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Here is a test we've been conducting with Asaf's waterBrushes. Sandra and I are mostly after finding a way to paint water in such a way to make it work with the painting style of everything else in the frame.

http://www.video.paulfierlinger.com/2li ... iments.mp4

This looks nice!

I wonder how you do the turns of the ship. Do you use a model ship to look at, or do you have some 3D reference?

I have a very accurate model of the original yawl, built for me by professional model makers in Maine. It's almost 2 feet long yet so light I can hold the model at any precarious angle in my left hand as I draw. I can do everything a sailor would need to do to handle her sails while staying on any course. All the little blocks and hatches and even the wheel and rudder work using the same mechanics as the original boat was equipped with a hundred fifty years ago.

My father built a lot of models of boats and hanggliders. Since he was also building the full scale items, he would use the same materials.

(Note to self: get him a ticket when Slocum gets into cinema here.)

Write him another note: The model cost $ 2,500.
Maybe he could get interested in getting back into modeling.

Paul Fierlinger wrote:I have a very accurate model of the original yawl, built for me by professional model makers in Maine. It's almost 2 feet long yet so light I can hold the model at any precarious angle in my left hand as I draw. I can do everything a sailor would need to do to handle her sails while staying on any course. All the little blocks and hatches and even the wheel and rudder work using the same mechanics as the original boat was equipped with a hundred fifty years ago.

This is interesting. Would you care to post a photo of the model? ...just curious...

were the model heavier you could have considered mounting it to a manfrotto variable friction arm...

Paul Fierlinger wrote:Here is a test we've been conducting with Asaf's waterBrushes. Sandra and I are mostly after finding a way to paint water in such a way to make it work with the painting style of everything else in the frame.

http://www.video.paulfierlinger.com/2li ... iments.mp4

I really like this test, especially the part towards the end where you see a total shot of the ship turning on the top of a wave.
its a really strong shot with a realism not often seen in animations of this subject.

To comment on the painted water; i love Sandra's colours here, although maybe i would prefer it if the colours of the waves would be strictly confined by the animationlines, because now the painted waves and the drawn wavelines move separately from each other, i'm afraid it weakens the animation of the waves which i think you did particularly wel.
Technically it could be easily achieved by masking each wave face on a separate layer and then paint the water surface structure using these masks.

Paul Fierlinger wrote:Write him another note: The model cost $ 2,500.

Peter Wassink wrote: This is interesting. Would you care to post a photo of the model? ...just curious...

I'm curious too !
Paul, perhaps you better could open a new thread : "Paulimages" or "Slocumimages",
because we are navigating in Malcoonimages waters here, and a Slocum (Wip) thread
could be very interesting to follow in times.

ZigOtto, I will do that after I get this picture uploaded which Sandra just took of me (with my boat). I entered this post in this thread as a continuation on the debate about Asaf's brush. So I'll explain what we did to get the water effect. Sandra had this good idea to first paint the sky plus a loose reflection of the sky in the portion of the frame where the waves will be painted in. Then when she painted the waves with Asaf's brush which is always transparent, the colors of the sky showed through just enough to give the water its proper color. She's still improving upon this idea with more experiments.

Paul Fierlinger wrote:... Sandra had this good idea to first paint the sky plus a loose reflection of the sky in the portion of the frame where the waves will be painted in. ... She's still improving upon this idea with more experiments.

she's a crafty colors alchemist ! give her my admiring "hello"

Here she is. Name is "Spray", hails from Boston and was originally built in Denmark or Norway around the year 1780 to serve as a shallow water fishing smack. Someone must have sailed her to the North American coast where Slocum took possession of her in 1891 and rebuilt her plank for plank and beam for beam, outfitted her first as a sloop, later as a yawl and sailed her all by himself around the world.

And then somebody must have shrunk her. Otherwise she wouldn't fit in your hands!

Slocum was a very small man.

To comment on the painted water; i love Sandra's colours here, although maybe i would prefer it if the colours of the waves would be strictly confined by the animationlines, because now the painted waves and the drawn wavelines move separately from each other, i'm afraid it weakens the animation of the waves which i think you did particularly wel.
Technically it could be easily achieved by masking each wave face on a separate layer and then paint the water surface structure using these masks.

I agree with a couple of the scenes -- we are still working on it; everything here is an experiment. So thanks, Peter; good to know that people will notice this.

I like your style here with the waves and colors which reminds me of solid illustrations in old juvenile adventure books but also (like Peter) not so sure with the texturing of the waves in motion. I asked myself are your waves wet or dry ? Hard to tell since there is a sailing boat around carried by the waves and turning by the winds (suberb!).

While thinking about it I came back to the Labrador-commercial of Petrov (maybe you now this one already) he is trying to solve the problem with fast camera moves. His waters are oily and heavily ( little bit kitsch in colors (?) for my taste ). F.Back uses much more fine tuned colors with his morphing style - maybe a little bit too sweet in Le fleuve aux grande eaux (at the beginning). But like Petrov he has a good taste for colored atmospherical sky/water alliances. I also remember Chomet's Belleville with it's 3D stormy waves and textured maps, although he was very proud of it, imo, it was missing interaction of boat and stormy sea and in contrast you give atmosphere to the scene by use of motion and human moves and gestures.


Petrov/Labrador-commercial:
http://de.youtube.com/watch?v=5aevrkSXs ... 1&index=14