The Animatress Pipeline

Filmmaking Adventures

Salvaging a Disaster

2:00am-sh. Whelp! Here’s the finished product! The AFTER. Admittedly, I traced John’s original directly from my monitor, so I think this ink deviates from his original drawing quit a bit. However, at least I got to figure where the hell Sody’s neck connected to her head and solved the quagmire of her left hand. Not John’s fault. That’s just the nature of extremes versus inbetweens and settles.

Anyhoo, I welcome your critique if you have time Mr. K.

In the meantime, I’m going to get back to coloring my comic.

10:45pm-ish. That’s better! I just needed to know where everything connected, that’s all. Sometimes no matter how great the animator’s drawing is, you gotta go over it and create a blue rough for yourself to feel out the thought process.
Now all I have to do is ink! See you in the morning around Penelope Pittstop time.

It’s 9:34 and I’m just settling down to this challenge. If you were actually going to check in:1000 apologies, Mr. K. I got hung up. Turn in for the night and I’ll have something for you in the morning.

I’m a chump, I know.

2:30pm- ish

I’m posting an ink I did that was so bad, that I gave up on it’s finish and decided not to post it earlier. However, I saw Harmke’s solution and noticed that he was having trouble too. Therefore, I decided that I am going to tie down John’s rough and try to ink this bete again.
Here’s the before. I will post an after around 10pm tonight.


3 responses to “Salvaging a Disaster

  1. Phantom Spitter August 29, 2008 at 11:16 pm

    That looks really nice. It’s better than a lot of inks I’ve seen for John’s stuff.

  2. SoleilSmile August 29, 2008 at 11:37 pm

    Thanks. Now let’s see what the our Spumco animation god says!

  3. David Nethery March 6, 2009 at 6:47 pm

    You know I’ve been looking at some of these inking tests you’ve posted on your blog and I think you’re doing a good job with it . I remember at one time you wanted to take my online Animation Assisting class at AAU , but I really think you’re over qualified for an entry level class like that anyway, so no great loss that you couldn’t take it (although I would have loved to have had you in the class) .I think the only thing you’re lacking in your clean-up skills is CONFIDENCE (in your own ability) .All you would need to become a first-rate clean up artist is to work as an inbetweener on a high-quality feature film for a year or so. The very act of being required to do 8-10 inbetweens a day (or more on crunch time quota) would hone your line quality and your ability to know when you can knock back the quality (on fast moving action stuff) and when you really need to concentrate on a money shot (close-up dialogue scene) . You just haven’t done it enough consistently . You would learn a lot “down in the trenches” of a real production that you can never learn in school (school deadlines are nothing compared to having a fire-breathing Production Manager breathing down your neck saying : “Where’s that scene ??!! It’s due today !” ) After turning out thousands of inbetweens on a feature you’d have it ingrained in you and I think any lingering doubts about your ability would go away.The problem is this: who gets a chance to work on that level of clean-up consistently day in and day out these days ? Where can a student go to learn that craft at that level ? The lucky few working at Disney on Princess & The Frog right now, but there's not too much hand-drawn feature work being done anywhere else , so where does someone go to learn it ? I know that I myself am "rusty" . The very act of not doing the clean-up drawings every day is sure to have impacted my skills. I'm confident I could get it back with practice , but my point in bringing it up to you is that if you've never had that experience of doing feature-quality clean up day after day after day for a year or two working on a feature then you can't expect to have that level of confidence in your line. (I mean your line quality specifically as it applies to animation clean ups … you already draw beautifully .) Does any of that make sense ? I like the work that John posted on his blog , especially some of the inks that Kali was doing over his roughs . Those are nice looking inks, but my problem with that approach is that the Flash animation usually ends up looking very stiff and flat , so all that beautiful inking isn’t really being followed through consistently in the animation. The individual frames look nice in terms of the inking, but the animation is dead. (not John’s fault, it’s the low budgets and having to work within the limitations of Flash) . But honestly now : have you ever looked at cels from the Warner Brothers cartoons or analyzed the clean-up/inking on Warner’s cartoons frame-by-frame ? Is the inking as surface slick on those classic Warner’s cartoons as the examples John is showing on his blog ? No it is not. The Warner’s inkers had to churn out dozens of cels a day and their inking is mostly …”utilitarian” is the word that comes to mind. It’s good enough to get the job done (although sometimes the Warner’s inking slips and chatters way too much, not nearly as steady as the Disney feature inking , but again a matter of time and budget ) , but the emphasis is not on the ink lines per se . In the classic hand-drawn animation the emphasis is on the movement. The inking in the old Warner’s cartoons is good enough, but the lines are in service to the animation , it’s the animation that really lives and breathes , whereas these tightly inked Flash pieces look great as single frames , but they very rarely come alive in the movment in the same way that the old hand-drawn work does. (whereas some individual cels or frame captures from Warner’s cartoons look pretty ugly if you just isolate them as a still image … but in actual movement they are beautiful … and it’s the movement that counts in my book) .Ok, enough rambling …

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