COVID: Animating Zombies Day 3

Posted on by Thor

When animating Zombies I am trying to break the walks to make then less natural but also not have them upstage the walk of the woman in the bathing suit. I am keeping all the levels intact in p in case I want to go back and make changes and that is happening often.

What remains now is a huge crowd of background zombies. I am hoping to get away with limited animation on them, I have 5 more I want to fully animate and then I will consider just scaling up the others as a crowd. I am not sure if it will work yet. The other option is to leave then as a held cell.

One zombie in the scene is more out of focus than anyone else. I suspect that is because I scaled him up too much and anti aliasing caused it to blur. Since Callipeg is pixel based it adds grey pixels to lines to smooth them out when they are scaled up. The result is a blur to my thin line work. I will try importing a much higher resolution version of the zombie and scale it down to the size needed and as he moves back in space scale him down. I need to train myself to never scale a drawing up.

The best way to execute walks going forward is to animate backwards from the position I had in the illustration so that the characters get smaller. Scaling down works fine but scaling up sucks.

COVID: Animating Zombies Day 2

Posted on by Thor

In animation a crowd has to be build up slowly over time.Each zombie must move differently because of how rigor mortise sets in. The earlier arm swings are very stiff. I might actually loosen up the swing furthest to the right. Many zombies seem to walk pigeon toed, perhaps because of broken bones. Regardless it is a fun experiment on how to change up the standard walk.

 

COVID: Animating Zombies Day 1

Posted on by Thor

I have al lot of zombies to animate. I want the focus to be on the woman in the swimsuit. She is animated in slow motion. I did that since at the time I thought the zombies would all remain still.The first two zombies I animated take 2 full strides to her one stride. I am debating weather I should add to her animation or leave her walking in slow motion.

One zombie walks rather normally and the other walks with a limp, dragging his foot. Today’s animation will likely involve more limps and shuffles. I don’t want to over animate the zombies because then they would upstage the woman. The limp was surprisingly easy to animate so more zombies will drag their feet in the sand.

Stiff an lifeless is my goal for the day. The bouncy lively walks I try and teach kids will have to be abandoned. If there is time I may even go back an dial back the walk on the zombie from yesterday who is walking rather normally. He does have to keep up with the woman who takes a very long and leisurely stride.

COVID: Slaughterhouse Breakdown

Posted on by Thor

I reworked the slaughterhouse scene. With the rise in cases of COVID kids are being forced back into crowded unventilated rooms to repeatedly catch and spread COVID to friends and family. The simple step of putting a quality HEPA filter in each room could drastically cut the viral transmission but that seems to be a bridge too far of most Americans. People prefer to pretend that children are not affected by the virus. People who have blocked the first three years of the pandemic are shocked when their children are too sick to go to school. The virus is wreaking havoc on a whole generation of young brains.

The above image shows how paintings are broken apart and then reassembled in After Effects. I isolated DeathSantis and a single child for animation. The child swings subtly from the meat hook while DeathSantis tilts his head and looks up. DeaSantis spews breath and viral spatter. I had to separate out the upper support structure so it could overlap the swinging child’s legs.

I had to create another depth map without DeathSantis and the child. Animation trumps depth maps. The fact that someone moves implied depth. The wash element above goes over the final composite. It is super transparent since I set the mode to subtract. Subtract means the color painted will be super transparent and the opposite color of what I painted. The blue tones I painted show up as a subtle warm renaissance wash.

I finished 6 shots yesterday but each had very subtle animation elements. Today I am starting to animate beach zombies and that will take multiple days to complete. I found some amazing reference on you tube of people auditioning for zombie rolls. All the various limping walks should act as great inspiration. There are a few more zombie walking scenes so I should be an expert on various walks zombie before long.

COVID: Cthulhu Animation

Posted on by Thor

Yesterday I animated Cthulhu’s tentacle. My goal in this shot is to direct the audience’s attention to the upper right hand corner because the next shot had a person drowning in that corner of the frame. My first several passes at the animation were thrown out because I was over animating the tentacle spiraling open. The shot is only a little over a second in length  so all that movement made the tentacle more of a whip than a graceful flowing movement.

I don’t plan to animate any of the other tentacles. The parallax effect worked really good on the first pass so I will duplicate all the settings I used. The shot feels so three dimensional that it feels like the earth is spinning. I want ti keep that sensation.

The only other animation added was a blink. In the original illustration I had Cthulhu looking at the people screaming in the foreground. Because of the 1920 by 1080 aspect ration those figures are out of frame. I decided instead to have Cthulhu looking at the moving oxygen canister. A quick blink will add life.

Today I need to paint the blink and composite the elements together. I plan to make Cthulhu 3D on a separate pass with a green screen and then composite over a 3D earth. That is so I can sandwich the animation between those layers so that the painted edge of the tentacle doesn’t bubble unnaturally. I will have a similar issue with the eye blink. I will need to smooth the animation paint into the existing character paint as best I can. There are some smearing effects in Callipeg which should be able to do the job. If not I may have to import those paintings into Procreate to use the brushed I actually used to create the illustration.

COVID: Tipping Point

Posted on by Thor

Yesterday I animated Hazmat Hamlet, The Maskless Doc and this scene, The Tipping Point. This scene involved the most work. For this scene which is less than a second long, 130 individual drawings were needed. I used a new feature in Callipeg which allows to group multiple layers together. Prior to this I tended to merge layers together. This however meant that changes were harder to do.

For every character there is a drawing layer and a paint layer. After seeing this scene in the film next to together scenes, I found that the hazmat suits are not as bright a yellow in this painting. Today, I will go back into the scene and open the groups and add a bright yellow wash over each of the hazmat suits. Before that would have involved destroying the line work.

Today I might start animating walking zombies. That is a challenge since they would not walk normally. Each zombie would walk with a unique limp or shuffle. The beach scene is the one that I would start with since the beautify woman walks so quickly away from the crowd of zombies. Once I start animating zombies, I have opened Pandora’s box.

COVID: Pan 3 Re-Imagined

Posted on by Thor

The first pan of a series of three shot shows two skeletons spewing toxic breath at one another in a hellscape. The second pan shows one skeleton on the right spewing toxic COVID breath at a masked woman on the left. The pans in those shot show how far apart the people are from one another. Social distancing is implied. This third shot was also a pan but I reworked it to simply move the couple closer together. Instead of the camera move I focused my energy on getting them to have as much depth as possible. I also decided not to animate them letting them simply stare into each others eyes. I had considered animating them hugging but in a hug one face or another is often lost. The staging was too difficult.

I also added the golden confetti swirling around them. This might seem a bit cheesy but it sells the simple point being made. The painting I had in the original illustration of the man was of a zombie. He was bruised and a bit bloodied. I decided that was the wrong messaging so I repainted him to be a younger handsome man. The goal was to push this towards a romance novel cover image rather than my usual hellish imagery. For a brief 2 second moment the raging COVID fires were extinguished.

COVID: Supermarket Monkeys

Posted on by Thor

Yesterday, after compositing the Minotaur scene in After Effects and Premiere Pro, I completed five more shots. I decided this shot needed a more fluid wagging tail of the small monkey. I animated that one element in Callipeg and composited it into the shot. In After Effects I added some motion to all the other monkey tails using pins and animating them. That animation isn’t as fluid but I want people looking up at the small monkey so I made the other animation very subtle.

I completed two of the face mask panning scenes at the end of the film by tilting head back and opening jaws. The third pan is a challenge. My thought is to move the masked couple closer together and not pan but then there is not motion to the scene at all. I might change what I have and have a masked couple hugging. That could add some action and interaction. I will try both scenarios and see what works. Adding a hug will certainly make the shot a whole lot more challenging.

 

COVID: Animating Minotaurs Day 9

Posted on by Thor

I animated 2 Minotaurs yesterday and duplicated several animations to fill out the crowd.I just have to paint one Minotaur’s legs and I will probably duplicate that animation as well. I should definitely be able to finish this scene today. What remains is adding breath, COVID Spatter and perhaps dust rising off of the dirt road. I think I should also expand the background on the right so that I do not need to crop the scene tight top and bottom at the end.

The plan right now is to zoom out as the Minotaurs run towards the camera and possible pan right as they turn the corner. This should add more motion to an already frenetic scene. I had tried moving a still painting of a crowd of Minotaurs behind all the animated Minotaurs but that stood out like a sore thumb. I am hoping that the dust will fill in the negative shapes in the same way and look more natural. There are some painted levels that I will also add in After Effects. A yellow wash with overlay transparency will give a nice sun light glow and darker washes around the edges will add menace.

The background will be given a depth map and that may effect my choice of camera move in the final composite.

COVID: Animating Minotaurs Day 8

Posted on by Thor

Yesterday I animated the largest Minotaur. Callipeg updated the program in the morning and the changes to the program made animating so much easier. The turn o the Minotaur is the best that I have done and that is in part due to a new feature of Callipeg called off the pegs. This feature males it possible to place the drawings on each side of an inbetween on top of one another. Before I was accomplishing this by creating two layers and copying those two drawings into the layers and turning down the opacity. This new feature makes that process so much easier.

In the prior version of the program I had difficulty using the 3 finger flipping technique. That is now fixed. Another new feature is that entire levels of animation can be duplicated and transformed. I plan to duplicate some of the smaller Minotaurs and moving them into the negative spaces to fill out the crowd. In the illustration those negative spaces were simply filled with darkness and brush strokes to imply the crowd. Now I have the option to add motion to those areas.

I also have one more Minotaur to animate today and he stops to the left of the left most character. He will be charging straight ahead as if he has no intention of turning the corner.