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fujimoto: every scene felt like the animators had fun drawing it. for example, in the building fight; reze pauses for a bit or when she kept punching beam— if i were one of the animators, i’d want to proudly say “I drew that!”. these are the kind of scenes... show more

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176,076 görüntüleme • 7 ay önce •via X (Twitter)

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// TADC spoilers God these animators always nail expressions micro expressions like the way Queenie’s eyes shift a bit when Kinger looks at her like that. GOD. these animators are doing an incredible job. I’m so proud of them.

// TADC spoilers God these animators always nail expressions micro expressions like the way Queenie’s eyes shift a bit when Kinger looks at her like that. GOD. these animators are doing an incredible job. I’m so proud of them.

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TBH this is the first thing I’d say if I had to get one of these.

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TBH this is the first thing I’d say if I had to get one of these.

𝙼𝚁. 𝙻𝙴𝙰𝙳𝚂𝙻𝙸𝙽𝙶𝙴𝚁

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🐻: as im an ambassador to many brands and i film advertisements our family has a routine, so for example, when i have events then i’d go to that event room and buy every item from the event say it louder jongin YES remind everyone of the model you are and that every brand wants you.😌

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The pro-Hamas agitators, who were proudly distributing pro-Hamas propaganda in defense of October 7th, not only orchestrated a hostile takeover of Barnard College but also subsequently kept the administrators from evacuating the building in the midst of a bomb threat. Barnard College should expel every single one of these students for endangering the safety of the campus.

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While I have premium I definitely want to do a long post breaking down the main scene from this show that I obsess with. There's so much that I feel could be learned from it. Not just for expansion animators either. There's honestly a LOT that can be learned from how this show directed its expansion scenes that can be applied to even safe for work animations. Obviously yes, the expansion alone is really good. What makes it so good though is just the fact that there's things you pick up on that you likely don't even realize until you re-watch. I'm using this scene as an example as it's not AS good I would say, but it still has a lot going for it. One thing I've always loved from it that I want to use in my own animations someday is that the expansion sort of comes in waves as opposed to one consistent growth. In a way, it makes it feel more natural while also selling how tight the top is getting. It could have been accompanied by showing the knot getting tighter or smaller with each growth. It's a small part of the animation but just that one thing already adds another layer to appreciate. It's not like most expansion scenes where there's very little outside of just "growing" on its own. There's a bunch of little things that subtly improve it without being obnoxious. The first expansion scene has WAY more that I want to talk about honestly. Far more than this one has. It will probably be a really long post now that I think about it...

FancyPlanks 🐀

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“and [he] was like ‘I think they can hold that pose a little bit longer’ during the animatic phase because he wanted the animators to have time to give that reaction she does of being flustered, because [caitlyn] is attracted to this woman.”

“and [he] was like ‘I think they can hold that pose a little bit longer’ during the animatic phase because he wanted the animators to have time to give that reaction she does of being flustered, because [caitlyn] is attracted to this woman.”

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Obviously this guy is just grasping at straws in a feeble attempt to defend #AI (as if he cares about people), but it does remind me of something important… Me and every director I knew made every effort possible to get to know our outsourcing studio animators (they were people… humans… artists… not an algorithm). I would say stuff like, “This scene’s got a fire monster… I’ll bet you have someone there who loves drawing fire, right?” and I’d hear them laugh and say (through the translator) “We’ve got three… we’ll let them fight over it!” They weren’t faceless drones… they were part of the team to me. Moreover, I was taught that the best way to ensure that they weren’t overworked was by making sure that everything we ever sent was clear, detailed and easy to understand. There were lots of “They’ll fix it in Korea” directors. We referred to them as “hacks.” And we shunned them. Because we cared.

Obviously this guy is just grasping at straws in a feeble attempt to defend #AI (as if he cares about people), but it does remind me of something important… Me and every director I knew made every effort possible to get to know our outsourcing studio animators (they were people… humans… artists… not an algorithm). I would say stuff like, “This scene’s got a fire monster… I’ll bet you have someone there who loves drawing fire, right?” and I’d hear them laugh and say (through the translator) “We’ve got three… we’ll let them fight over it!” They weren’t faceless drones… they were part of the team to me. Moreover, I was taught that the best way to ensure that they weren’t overworked was by making sure that everything we ever sent was clear, detailed and easy to understand. There were lots of “They’ll fix it in Korea” directors. We referred to them as “hacks.” And we shunned them. Because we cared.

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