 。 I animate these circles directly over the keyframe animatic from the previous step, and what I end up with is a well-timed animatic blueprint with basic motioned displayed. i这些动画界直接在关键帧animatic是由前一步，我结束了同是一个很及时animatic蓝图与基本的动议，显示出来。 This is the main animatic that I will reference throughout the project.这是主流， animatic ，我会参考整个项目。 Here’s that animatic overlayed with the keyframe animatic:这里的表示， animatic覆盖与关键帧animatic ：
And here it is by itself:在这里，它是由本身：
Now we’re getting to the meat of the project.现在，我们相处的肉工程。 I typically attack the core of the animation at this point, putting a majority of my effort in the torso as that will yield the most convincing bang-for-the-buck. i通常攻击的核心部分，动画，在这一点上，将大部分的心血，在躯干，因为这将产生最有说服力榜为全推卸责任。 Getting the squash and stretch right here is one of my primary goals.获得壁球和舒展这里是我的一个主要目标。 The secondary movement of the ears, tail and leg fat are also quite important to sell the action. Tip: Since creating this scene I’ve started putting the ears and tail on separate layers for greater control.二手运动的耳朵，尾巴和腿部脂肪也有不少重要的出售行动。 提示：自创建这一情况时，我已经开始把耳朵和尾巴上不同层次，为更大的控制权。 Don’t be afraid to spend the extra couple of minutes to properly put drawing elements on their own layer if they deserve it.不要害怕，大胆地花费额外的两分钟，以适当地把绘画元素对自己的一层，如果是他们应得的。 You’ll save more time than you realize.您可以节省更多的时间比你所实现的。
Here’s the torso overlayed with the movement animatic:这里的躯干覆盖与运动animatic ：
And here it is by itself:在这里，它是由本身：
Next I add the arms and legs.接下来，我添加了胳膊和腿。 Note that I don’t create the full leg, just enough to cover the screen.注意，我不创造全腿，公正，足以涵盖屏幕。 These projects are long enough, don’t waste time on elements that will never be seen.这些项目都是足够长的时间，不要浪费时间，内容将永远不会被看到。 With the arms and legs:与胳膊和腿：
Now I add the face.现在，我想补充一点，面对。 Grr! grr ！
Color is always important.色彩永远是重要的。 I’ve started using shadows to give the characters greater depth.我已经开始使用阴影，使人物更深入。 In Toon Boom use the “Stroke” tool along with the “View/Show Strokes” selection to create the shadows.在香椿景气使用"中风"的工具，伴随着"查看/显示招"的选择，以创造阴影。 The stroke tool basically allows you to draw invisible lines.中风的工具，基本上可以让你借鉴无形的线。
The last step is to add background color and speed lines.最后一步就是添加背景色和高速线路。 Speed lines are a useful tool to impart a sense of action and extreme movement.高速线路是一个有用的工具，传授责任感行动和极端运动。 They’re relatively easy to do since abstraction is the goal.他们比较容易做，因为抽象的，是目标。 I’m interested in building a library of speed lines and effects for Toon Boom and Flash animators to use.我有兴趣建设一个图书馆的高速线路和效果，为香椿景气和Flash动画师使用。 While I ponder that, here’s the final version (23 frames, 44k):虽然我想想，在这里的最后版本（ 23帧， 44k ） ：
Tags:标签： animatic , ， toon boom tutorials香椿景气教程
March 17th, 2008 at 9:39 pm 2008年3月17日在下午9点39分
Wow I found this tutorial to be very helpful.哇我发现这个教程是非常有帮助的。
However I’m trying to create speed-lines in Painter IX it’s more difficult to achieve speed-lines in a bitmap program than a vector program but I love your speed-lines they look cool too!不过我试图创造提速线路画家第九，它的更难以实现提速线路在一个位图计划比向量程序，但我爱你的提速线路来看，他们太酷了！
March 18th, 2008 at 9:03 am 2008年3月18日在上午09时03分
Thank you, I’m glad it was helpful!谢谢，我很高兴，这是有益的！ For useful speed lines I recommend being very loose with your tools.为有用的高速线路，我建议非常松散，你的工具。 Long brush strokes moving fast will be the most convincing.只要笔触快速前进，将成为最有说服力的。
April 4th, 2008 at 12:03 pm 2008年4月4日，在下午12时03分
the tail is not good :d尾部是不好的： d