[Pierre Jasmin]

Here’s a first idea,

The comments refers to: https://www.revisionfx.com/auxdocs/RenderSStest_00000.jpg
And assuming you want to do this on an animated sequence

1) Source image.
2) First I want a clean silhouette. I can’t easily key this as the background and the eyes for example are the same color (note the hole in the eye on left)
3) Then I do a flat base, turn up Flatness and Softness so it’s not too balloony.
4) Then you add layers by layers (I added a layer here) but you should get the point. The more you have cels, the easier it is.
(…)
Then, at the end hopefully you have only the line art and you slightly blur and it and composite it back over as the top layer

Pierre

[Pierre Jasmin]

Here’s a first idea,

The comments refers to: https://www.revisionfx.com/auxdocs/RenderSStest_00000.jpg
And assuming you want to do this on an animated sequence

1) Source image.
2) First I want a clean silhouette. I can’t easily key this as the background and the eyes for example are the same color (note the hole in the eye on left)
3) Then I do a flat base, turn up Flatness and Softness so it’s not too balloony.
4) Then you add layers by layers (I added a layer here) but you should get the point. The more you have cels, the easier it is.
(…)
Then, at the end hopefully you have only the line art and you slightly blur and it and composite it back over as the top layer

Pierre

[Pierre Jasmin]

There is not really a tutorial on that subject right now.
Often times one needs to break stuff into individual cel layers
Also you can make a soft matte (with greyscale levels) and use that as Shape channel, then the effect will cover the whole area that is not 0 of value but becomes transparent in the area where the shape channel is not full.
Do not hesitate to crank the Softness value up if it looks too much like an inflated balloon

Options:
If individual cels don’t exist, if your material is flat cel, it might be possible to overlay a number of the same source footage and key the area of interest (or anything to make a matte) and set the Shape to come from Alpha

Also if you can show a drawing I can ask someone who uses it for that purpose to pay attention to your question

Pierre
http://www.revisionfx.com

[Pierre Jasmin]

There is not really a tutorial on that subject right now.
Often times one needs to break stuff into individual cel layers
Also you can make a soft matte (with greyscale levels) and use that as Shape channel, then the effect will cover the whole area that is not 0 of value but becomes transparent in the area where the shape channel is not full.
Do not hesitate to crank the Softness value up if it looks too much like an inflated balloon

Options:
If individual cels don’t exist, if your material is flat cel, it might be possible to overlay a number of the same source footage and key the area of interest (or anything to make a matte) and set the Shape to come from Alpha

Also if you can show a drawing I can ask someone who uses it for that purpose to pay attention to your question

Pierre
http://www.revisionfx.com

[Pierre Jasmin]

Make sure you read this
https://www.revisionfx.com/generalfaqsMVMaya.htm

Most Common Mistakes: Not setting Custom Alpha on (so no alpha in MV pass). Assume one can use alpha of color pass in MV but then render color pass with MB off and MV pass with shutter set to 0.5 0.5 which puts both results half a frame apart

Without more specifics it’s hard to help
Feel free to send to techsupport@revisionfx.com one MV frame and 2 color frames (the color counterpart and the frame after or before so we have a rough idea of the actual action)

Pierre

[Pierre Jasmin]

Make sure you read this
https://www.revisionfx.com/generalfaqsMVMaya.htm

Most Common Mistakes: Not setting Custom Alpha on (so no alpha in MV pass). Assume one can use alpha of color pass in MV but then render color pass with MB off and MV pass with shutter set to 0.5 0.5 which puts both results half a frame apart

Without more specifics it’s hard to help
Feel free to send to techsupport@revisionfx.com one MV frame and 2 color frames (the color counterpart and the frame after or before so we have a rough idea of the actual action)

Pierre

[Pierre Jasmin]

I think there exists two HD formats: 720P (1280×720 frames) and 1080i (1920×540 fields) – both roughly 1 000 000 pixels. I think it dates from the early 90’s days of defining HDTV and ABC vs CBS and NBC not agreeing (first one owned by Disney, more emphasis on drama), the two others more interested in sports broadcasting as something to do with HD.

Pierre

[Pierre Jasmin]

You can maybe save some time using either RE:Flex Morph or Twixtor. The prep would be slightly different, and in some cases you will have to do some shape animation anyway.

With RE:Flex Morph, you could for example make a comp where all your elements are separated by a black frame and you animate the Key-Pix ON-OFF using the black frames as reference. Your turn Auto-Align ON and if it’s not automorph well enough, well you had shapes. You can in a case like that as there is sections without morphing in-between always reuse the same shapes, default them to be out-of-screen so they have no impact (the Mask menu is not animatable).

With Twixtor, you can put your footage into comp1 and leave Twixtor at speed 100% then in Comp2 use timeremapping to define transitions (you could also do it directly in Twixtor in “Frames” mode).

eg: put Keyframes Frame 1 = Frame 1, Frame 8 = Frame 8, Frame 10 = Frame 9, Frame 18 = Frame 17, Frame 20 = Frame 18… (so a bit of book keeping). In the case of Twixtor, you have to animate using Masks or not.

Both techniques would provide flexibility, allowing you to choose to make a 2 frames transition, to shrink your 8/8 to 7/7 with a two frame transition…

Pierre
http://www.revisionfx.com

[Pierre Jasmin]

Good question.
Are you using a software where that would make a difference right now?

Pierre

[Pierre Jasmin]

Good question.
Are you using a software where that would make a difference right now?

Pierre