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Problem with a job. Draw My life
Hello guys!
First, I apologize for the writing, I’m using google translator.
Second, I’m new here so if I’m posting in the wrong place I’m sorry.I’m doing a work in draw my life. To improve the work I would like to do some animations in motion graphics, for after effects.
But I have a problem, my clients are a bit complicated, sometimes they ask for the change of a drawing on paper. I guess from the after effects I can crop the old drawing and put a new design suggested in the change.
But I have to make a frame-by-frame cut-out whenever the designer’s hand goes over the new drawing.
This clipping takes a lot of time to do since it is frame by frame.
So I would like to know if anyone knows a technique to facilitate this, or something that I can change in production, like a different lighting or a different camera position.I use a Gh4 filming in 4K and an ARRI lighting kit with a lighting balloon
Thank you for your help….
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1 Reply
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I think I understand what you’re asking.
To be clear, as I understand it, you have an artist doing what we call “whiteboard animation”, drawing-in an illustration on a white background, a bit at a time, then sped-up, either by time-lapse or simple speed ramping in post production. The ideal way to do that, and maintain ease of later editing options, of course would have been to have the artist consciously take their entire hand out of the camera shot in-between each segment or frame of drawing, though many people prefer to see the artist’s hand doing the drawing the whole time.
Another way to shoot those is to start with a finished drawing on an erase-able surface, use the “marker pen” with a bit of sponge on the end as an eraser tool, erase the drawing a bit at a time… and just reverse the video in post, to look like normal drawing. This has the advantage of full control of the frame and your drawing has no mistakes mid-way.
As to removing the arm afterwards, I don’t think there’s any perfect, automated way to do this. It’s going to be a rotoscoping/masking job. This can be done in AfterEffects or Apple Motion. One other way to approach it is to export a “frame movie” of the segment into Photoshop, and opening that in “filmstrip mode”, you can use the Healing Brush, frame-by-frame, to paint things out. It’s not certain as to which method would be more effective or efficient. The Photoshop method allows you to add in new elements simultaneously. One thing that can help with that is, select and copy a few poses of the artist’s arm and hand, by itself, and put that on another layer, so you can animate it to cover the new lines of the revised drawing.
There are cheap, web-based apps that will simulate whiteboard animation. You feed in the finished drawing first, and the app adds a masked or keyed-in gif animation of various artist hand poses, set to follow the lines of the drawing in a general fashion, all set to animate rapidly to simulate time-lapse. It’s not that great an illusion, to me, because it acts more like an animated wipe across the drawing, than a true animation of the individual picture lines. But it’s fast, and many audiences are casual enough that they don’t appreciate the difference.
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