Those lines also have an animated texture line, using a new module in Harmony 22 that actually allows us to animate the line texture. We do have textured lines on the character but it’s only to show some details - the texture of the shirt and some of the interior lines that we needed for definition, like the chin line and the interior of the ear. It’s much more forgiving and it’s a lot faster as well. Without those lines, we can place parts on top of each other. Tsandilis: In the past, we’ve always found that using lineless characters actually gives you a lot more freedom compared to having lined characters. What was the approach to rigging these characters? He gives us a little bit of a sense of the world as well - what’s happening, what the game is, and what’s at stake for the players. For us, he was always just some sort of hologram AI character. Tsandilis: It’s never clear if The Duke is actually a real person. And he’s just a real jerk out to show Mouse that the tunnels are his stomping ground, why he’s the champion, and why he never loses. I always knew what he was going to look like. I only draw villains, ugly things, or stuff that’s hiding in the shadows. ![]() Plante: Going to Nitro, I love drawing villains. But we found it just flowed better this way without those extra beats. ![]() That’s something we talked about: “Is she someone that is partaking in this game willingly? Or is this something that she’s forced to do?” Originally, in early concepts of the story, we had her tied down to the platform and then eventually let go. Tsandilis: Mouse is kind of an unwilling participant in this game. The results probably wouldn’t satisfy Uncle Walt, but this feature is great for limited TV-style animation.Īs you refine your synchronization, the Sound Element Editor’s new audio scrubbing is absolutely vital it lets you closely analyze the audio so you can make your own adjustments.How would you describe the three main characters in Duke’s Game, both in terms of their physicality and personalities? Version 2.5 goes a step further: If you draw a stationary character’s mouth shapes in advance, the program can place those shapes according to a soundtrack analysis and create an instant lip sync. The previous version of Toon Boom could analyze a dialog track and generate a lip-sync chart for you to refer to as you animated your character’s mouth. Among the program’s most welcome new features are the Create Cycle commands, which eliminate the old version’s reliance on tedious cutting and pasting to create sequences of repeating drawings, such as walk cycles. Toon Boom’s Exposure Sheet lets you plan the timing of your individual art elements. And if you’re careful to name your swatches correctly-name the swatch for the object you’re coloring (“tutu” instead of “yellow”)-it’s a snap to go back and make changes globally if you decide your hippo ballerina would be prettier in pink. If your drawing style is sketchy and your shapes aren’t always perfectly closed, the new, adjustable Auto Gap setting ignores small gaps so the shape fills properly. ![]() Just click inside a drawn shape to fill it with the selected color. You can also scan drawings without converting them to vector images, but then you miss out on Toon Boom’s dynamic coloring tools. While this saves time and disk space, guessing the correct vectorization filter settings before you scan can be tricky a preview would be helpful. If you’d rather draw on paper, the Import And Vectorize command now lets you scan your drawings directly into the program and convert them to vector images on-the-fly. ![]() The new Smooth command reduces the number of points in vector lines, lowering the SWF file size. (You can also import art directly from Illustrator CS.) This version’s toolbox has only one significant omission: a type tool for generating titles.Īll of Toon Boom’s tools draw in vectors, rather than pixels, and you can export images to the Macromedia Flash SWF format. The Polyline tool, a new element in the toolbox, is great for users who are comfortable with an Adobe Illustrator-style Bézier pen. The pressure-sensitive Brush tool gives you variable line widths, and there are simple shape-drawing tools. If you’re handy with a Wacom pen and tablet, the easiest way to get started with Toon Boom Studio is to use the program’s Drawing mode to sketch.
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