I asked some friends who use Retas Studio about PaintMan and what was discussed in this thread, apparently what I've been trying to explain has a name, it's called the "automatic color trace" function, I got shown a video.Īll of the same opinion, there is nothing better out there for coloring this style of animation as fast and as accurate. I got Retas in Japan and it's Japanese only, in the above examples I used the English Demo so people could see what I was doing, there's no way to change the language. My PC is really fast so I don't know what to tell you about render times. If anyone can do it then surely the guys at TVPaint can.īasementProductions wrote:Thanks for the demonstration, if you don't mind me asking, where did you get your copy of Retas and did you have to do anything to change the interface to English? Also, how fast is rendering/exporting in TVPaint and Retas, respectively? Here is a video I made of how to color in Retas using the same image from the previous TVP example I did (which was made with TVP): CTG doesn't give me a clean boundry and is difficult to predict which side of the line is going to get most of the fill. No matter which tool I use I get the same result. Retas PainMan using the exact same lines exported from TVPaint: Look what happens when I take the lines away: Here is an example of a black circle with a blue circle inside created using the Sketch Panel RGB. The problem with using CTG is the fill shapes are inconsistent, it's otherwise a good system and similar to Retas but in an anime art style that has a lot of shadows, on playback it looks bumpy. Oops, I don't think Elodie liked some of my comments. Slowtiger wrote:Have a look at, there's even more tricks TVPaint is capable of. Wouldn't that be quite an accomplishment, even if it was mostly slide and camera work? That all being said, if an individual were to turn out piece that was half as polished as any new Japanese series, with music, sound, video effects, cgi etc. So, doing the bare minimum of research, one finds out that an animated film is really a monumental task in comparison, far more suited to a large group. My first trade, or great interest, I guess, is comics and graphic novels and coming from that, I know that most independents do all of the work from layouts to pre-press themselves, on a very small budget, though making a good comic can be another thing entirely. If you want a real example of limited-animation Japanese film, I don't recommend Detroit Metal City, by Studio 4C-ĮDIT: On second thought, after watching a couple episodes, this turned out to be pretty NSFW, so I'm not going to bring it up again.īut the original point was the animation is not even on par with most anime, let alone anything old-school. Kill la Kill is probably not an example of this ability, however. However, in some cases, good cinematography and direction can make up for it. It is unfortunate that most of today's animation. This is why I picked Retas, I had heard it is what they use for a lot of traditional today. So although Kill la Kill is extremely exciting to watch, usually only a handful of scenes have any real work done on them, most of it is sliding, reuse and holds. JetT wrote:I highly recommend studying animation old school or at least with software that is closest to old school as possible, you want to nail the fundamental principles down, which sad to say you don't often see in mainstream Japanese (or American these days) animation. If I were in your position, I'd follow those videos with the DigiCel FlipBook Demo or if you can hold down your lunch long enough to reach the checkout page, you can buy Autodesk (blurgh) Sketchbook Pro which I imagine is what TVPaint Debut would look like, but test the free version first, it can be a flaky software for some. Japanese animation often looks extremely polished, but check under the hood once in awhile.Īaron Blaise ( of Brother Bear) sells a pretty good Full Animation Course that can teach you all the above ( in TVPaint no less) and CartoonBrew is running a discount on it at the moment. Learn to animate like this and what software you pickup won't matter. So although Kill la Kill is extremely exciting to watch, usually only a handful of scenes have any real work done on them, most of it is sliding, reuse and holds.Įverything is there, anticipation, secondary animation, follow through animation, appeal, squash and so on. I highly recommend studying animation old school or at least with software that is closest to old school as possible, you want to nail the fundamental principles down, which sad to say you don't often see in mainstream Japanese (or American these days) animation. You can read the Fusion User Manual Here for system requirements.
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And that will tell us a lot more about the text in the errors. So now we only have to send along two additional numbers along with our text. And then at the end, you’ll see that we still get the same checksum that we found earlier 1101, which becomes 81 when we do mod, and then the second checksum becomes 7336, which is 96 when we do them on. And we’ll continue this process until we’ve done all the letters. Likewise, we’ll add 108 to 173 to get 281, then we’ll add 281 to 245 to get 526. But now we will add this new checksum 173 to the value of 72 and the second checksum to get 245. So we’ll add 101 to the first checksum to get 173. The second character, the lowercase E is 101. So after the first character, they’re both the same. And then we will add that checksum value to the second checks up. So the first character, the capital H is a value 72. We’ll start with our same messages always and divided into blocks where each character is its own block. So let’s take a look at an example of how we would do Fletcher’s checksum. And then finally, while we’re done, we will calculate the values of the checksum mod 255 to reduce them to an eight bit binary value. And then we’ll add the new value of that checksum to the second checksum. And we’ll start with two checksums, one of them, C1 starts at zero, the other to also starts at zero, then for every block, we’ll add the value of the block to the first check sum. And we’ll just use the individual characters for this. Basically, the way it works is you divide the word into a sequence of equally sized blocks. And here we’re giving a quick pseudocode of the algorithm that is used to generate Fletcher’s checksum. Let’s look at an even better way to do a checksum to check and see if our data is correct. 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