SHRINK and STRETCH of a layer
- schwarzgrau
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SHRINK and STRETCH of a layer
If you increase or decrease the length of a layer, you always get one of these windows.
I don't know if someone is using STRETCH or SHRINK (maybe I'm just missing some good workflow?) but I guess you can eliminate at least the interpolation checkbox, cause it always puts out weird results.
I don't know if someone is using STRETCH or SHRINK (maybe I'm just missing some good workflow?) but I guess you can eliminate at least the interpolation checkbox, cause it always puts out weird results.
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- Paul Fierlinger
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Re: SHRINK and STRETCH of a layer
Oh no Those are the only settings we use with this panel, and quite often (as do many others). They are excellent for quickly creating fade ins and outs, faux slomo, an effective way to color instances with soft shades and a few more applications I cannot think of at the moment.
Paul
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Re: SHRINK and STRETCH of a layer
are you serious ???schwarzgrau wrote:...
I don't know if someone is using STRETCH or SHRINK (maybe I'm just missing some good workflow?) but I guess you can eliminate at least the interpolation checkbox, cause it always puts out weird results.
don't touch them if you don't need them, but the Shrink/Stretch with the Interpolation option
is valuable and very useful in many cases,
so, about eliminating them ... no way !
-1 !
- schwarzgrau
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Re: SHRINK and STRETCH of a layer
I just never used them and a lot of the students in a TVPaint workshop I'm giving at my college used it accidently and ruined a lot of work. But what you say makes absolutely sense to me.Paul Fierlinger wrote:Oh no Those are the only settings we use with this panel, and quite often (as do many others). They are excellent for quickly creating fade ins and outs, faux slomo, an effective way to color instances with soft shades and a few more applications I cannot think of at the moment.
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- Paul Fierlinger
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Re: SHRINK and STRETCH of a layer
Eh, students!
The usefulness of coloring with interpolation comes up when I draw slow moving actions such as a person sitting down very slowly because she is not well if she paints each frame of the myriad of inbetweens. Since Sandra likes to paint manually the coloring can disturb the effect of the slow action by jumping all over the place. So Sandra paints just every third frame and when finished she deletes the unpainted ones, thus shrinking her color layer to one thirds of the length of the line layer. At this point she stretches out her color layer with interpolation which nicely blends the frames into each other without destroying the character of her hand painted strokes. Since the lines of the character are stronger to the eye than the paint, no one registers the interpolation as such -- it goes completely unnoticed. If the color might end up at times outside of the line, she'll erase those areas.
Sandra uses interpolation when painting leafy trees in motion, or ocean waves. She applies colors in layers, as you would in the analog world. The top layer will have the boldest strokes defining the shapes of waves or the leaves of a treetop in the wind, the layer below, or even two or three of the layers below she will paint with transparent colors using the layer's transparency slider and those layers will consist of perhaps just every 6th frame colored. After interpolating these she creates the illusion of watercolor paintings in motion, and again, the viewer will not notice the series of cross dissolves because the top layer and the line drawings get the eye's attention first.
To make a fade out use just two frames, the first one being the actual image and the second a white frame. Now stretch with interpolation and you have a beautiful FO (or in if you reverse the process). This of course must be done by first isolating the last frame of a layer to create the FO and then reattaching the interpolated frames back into the original layer.
That kind of stuff.
The usefulness of coloring with interpolation comes up when I draw slow moving actions such as a person sitting down very slowly because she is not well if she paints each frame of the myriad of inbetweens. Since Sandra likes to paint manually the coloring can disturb the effect of the slow action by jumping all over the place. So Sandra paints just every third frame and when finished she deletes the unpainted ones, thus shrinking her color layer to one thirds of the length of the line layer. At this point she stretches out her color layer with interpolation which nicely blends the frames into each other without destroying the character of her hand painted strokes. Since the lines of the character are stronger to the eye than the paint, no one registers the interpolation as such -- it goes completely unnoticed. If the color might end up at times outside of the line, she'll erase those areas.
Sandra uses interpolation when painting leafy trees in motion, or ocean waves. She applies colors in layers, as you would in the analog world. The top layer will have the boldest strokes defining the shapes of waves or the leaves of a treetop in the wind, the layer below, or even two or three of the layers below she will paint with transparent colors using the layer's transparency slider and those layers will consist of perhaps just every 6th frame colored. After interpolating these she creates the illusion of watercolor paintings in motion, and again, the viewer will not notice the series of cross dissolves because the top layer and the line drawings get the eye's attention first.
To make a fade out use just two frames, the first one being the actual image and the second a white frame. Now stretch with interpolation and you have a beautiful FO (or in if you reverse the process). This of course must be done by first isolating the last frame of a layer to create the FO and then reattaching the interpolated frames back into the original layer.
That kind of stuff.
Paul
http://www.slocumfilm.com
Desktop PC Win10-Pro -64 bit OS; 32.0 GB RAM
Processor: i7-2600 CPU@3.40GHz
AMD FirePro V7900; Intuos4 Wacom tablet
http://www.slocumfilm.com
Desktop PC Win10-Pro -64 bit OS; 32.0 GB RAM
Processor: i7-2600 CPU@3.40GHz
AMD FirePro V7900; Intuos4 Wacom tablet
- D.T. Nethery
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- Joined: 27 Sep 2006, 19:19
Re: SHRINK and STRETCH of a layer
I would ask to keep the Stretch/Interpolate and Shrink/Interpolate function . I use it constantly (for all the things that Paul mentions).
- NathanOtano
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Re: SHRINK and STRETCH of a layer
Same, i never use it also but i understand that it's usefull. Personally when my layer is not long enough i just make the last frame longer with the top right square, without using this menu.
But i've experienced the confusion (other classmates too). Maybe the default option may be to stretch the last frame to avoid unwanted interpolation result, and activate it when needed (but we have to discover it).
But i've experienced the confusion (other classmates too). Maybe the default option may be to stretch the last frame to avoid unwanted interpolation result, and activate it when needed (but we have to discover it).
Working on Windows 10
Creator of Disnosc, providing storyboard, animation and design for 2D realistic pictural animation: https://www.disnosc.fr/ - nathanotano@disnosc.fr
Highly interested in animation workflows, I'm open to scripting new TVP functions for individuals and studios.
Creator of Disnosc, providing storyboard, animation and design for 2D realistic pictural animation: https://www.disnosc.fr/ - nathanotano@disnosc.fr
Highly interested in animation workflows, I'm open to scripting new TVP functions for individuals and studios.
- CartoonMonkey
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Re: SHRINK and STRETCH of a layer
I've also used this for quick effects and fades etc. Please keep it!
Re: SHRINK and STRETCH of a layer
it's still here ...CartoonMonkey wrote:I've also used this for quick effects and fades etc. Please keep it!
Fabrice Debarge
Re: SHRINK and STRETCH of a layer
I used it for changing fps rates to match some footage with different fps
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