Rex and Many Bubbles

Okay, one more scene completed. Here’s the video.

Here’s how I approached this one. First, using the rhythm of the music, I created an animated composition using spheres and trail drawings. All I’m doing here is panning and moving these elements around until it feels right. Here’s how it looks at this stage.

Once I was happy with the way things moved, I applied various blur filters and gradient mattes to get the desired effect.

Now onto REX. After doing hundreds of drawings on the previous scene, I’ve been trying to figure out how to speed up my process. Here’s what I came up with for this scene.

I used the After Effects Puppet Tool to create a slight animation on the body. For this, I seperated the body in two layers (main body and right arm) and used pins to create the motion.

Rex_body_arm
For the tail, I reused the drawings I had already done in the previous scene (When I did the Rex Meets Aven scene, I made sure to animate the tail on it’s own layer so that it could be put in my animation library). Since the ligthing, here, is different than the scene from where the tail came from, I created a new set of tone mattes for it.

For the head, I used a held drawing for the first part. Then, when the animation of the bubble containing Rex slows down, I animated the head turning forward. The animation of the head was hand drawn on 1s (one drawing per frame) and each drawing has a corresponding tone matte (also hand drawn). Here is a video showing the three distinctive part of this process.

This was my first time combining the Puppet tool with hand drawn animtion within the same character, so I was a bit nervous that it would be hard to make it all work seemlessly―but with some patience, I was able to assemble these parts in a coherent whole.

Once I had Rex all working correctly, I positionned him in the bubble, added the electrical effects, and added characters and electrical effects in the background bubbles as well.

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8 thoughts on “Rex and Many Bubbles

  1. With current technology, its almost a bit limiting NOT to consider the way digital tools can aid the hand drawn pipeline, both in quality and speed. I think what you’re exploring here Michele is a great new attitude towards 2d.

    Looks great.

  2. Michel, could you go into some detail on how you did the trails? I am thinking you drew a long design for each one then drew a reveal matte and that the speed of the shot gives the illusion.

  3. Indeed, it’s a really good attitude, mixing both puppet tool and frame per frame animation is very good idea. And the result here is fantastic, everything is greatly animated & smooth.

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