From the course: Essential Technical Aspects of Animation
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Cell painting to DIP (digital ink and paint)
From the course: Essential Technical Aspects of Animation
Cell painting to DIP (digital ink and paint)
- [Instructor] In a previous movie, I showed you the stages involved in drawing a traditional scene. In this movie, we'll see what happens next when we take those drawings and color them. In the first few decades of the industry, the transfer process from cleanup to cel was done by hand. An inker would take a cel, a transparent sheet, place it over the drawing, and then trace it by hand. So this process was called inking and it was slow, laborious, difficult, and expensive. And it also was slightly wiggly. It wasn't as precise, because you're tracing the original drawing. There's always that slight loss of the original animation's solidity. So it becomes a little bit wobbly. It's not quite the same as the original animation. They've very close, but some small quality is lost and some other quality is added to it. So when the inking was completed, the sheet is turned over and then the figure is painted on the reverse…
Contents
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Frame rates, X-sheets, and paper9m 4s
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Frame rates and logistics6m 22s
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Animating on paper8m 15s
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Drawings, frames, and exposures3m 20s
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Timing charts vs. tweening5m 53s
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Straight ahead animation3m 38s
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Pose-to-pose animation3m 53s
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Model sheets5m 8s
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Color models3m 48s
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From rough drawings to cleanup5m 54s
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Cell painting to DIP (digital ink and paint)6m 41s
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