Former APT student Sunny Kharbanda (featured here and here on this blog) has a new post up on his blog. This time he goes pretty in-depth into how he developed a different kind of toony shading (but not a specific toon shader, per se) for this recent cartoon inspired animation work in Maya. I love his thought process. Definitely take some time to check it out, and then (if you're interested) see how you can expand upon the idea with your won twist.
An old trick in the world of limited budget 2d animation is to cycle through two to four drawings for a hold. This way you can chew up the scene footage with as few drawings as possible. The result is animation that kinda squiggles as it holds, maintaining the illusion of life more by an expression of energy than literal movement. This is very cost effective and the image stays alive due to the cycling. Since the animation stays so rough the audience accepts it for what it is- as well as whatever other limitations of the animation that come along for the ride. It's surprising what an audience will take in and filter through once they perceive the internal rules of an animated universe- a task that takes perhaps all of two seconds of viewing. Certainly I think this attitude of getting by with the least possible effort can be way overdone, but in the right balance I think there's real potential for cost savings without surrendering richness. The richness just comes in a different form, that's all. Nina Paley used this technique in Flash while making her solo feature film Sita Sings the Blues. You can see what I mean in the very first scenes in the following segment of the film....
It's rough as heck, but it totally works. In fact, it more than works. It thrives on a level that is completely different than if it were tied down tight, tightly polished and had the holds all animated in like a typical big budget Disney 2d film. The rough look has a kind of vibrancy to it that actually adds to the film. I don't have a fancy explanation for how it works- I just know it does.
Since I have these little stories I want to make, but I don't have a huge budget (natch: I don't have any budget) to hire an expensive team of animators and CG technicians, I keep looking for creative ways to leverage lessons and tricks from other mediums of animation into my little CG toolbox. I've lost years of effort trying to be a one man band making short films employing the big-studio CG film style. Those were lessons learned the hard way. So I've been messing with this squiggly thing for a few years now (off and on). It's taken that long to find something that works. Due to the rigidity of the meshes and well established visual norms CG just doesn't like to do this sort of thing. And nothing looks worse in CG than a cycle- of any kind. So I'd try something, but it'd look like crud- like some kind of mechanical or technical error rather than a purposeful artistic style. So I'd leave it for a while and then come back and try something different after thinking of something in the shower. More failures each time, each coming closer to what I wanted but couldn't see in my head because it just wasn't being done anywhere else. CG is so picky when it comes to the imagery it makes. There's so little margin for error it seems. It's too demanding, too rigid an artform at times. But like Edison and his silly light bulb, I kept at it. I finally feel like I got it. Here's my version (watch it in HD for a better look. Or best yet- here's a link to a full res QT)....
This is really fast to animate because I'm using flat out 'dead holds' on the controls and letting the squiggly part keep the scene alive. I hit a pose and that's it. I hold it. No 'moving holds' or overdone overlapping business. This 4 second scene took maybe 15 or 20 minutes to animate (compare that to 4 sec. per week doing it the "right" way in feature films). In fact I over-animated it at first out of habit, so I had to go back and rip out the moving holds I had started to build in. I tell you, the hardest part is de-programming myself from doing CG the "right" way. It's not as easy as it sounds to embrace simplicity and then trust it. Anyhow, here's a screen grab of my f-curves to show the dead holds on the major controllers... (click to see it larger).
This is what it looks like without the squigglies....
You can see that it's super dry and just goes dead without the squiggles. The squiggling really keeps it feeling vibrant. So yeah. I'm really, really happy with where I've ended up with this.
A former APT student of mine, Sunny Kharbanda, has really been diving into the whole 'cartoons in CG' experimenting. It's a lot of fun seeing him find new things. Since we're both tinkering in this area we communicate a lot, sharing what we find works, what doesn't, etc. Sunny just posted on his blog about his process for developing the backgrounds to work with his animation tests (you can see those here and here). Cool stuff. Check it out.
There's some neat use of projections that I think is very clever. The end result is the geometry is free to move, but the painter's control over what part of the whole image has which color, tone, value, etc remains. For an example of what I'm talking about, watch the top of the merry go round as it spins in that first shot. The geometry is passing through the painting as the top spins, but the painting is not stuck to the geometry. If you watch carefully you'll see this technique is the very foundation for this style of look through out the short- even on the characters. This is a great way of getting a consistent sense of the painting being alive without it feeling like it's just a painting plastered onto a puppet. The normal 'rule' in CG is to avoid having geometry swim through a texture, but for this kind of stuff it's a great trick.
Another Gobelins effort. I like the shading, especially the active line within the objects defining light and shadow on the form. The clouds & FX are cool. The backgrounds are handled very well, but in the darker moments the characters get lost against them- something typically avoided when one employs an emotional palette as opposed to a literal one. The stark shadows work well. I think the animation, while good at points, could have benefitted from being dialed back into limited frame rates and not full on 1's the whole way through. It's that same bugaboo that has plagued NPR CG for the last decade. Looks like a nice painting until it moves. It's that visual harmony/cohesion thing again.
