Animatic Tutorial animatic補習
This development entry will show the process of creating a scene, and its evolution from sketch into full blown animation.這一事態發展將進入查看的過程中創造了現場，而其演變，從素描到全面吹動畫。 The scene I’m detailing is when Sparky turns quickly to face Meat, and then rushes towards him.現場，我很詳細，是當sparky輪流很快要面對的肉，然後趕朝著他。
The first step has been shown before, creating the storyboard:第一步已被證明之前，創造故事：
Next, using接下來，用 Toon Boom香椿景氣 , I loosely sketch out the keyframes that I want to be sure to hit. ，我鬆散的素描出keyframes說，我想一定要擊中。 Doing this within the timeline creates a useful rough animatic.做好這一工作時間創造了一個有用的粗糙animatic 。 Here’s what that animatic looks like:這裡的是什麼animatic看起來是這樣的：
I then create circles to represent the head and body of Sparky.當時我創造，各界代表頭部和身體的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這些動畫界直接在關鍵幀animatic是由前一步，我結束了同是一個很及時animatic藍圖與基本的動議，顯示出來。 This is the main animatic that I will reference throughout the project.這是主流， animatic ，我會參考整個項目。 Here’s that animatic overlayed with the keyframe animatic:這裡的表示， animatic覆蓋與關鍵幀animatic ：
And here it is by itself:在這裡，它是由本身：
Now we’re getting to the meat of the project.現在，我們相處的肉工程。 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通常攻擊的核心部分，動畫，在這一點上，將大部分的心血，在軀幹，因為這將產生最有說服力榜為全推卸責任。 Getting the squash and stretch right here is one of my primary goals.獲得壁球和舒展這裡是我的一個主要目標。 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.二手運動的耳朵，尾巴和腿部脂肪也有不少重要的出售行動。 提示：自創建這一情況時，我已經開始把耳朵和尾巴上不同層次，為更大的控制權。 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，大膽地花費額外的兩分鐘，以適當地把繪畫元素對自己的一層，如果是他們應得的。 You’ll save more time than you realize.您可以節省更多的時間比你所實現的。
Here’s the torso overlayed with the movement animatic:這裡的軀幹覆蓋與運動animatic ：
And here it is by itself:在這裡，它是由本身：
Next I add the arms and legs.接下來，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，我不創造全腿，公正，足以涵蓋屏幕。 These projects are long enough, don’t waste time on elements that will never be seen.這些項目都是足夠長的時間，不要浪費時間，內容將永遠不會被看到。 With the arms and legs:與胳膊和腿：
Now I add the face.現在，我想補充一點，面對。 Grr! grr ！
Color is always important.色彩永遠是重要的。 I’ve started using shadows to give the characters greater depth.我已經開始使用陰影，使人物更深入。 In Toon Boom use the “Stroke” tool along with the “View/Show Strokes” selection to create the shadows.在香椿景氣使用"中風"的工具，伴隨著"查看/顯示招"的選擇，以創造陰影。 The stroke tool basically allows you to draw invisible lines.中風的工具，基本上可以讓你借鑒無形的線。
The last step is to add background color and speed lines.最後一步就是添加背景色和高速線路。 Speed lines are a useful tool to impart a sense of action and extreme movement.高速線路是一個有用的工具，傳授責任感行動和極端運動。 They’re relatively easy to do since abstraction is the goal.他們比較容易做，因為抽象的，是目標。 I’m interested in building a library of speed lines and effects for Toon Boom and Flash animators to use.我有興趣建設一個圖書館的高速線路和效果，為香椿景氣和Flash動畫師使用。 While I ponder that, here’s the final version (23 frames, 44k):雖然我想想，在這裡的最後版本（ 23幀， 44k ） ：
Tags:標籤： animatic , ， toon boom tutorials香椿景氣教程
March 17th, 2008 at 9:39 pm 2008年3月17日在下午9點39分
Wow I found this tutorial to be very helpful.哇我發現這個教程是非常有幫助的。
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!不過我試圖創造提速線路畫家第九，它的更難以實現提速線路在一個位圖計劃比向量程序，但我愛你的提速線路來看，他們太酷了！
March 18th, 2008 at 9:03 am 2008年3月18日在上午09時03分
Thank you, I’m glad it was helpful!謝謝，我很高興，這是有益的！ For useful speed lines I recommend being very loose with your tools.為有用的高速線路，我建議非常鬆散，你的工具。 Long brush strokes moving fast will be the most convincing.只要筆觸快速前進，將成為最有說服力的。
April 4th, 2008 at 12:03 pm 2008年4月4日，在下午12時03分
the tail is not good :d尾部是不好的： d