Welcome to TVPaint Community forums !

That's your point of view and I respect it.

Personally, I like when animation is a little bit "elastic" (not too much, because then, it's boring). This is for me the magic of animation : being able to reproduce a "normal" gesture, but breathe more life into this gesture with a little stretch n' squash, or improbable delays with hair, clothes, tail... (and other animation techniques).

IMHO, if you just copy the reality without bringing "more", what is the interest of animation ?

It's like when you do drama : you always exaggerate a little the gestures, the pronunciation, etc... That's why drama are always more "living" than a TV show, which needs other tips to give emotion (music, framing, etc...)

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Here is a video made by Tony Dusko

Out of curiosity, what do you mean with this, Elodie?:

(...) improbable delays with hair, clothes, tail...

Here is a video made by Tony Dusko

I like it, nice style.
Thanks for posting.

Sewie wrote:Out of curiosity, what do you mean with this, Elodie?:

(...) improbable delays with hair, clothes, tail...

Oh, I just mean that in animation (and in physics in general), you always have delays (maybe I'm not using the good word...) on secondary elements, like hair, clothes, fur, etc...
And sometimes, these delays are just impossible (physically, I mean) : too long, too elastic, too floating, etc... But actually, I really love them because they bring a kind of magic in animation. They contribute to increase the scene's atmosphere : dark, creepy, lovely, sad, fun, magic...

Some examples :
http://youtu.be/SVYTW41TFT8?t=6s" onclick="window.open(this.href);return false;
With the floating hair and coat

http://youtu.be/3eG_O1wEJ40?t=1m1s" onclick="window.open(this.href);return false;

http://youtu.be/ZwhoB_yLCAA?t=1m33s" onclick="window.open(this.href);return false;
1st with the vibrating clothes (= anger)
2nd with the face disappointed (the body falls first, then the head, to reinforce keeper's feeling of stress)

Ah, I see! Thanks for explaining.
Thats a very nice aesthetic indeed, especially in the last one (The Lighthouse Keeper).

I've seen this often in japanese/manga oriented animation, (the moving hair over a held drawing) but I've always found it felt a bit like too-limited-animation. But the example you posted from Howl's Moving Castle is very beautiful.

Sewie wrote:(the moving hair over a held drawing)

Yes, it's very cliché in anime / manga.
But I like how Ghibli takes the "good part" of that cliché, with fluid and dynamic animations. Especially Howl's Moving Castle, which has many great moments like in this excerpt

I didn't give examples with animations from cartoons, because it's too obvious (cartoon animation defines most of these animation codes). But most of the time, they just help to turn a character into an elastic clown

Elodie wrote:

Sewie wrote:Out of curiosity, what do you mean with this, Elodie?:

(...) improbable delays with hair, clothes, tail...

Oh, I just mean that in animation (and in physics in general), you always have delays (maybe I'm not using the good word...) on secondary elements, like hair, clothes, fur, etc...
And sometimes, these delays are just impossible (physically, I mean) : too long, too elastic, too floating, etc... But actually, I really love them because they bring a kind of magic in animation. They contribute to increase the scene's atmosphere : dark, creepy, lovely, sad, fun, magic...

Sometimes this is also called "Follow though"

Yes, but in the example of The Lighthouse Keeper it goes a bit further than that, doesn't it? There it is more an expression of an emotional state.
And in some cases it's more 'overlap' than 'follow through', but a lot more stylized than we are used to from western oriented animation.

It's a very interesting thing Elodie pointed out, I find.

You're welcome ^^

Sewie wrote:Yes, but in the example of The Lighthouse Keeper it goes a bit further than that, doesn't it? There it is more an expression of an emotional state.
And in some cases it's more 'overlap' than 'follow through', but a lot more stylized than we are used to from western oriented animation.

It's a very interesting thing Elodie pointed out, I find.

That's right! that too - but these are really just small semantic nuances - in end you use what you feel will suite the purposes of your animation

From Margherita Premuroso :



I like the details in the fold and the wrinkles, that's not common in animation (because this is usually annoying to animate )

Walter Mazoyer demo reel :

VFX/Animation Passion Pictures, London Jerry Forder, animation supervisor; Daryl Graham, Uli Meyer, Peter Dodd, Jerry Forder, anhimators; Alan Henry, Marie-Margaux Tsakiri-Scanatovits, Slaven Reese, Rachel Glodowski, animation assistants; Derek Walsh, animation coordinator; Tony Clarke, animation checker; Brendan Houghton, storyboard artist. Absolute Post, London Simon Holden, Owen Saward, Flame; Sean Broughton, VFX supervisor/additional stills pohtographer (Toolbox: TVPaint, After Effects, Nuke, Flame) Agency Ari Merkin LLC, NY Production Passion Pictures, London Dan Sumich, director. Rabbit Content, New York

This web series , "A History Of ... " by Pocket Animation is made using TVPaint:



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Time lapse video of colouring a scene -







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I found these videos not so long ago, but couldn't find the proof it was made on TVPaint. Thank you for sharing David

Very nice and fresh!
Elodie, would you think it's a good idea to create a separate post for each time we post a movie made in TVPaint? it probably would be easier then to search, view and comment, than have all those pages in one thread...