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hi,I'm currently working on the layout design for my first short film.I saw some layout design of 《THE TREE》one the website and then I noticed this red line，is this a layout template?How do i import my composition templates into tvp,is this feasible?
In terms of camera motion would you do it in TVP or is better do it in After Effects or Premiere?

I've never felt comfortable with TVP's camera tool, so I do all my camera work in Moho. Many use other programs, but a lot of artists here use TVP's camera. It just depends on your personal preferences.

k940321 wrote: ↑05 Mar 2023, 05:31 hi,I'm currently working on the layout design for my first short film. I saw some layout design of 《THE TREE》one the website and then I noticed this red line，is this a layout template?
How do i import my composition templates into tvp,is this feasible?

That's a field guide , showing the camera view for the scene. You can have field guides drawn on paper and scan them , then import to TVPaint , run the Scan Cleaner FX on the field guide to give it transparency.

But it would be easier to use the internal Guidelines in TVPaint to make a field guide for your scenes. Draw the field guide on it's own layer that can be toggled on and off. You can make a whole set of them going from largest (12 Field) to smallest (2 field) and keep that as a saved .tvpp project, then copy and paste the field guide templates into new project files as needed.

Field Guide -
https://www.tvpaint.com/doc/tvp11/index ... ator-field

Import an Image into TVPaint -
https://www.tvpaint.com/doc/tvp11/index ... image-anim

k940321 wrote: ↑05 Mar 2023, 05:31 In terms of camera motion would you do it in TVP or is better do it in After Effects or Premiere?

That's up to you. For most simple camera moves I find the camera tool in TVPaint works fine. It requires a bit more fine tuning when you are going beyond a simple move from Point A to Point B.

There's been some discussion about this in the past you might find helpful:

viewtopic.php?p=84009#p84009

https://forum.tvpaint.com/viewtopic.php?t=10502

viewtopic.php?p=97916#p97916

Once you understand how this works it's not too difficult to get more subtle camera moves.

If you have a move from Point A to Point B to Point C , then a hold , then the camera move resumes to move to Point D to Point E , then back to Point A , I find it is helpful to Split the Scene (Clip) into sections so each camera move (From Point A to Point B , Point B to Point C - - [the hold] - - Point C to Point D , Point D to Point E , Point E back to Point A) is done in a separate clip with each clip having a portion of the overall camera move. Then when you play back the clips in order you'll have a seamless camera move going from Point A to Point B , Point B to Point C , Point C to Point D , Point D to Point E , Point E back to Point A . (see: viewtopic.php?p=97916#p97916 )


This is a good tutorial on the Camera Tool - https://www.youtube.com/watch?v=GrYIBwNsi10






And this one: https://www.youtube.com/watch?v=4BjWPCz9O1A

k940321 wrote: ↑05 Mar 2023, 05:31 or is better do it in After Effects or Premiere?

Some people prefer using After Effects. You can use the JSON Export/Import script to move your scene from TVPaint to AfterEffects to apply camera moves.

See: https://www.tvpaint.com/doc/tvp11/index ... cture-json

k940321 wrote: ↑05 Mar 2023, 05:31 How do i import my composition templates into tvp ?

Just to clarify: are you planning to paint the backgrounds with traditional media on bristol board or watercolor paper, and then scan the artwork to import it into TVPaint for compositing with animation?

If you're scanning paintings or drawings for import to TVPaint , scan them at high resolution (at least 2x 1920 x 1080 = 3840 x 2160 , if not higher) and import into TVPaint by selecting the scanned image then drag & drop it to TVPaint and choose to import it as a Project (not a Layer) or File Menu > Open/Import > select the image and in the Import window choose to import it as a Project.

Bringing it in as a Project preserves the original high resolution of 3840 x 2160 (or whatever it is) instead of downscaling it to fit in a layer within the current project (which is probably sized at 1920 x 1080). By having the scanned artwork imported into a separate TVPaint project scaled at the original resolution it allows for you to use these higher-res. images as source layers for compositing with the KeyFramer tool or Multiplane Camera in the FX Stack to rescale the images into a standard 1920 x 1080 composition while keeping the sharpest image quality (because the originals are 2x , 3x , or 4x higher resolution than 1920 x 1080). This is useful for compositing camera moves if you will be zooming-in tight on the artwork, to avoid any blurriness when you're zoomed-in to a tight field. Really the same goes for digitally painted BGs; make them overscale , 2x or 3x the output resolution of 1920 x 1080, so you have the flexibility to zoom-in closer on the artwork if necessary. (the more you will be zoomed-in the higher the resolution of the original artwork should be.) The exception to this rule would be if you have scenes where you know there will be no camera movement and no need to rescale the composition, then those could be created at 1920 x 1080. (or whatever your intended output resolution will be). Or if your project is already overscale you can import the scanned artwork in as a layer if it is the same resolution as your project.


Scan of the original artwork -

Import the image to TVPaint -
Then when you have the image in TVPaint , set the Camera size to your intended output resolution (say 1920 x 1080) and use the handles on the camera view to set what the camera will see. (if you already have created a field guide layer then adjust the camera view to fit the field guide).


Set camera view -

OR if you are re-scaling the image into another project, use the KeyFramer tool in the FX stack to composite it into the project by setting your BG layer as the Source in the KeyFramer.


You may also store your BGs in the Image Library and use those as source images for the KeyFramer or Multiplane Camera.

https://www.tvpaint.com/doc/tvp11/index ... ps-library



.

Wow!Thank you for your reply.
There is a lot of knowledge that i have not been exposed to,and my film production pipeline is all paperless,so i want to ask in this case the use of field guide is still necessary?Or is the field guide already a tool for guilding compositions in paperless production?

k940321 wrote: ↑05 Mar 2023, 16:02 Wow!Thank you for your reply.
There is a lot of knowledge that i have not been exposed to,and my film production pipeline is all paperless,so i want to ask in this case the use of field guide is still necessary?Or is the field guide already a tool for guilding compositions in paperless production?

I don't know if I would say the field guide is absolutely "necessary" in paperless production. In ye olden days of paper and cels photographed on film it was a necessary step in the production planning to pre-compose the camera moves, so there would be no mistakes in how far the camera should move and what the camera framing should be in the shot. (retakes on film were very time-consuming and expensive).

Old school layout drawing with camera move - Layout with camera move and 12 Field graticule overlay - (from Eric Goldberg's book "Character Animation Crash Course")


With digital/paperless production you can easily experiment with the composition of your camera moves and it is relatively fast & easy to make changes. Don't like it ? Re-set the camera field and the speed of the move , try again until it looks good. But in planning the scene at the layout stage it's still not a bad idea to indicate the intended camera fielding. (you can always change it later if you want). Also, if you're working on a production team where you are doing the layouts , but someone else will be doing the compositing/camera work , then that person needs some sort of visual guide indicating the desired start and stop points for the camera move.