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I'm crossposting this video with the CCG thread, but I believe I've recreated that feeling of watching a typical Sailor Moon episode.
Even though this was digitally animated and uses PNGs and keying effects for the "Film Splices" I'd like to know either here or there what you think of the short clip.
Even though this was digitally animated and uses PNGs and keying effects for the "Film Splices" I'd like to know either here or there what you think of the short clip.
Likes:
Sunshine and YuYu Yuichiro
Right now, I'm doing the animation (consisting mostly of redraws, you'll see who's obviously redrawn from who in the final product) and right now (if you're talking about the CCG revival) it's currently a team of 2, and I'm not the guy who came up with the idea of reviving it wholesale.
If you're talking about Tokyoma Gaiden itself though, well, it's still one person behind it, and you just spoke to him. I wish there was a team behind it, maybe then I wouldn't take so long on one cut of animation
.
If you're talking about Tokyoma Gaiden itself though, well, it's still one person behind it, and you just spoke to him. I wish there was a team behind it, maybe then I wouldn't take so long on one cut of animation
.
Likes:
YuYu Yuichiro
Right now, I'm doing the animation (consisting mostly of redraws, you'll see who's obviously redrawn from who in the final product) and right now (if you're talking about the CCG revival) it's currently a team of 2, and I'm not the guy who came up with the idea of reviving it wholesale.
If you're talking about Tokyoma Gaiden itself though, well, it's still one person behind it, and you just spoke to him. I wish there was a team behind it, maybe then I wouldn't take so long on one cut of animation.
If you're talking about Tokyoma Gaiden itself though, well, it's still one person behind it, and you just spoke to him. I wish there was a team behind it, maybe then I wouldn't take so long on one cut of animation
.
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The process is like any other japanese anime production
Scrpting/Scenario, an outline of the story is planned, followed by a script
Storyboard - My process is to use clips that are already there and imagine who's taking whose place, it's typically
Usagi or Yugi - Pinako, Rei or(not in the instructional videos thus far, but if push comes to shove, I'll be using) Joey for Daniel, Ami for Katerina, Makoto for Kurenai/DDG III, and Minako gets redrawn with a different outfit.
Here is Where RETAS gets used.
Stylos - Animating
Each cut gets its share of frames to be redrawn, and they are done so to the best of my ability, though when it comes to certain elements, I can be pretty inconsistent (like with Pinako's antennae)
Paintman - Coloring
once every cel in the cut is complete (can take anywhere from a week to a few each day, depending on the original animation being redrawn), it's exported in vector to the Paintman application of RETAS, and as it is, each cel gets colored accordingly, my method is to focus on one item or one color and go through each cel with it until every cel has that element colored in/color used, and then repeat for another element/color.
CoreRETAS - Compositing part 1
CoreRetas is the application where the cels come together, and it has a few effects Premiere Pro itself should have had and vice versa
The animation is made on 2s (one cel every two frames, with some exceptions), if it needs effects, I'll find an appropriate one and test it out until I'm happy with it. if the cel or background needs moving, I'll move it where I think is best. Backgrounds are inserted at this stage as well, right now, there are 17 backgrounds for the animation I'm working on, and you've seen 3 out of the 17 in there. once I see it as good as done, I export it.
Adobe Premiere Pro - Compositing part 2/editing
and we now reach one of the longest parts of the process, each time a cut is done, I put it in the main timeline, which is 734x526 at 24 fps (a somewhat approximation for a film window, and it helps out to emulate the framing part of the filming process.) the main timeline's sequence is put onto a second timeline which is 640x480 at 24 fps once again, this second timeline is an equivalent to a "Second Generation copy" of the film reel, and also where I put something called "Film Dehancer" on (which is what puts in the shaking and film grain, though it seems YouTube destroyed the latter) the main timeline's sequence.
Various effects may be done to the various sequences, sound effects will have to be on the main timeline itself, though.
if possible (and it is the case for this one), there will be a THIRD timeline, where the "Second Generation" sequence will be put on, but unlike the first two, this one will be at 29.97 fps and may have various dub-exclusive effects done to it.
Voice Acting - Haven't gotten there yet
all in all, the methods aren't exactly set in stone, and I may change them as I go along.
Edit: I forgot to mention at the animation cuts are done at the 734x526 resolution, what I call in Stylos' settings "Film Emulation"
Scrpting/Scenario, an outline of the story is planned, followed by a script
Storyboard - My process is to use clips that are already there and imagine who's taking whose place, it's typically
Usagi or Yugi - Pinako, Rei or(not in the instructional videos thus far, but if push comes to shove, I'll be using) Joey for Daniel, Ami for Katerina, Makoto for Kurenai/DDG III, and Minako gets redrawn with a different outfit.
Here is Where RETAS gets used.
Stylos - Animating
Each cut gets its share of frames to be redrawn, and they are done so to the best of my ability, though when it comes to certain elements, I can be pretty inconsistent (like with Pinako's antennae)
Paintman - Coloring
once every cel in the cut is complete (can take anywhere from a week to a few each day, depending on the original animation being redrawn), it's exported in vector to the Paintman application of RETAS, and as it is, each cel gets colored accordingly, my method is to focus on one item or one color and go through each cel with it until every cel has that element colored in/color used, and then repeat for another element/color.
CoreRETAS - Compositing part 1
CoreRetas is the application where the cels come together, and it has a few effects Premiere Pro itself should have had and vice versa
The animation is made on 2s (one cel every two frames, with some exceptions), if it needs effects, I'll find an appropriate one and test it out until I'm happy with it. if the cel or background needs moving, I'll move it where I think is best. Backgrounds are inserted at this stage as well, right now, there are 17 backgrounds for the animation I'm working on, and you've seen 3 out of the 17 in there. once I see it as good as done, I export it.
Adobe Premiere Pro - Compositing part 2/editing
and we now reach one of the longest parts of the process, each time a cut is done, I put it in the main timeline, which is 734x526 at 24 fps (a somewhat approximation for a film window, and it helps out to emulate the framing part of the filming process.) the main timeline's sequence is put onto a second timeline which is 640x480 at 24 fps once again, this second timeline is an equivalent to a "Second Generation copy" of the film reel, and also where I put something called "Film Dehancer" on (which is what puts in the shaking and film grain, though it seems YouTube destroyed the latter) the main timeline's sequence.
Various effects may be done to the various sequences, sound effects will have to be on the main timeline itself, though.
if possible (and it is the case for this one), there will be a THIRD timeline, where the "Second Generation" sequence will be put on, but unlike the first two, this one will be at 29.97 fps and may have various dub-exclusive effects done to it.
Voice Acting - Haven't gotten there yet
all in all, the methods aren't exactly set in stone, and I may change them as I go along.
Edit: I forgot to mention at the animation cuts are done at the 734x526 resolution, what I call in Stylos' settings "Film Emulation"
Likes:
YuYu Yuichiro
I posed this question in the Subsen/SM forums Discord in #art-and-ocs, along with this frame. and I'll pose it too, to go with the picture.
Copypaste from the post on the discord.
I'd like to pose a question as it might help me take a character in a direction I suppose Wheelchair or no?
Pros:
1. A bit more accuracy to the character Katerina is based off of.
2. The possibility of Importing the Toon Maker's chariot
Cons:
1. A lot more work for shots where her full body is shown (and an increased "walk" cycle in terms of a number of frames)
2. Will have to rely on blender.
3. A lot more chances to mess up the design from shot to shot/inconsistent design.
The question is "Should I place Katerina in a wheelchair? Yes or No?"
Copypaste from the post on the discord.
I'd like to pose a question as it might help me take a character in a direction I suppose Wheelchair or no?
Pros:
1. A bit more accuracy to the character Katerina is based off of.
2. The possibility of Importing the Toon Maker's chariot
Cons:
1. A lot more work for shots where her full body is shown (and an increased "walk" cycle in terms of a number of frames)
2. Will have to rely on blender.
3. A lot more chances to mess up the design from shot to shot/inconsistent design.
The question is "Should I place Katerina in a wheelchair? Yes or No?"
after mulling it over and drawing an alternate cel
both of them colored in with Painman and compisited in CoreRETAS
Wheelchair:
No Wheelchair:
I may have realized when redrawing I don't want to add in more elements than I need to, plus if anyone has seen the early settei, I don't draw wheelchairs very well, sorry about that.
So my decision is, Katerina will walk!, somewhat making her closer to the poster put in a few pages back
both of them colored in with Painman and compisited in CoreRETAS
Wheelchair:
No Wheelchair:
I may have realized when redrawing I don't want to add in more elements than I need to, plus if anyone has seen the early settei, I don't draw wheelchairs very well, sorry about that.
So my decision is, Katerina will walk!, somewhat making her closer to the poster put in a few pages back
Likes:
YuYu Yuichiro
An announcement that's not card related this time, I finished the script for Pinako's beginning, if this needs a format and a move to Fanfic, tell me sometime after this post, because it's in a script format, one that almost looks like an official script.
第１話「愛野ピナコ、特別な妖魔の子」 FINAL.pdf
第１話「愛野ピナコ、特別な妖魔の子」 FINAL.pdf
For the past week or so in my free time, I've been converting the main cast's colors to STAC colors (see one of the color correction threads for more information), almost everyone kinda feels different, but here's the main cast under the STAC cel colors.
Kurenai and Minako (Minako's colors were obtained using the recently uploaded Sailor Moon S color specification sheet from settei dreams, while Kurenai's was just guesswork that took a few days.)
I also have the main three "STAC"-ed
Pinako (a combination of the above, since she also has the Shiba Koen uniform)
Daniel Kano, (Needs a better highlight)
Katerina Suino (how much red does it take until it has to become pink for the highlights?)
And of course, the first main bad guy, Ashura. His colors were all complete guesswork from that picture of the one card, so they may be off completely.
That's pretty much everyone so far converted to the STAC color format, not sure where this might go, and I'm pretty sure this has impacted a certain project some (in terms of how long I'm taking to completing it) but at least now I can try considering these colors some when doing future animations and other things.
Kurenai and Minako (Minako's colors were obtained using the recently uploaded Sailor Moon S color specification sheet from settei dreams, while Kurenai's was just guesswork that took a few days.)
I also have the main three "STAC"-ed
Pinako (a combination of the above, since she also has the Shiba Koen uniform)
Daniel Kano, (Needs a better highlight)
And of course, the first main bad guy, Ashura. His colors were all complete guesswork from that picture of the one card, so they may be off completely.
That's pretty much everyone so far converted to the STAC color format, not sure where this might go, and I'm pretty sure this has impacted a certain project some (in terms of how long I'm taking to completing it) but at least now I can try considering these colors some when doing future animations and other things.
While trying to figure out how to do Pinako's henshin 2.0, I decided to make 18 drawings of it to see how it should go (14 actually, but it's a storyboard)
I'll bring them to discord soon so I can show them here, too
I'll bring them to discord soon so I can show them here, too
Likes:
YuYu Yuichiro
Pinako and Sailor Pinako if she found her way into the Tanoshii Youchien books
Why the transformation into a human when she becomes a senshi? you decide! as long as it is Tanoshii Youchien appropriate!
Why the transformation into a human when she becomes a senshi? you decide! as long as it is Tanoshii Youchien appropriate!
Likes:
YuYu Yuichiro
A new picture for Katerina... but why is she wearing that dress?
The answer is.... Right here: Tokyoma Gaiden Episode Descriptions and potential extrapolations
The answer is.... Right here: Tokyoma Gaiden Episode Descriptions and potential extrapolations
Another concept that was originally in Suburban Senshi, Here is the Youma, Spectrix (or as I'll have to call her name, Prismus)
妖魔プリズマス
Her story is that she is the mother to all five DD Girls, and had fled the Dark Kingdom over 300 years before the start of Sailor Moon.
all five of her children were taken from her from birth, and were raised to take away her mother's rank as Queen Beryl's Strongest monster. This forced separation caused a lot of heartbreak for her, and such heartbreak resulted in said fleeing. She's more of a grandmother figure than a scary monster.
Details not used in Subsen, but might be used in Tokyoma Gaiden:
She's actually "Boss" from Codename: Sailor V (Which means, no matter how weird it sounds, if you follow the DiC Dub, she's also the real Central Control.)
妖魔プリズマス
Her story is that she is the mother to all five DD Girls, and had fled the Dark Kingdom over 300 years before the start of Sailor Moon.
all five of her children were taken from her from birth, and were raised to take away her mother's rank as Queen Beryl's Strongest monster. This forced separation caused a lot of heartbreak for her, and such heartbreak resulted in said fleeing. She's more of a grandmother figure than a scary monster.
Details not used in Subsen, but might be used in Tokyoma Gaiden:
She's actually "Boss" from Codename: Sailor V (Which means, no matter how weird it sounds, if you follow the DiC Dub, she's also the real Central Control.)
Likes:
YuYu Yuichiro
This is a crosspost with the CCG revival thread, the animation has gone along so far as to make a Next Episode preview
"Card Senshi, Pinako VS Utchie"
"Card Senshi, Pinako VS Utchie"
Likes:
Onuzim Ima and YuYu Yuichiro
New art inbound, retraced from original artwork
The actual artwork the picture above is retraced from... is actually my own drawing this time.
Which do you think is better?
Crossposted with the CCG thread.
The actual artwork the picture above is retraced from... is actually my own drawing this time.
Which do you think is better?
Crossposted with the CCG thread.
Likes:
Onuzim Ima and YuYu Yuichiro
New art inbound, retraced from original artwork
The actual artwork the picture above is retraced from... is actually my own drawing this time.
Which do you think is better?
Crossposted with the CCG thread.
The actual artwork the picture above is retraced from... is actually my own drawing this time.
Which do you think is better?
Crossposted with the CCG thread.