Tips | Tutorial articles from the "Flash animation and cartoon production of Creative Navigation" ([Mei]ibis fernanadez Lo Xiao translation of Tsinghua University Press), there are changes, examples of works for if no explanation for Qhwa original.
For many animators, it's hard to get movie-like effects through flash, so they have to settle for unconventional processing or static images, which in turn affect their production. Talking heads are boring, and sometimes it's not enough to just draw the right gestures and gestures.
Film Art melts photography, dance motion design and film editing technology, in which film editing technology plays a leading role in the successful production of cartoon animation. Usually, these film art techniques can greatly improve the quality of a piece of work and stand out from the same kind of work.
Next, you'll see some important tips that every cartoon producer must understand, as well as some of the most commonly used cinematography techniques (just excerpts of the shots) and how to apply them to flash animation, which you can use to optimize the animation.
1. Rocking Lens
When shaking the lens, it moves from one direction to the other in the scene. It can be shaken from left to right, from right to left, or from top to bottom, or from bottom to top.
You can't create this effect directly in flash through the lens, you need to move the elements of the scene in the stage.
Qhwa: The following content is very simple, skip ... The only thing to note is that in order to make the best film effect, the closer the camera to the object it moves faster.
Setting the background layer to the outer border mode to watch may reduce some of the trouble
Example:
2. Push/Pull Lens
The push/pull lens is concerned with resizing the image. You can push the lens of an object to see a particular part, or you can use a pull lens to show the audience all the sights. To use a push lens on an object, you must enlarge all the elements on the stage at the same speed. With the pull lens, you must reduce the image to show the full image.
If you really need to use a push/pull lens, use it to help viewers look at an object, such as a picture on a wall, where one person is holding a knife, or there is a fruit basket ornament on the wall of a house, and there is an apple in the basket.
Never allow a push/pull lens to become a conventional lens, especially when there are many objects in the lens, and these objects must reflect the sense of depth of the scene. The push/pull lens is stiff and looks more contrived. They'd better use it to show the details of an object or the size of the object in contrast to the objects around it. This lens should not be applied to characters or objects when the depth of the scene plays a key role. Avoid using push/pull lenses on multiple objects. When using this lens, if you use only one symbol and hide other elements, it makes the push/pull lens look more mechanical, just like a real scaling process. In fact, switching lenses or passing lenses is more appropriate than pushing/pulling lenses.
3. Pass Lens
And the camera adjusts the focal length to change the scale of an object differently, and the passage is the process of holding the camera and moving back and forth on a given object. A character, object, or set element in a movie is more suitable for moving back and forth in a shot. If your object is not a stiff plane, try to use the moving lens instead of the push/pull lens. With this lens more three-dimensional feeling, can give you the animated film Art effect.
In Flash, you must animate all the elements in a fragment at different speeds. Objects that are closer to the lens move faster.
4. Lifting Lens
The lift shot was taken on the camera. When the lift is raised or landed, the camera is centered on one object, or when the lift moves to another area of the scene. It's a stunning shot and it's hard to show in Flash because most of the footage depends on the image you're drawing. The scene in Flash, the first need to create a distorted background image to fit the motion of the lens, so through the lens to look at the natural appearance. More advanced lifting lenses are often accompanied by the rotation of the lens.
The scene of the animation is that the lens rises slowly from one building to another, and there are occasional snowflakes falling in the sky. Time relationship, do not very meticulous
Example:
5. Tilt Lens
Tilt lens is the camera is fixed in one place, in order to observe the situation on one side of the camera tilt to an angle, rather than moving the camera shot method. Suppose your character walks from one end of the hall to the other.
In flash the tilt lens and the lifting lens are handled almost, but we need to draw the background image more extreme. For an oblique lens, it is actually necessary to distort a plane object to make the ends parallel.
Instance:
6. Tracking Lens
The tracking lens is the lens that is locked on a relic body, and the lens moves as the object moves. This lens mimics the situation in which the camera is placed on a mobile camera and then moved along with the character's movement. In fact, the method used here is to place the locked object at the center of the stage, except that the background moves from one end to the other. This technique is widely used in game making.
7. Depth
Depth of field (DOF) refers to the scene feeling in three-dimensional space in the film. Since Flash is based on vectors, it is harder to create the effect of depth of the scene than some bitmap based tools. One of the most common methods for animators is to use the Gaussian blur filter to process the background and then import the image as a bitmap into flash, which can be done with fireworks,photoshop or other graphics processing software. A blurry background image gives the impression of a lens losing focus to the vision.
In addition to using Gaussian blur to reach the depth of the effect of the method, there are other ways to make the effect of the focus. In fact, if you use vector graphics, files can be smaller than bitmaps.
(1). To blur a vector graphic, first in Flash to convert the image into a symbol.
(2). Give this symbol a certain degree of transparency, which I set up here in 50%[/color]
(3). Copy at least two times this symbol, the copied symbols overlap, offset 1, 2 pixels around, which reached the blurred effect of the image.
(4). A more realistic blur effect can be created if the instance of each symbol moves no more than 3 pixels through animation. This will make the blurry part look more unstable and mimic the real camera lens very well.
Depth is not necessarily reflected in a vague form. It can also be performed by lighting or color balance. You can insert a translucent rectangle between the foreground layer and the background layer so that the elements in the rear are more difficult to see, so that the depth of the effect is similar to that of the different layers superimposed on the traditional animation.
8. Switch Lenses
In film production, switching is the most common way to switch, it is not only a way of conversion. Switching lenses can make your movie less tedious.
After 3-5 seconds, it is important to give the audience new images and angles. Can you imagine watching your favorite TV show from a fixed lens perspective? What happens then? People need to watch from different distances and angles. If a lens lasts a long time, it becomes tedious. How long is it? Many TV and film directors will tell you that 3-5 seconds is a long time.
Although it's easier to shoot characters and their movements with just one shot, you have to develop a lens angle every 3-5 seconds when making a movie. The audience will thank you.
