yeet

For you and your internet friends! 💙

Details about animation? Well here’s a load of text because I’m always overeager to talk about animation

An empty room is pretty much the easiest thing to animate a 3D camera move in. It’s like if you were to animate a rotating cube, except from the inside. Just gotta keep track of the corner points and make sure they move in nice arcs.

This is how the move was mapped out in my animatic:

Here you can see the key frames, if that helps understand it (I just did every other frame of the final timing as keys, to make inbetweening straightforward):

Once you’ve got the basic perspective inbetweened, adding other things (furniture, or just characters in my case) into the scene is a matter of tracking where they are in relation to the guidelines of the room. I think you can cheat though, for better composition; as soon as the bit where the spirit’s connected to the painting stops being visible, it stops following realistic perspective in favour of staying in a cooler-looking framing. (Serizawa also definitely slides around a bit but that’s because I can’t be bothered to fix it)

oh right i still need to inbetween serizawa and reigen in the beginning, why did i comp this alreadyAnyways, some recommendations:

Think about what you can get away with in terms of frame count, since lowering it saves time and sanity. I checked out a bunch of shots from Mob Psycho and they do it often on 3s—if it’s enough for Bones, its definitely enough for me! Sometimes they even do stuff on 4s or more which is kinda crazy, but in those cases there’s some clever trickery involved to keep it looking smooth. (Would you believe the bg from that stunning intro shot of Mob exorcising the cockroach ghost is on everything from 2s to friggin’ 7s and it just works!)But I’m not clever, so I went with 3s with some 2s for a smoother stop.(Then there’s that unnecessarily gorgeous shot of Shou running up some stairs that’s fully on 2s, but that’s just flexing. Also probably because a run cycle would look janky on 3s, but still, wow, stairs on 2s.)(that’s honestly one of my favourite random shots just because it’s like. so extra. we gotta get that boy up the tower, yeah? how about we make the MOST INTENSE ROTATING STAIRCASE RUN CYCLE OF ALL TIME)

A mistake I made and you should avoid, depending on the art style you’re going for. If what you’re doing is painterly backgrounds, or anything with detail and texture really, it’s obviously not realistic to consistently paint that into every single frame; it’s better to switch to cel shaded colouring for that shot. (Unless you’re a maniac, in which case godspeed.)So, my mistake? As you can see in the last WIP post, this shot isn’t just the camera move, there’s actually a bit of dialogue between Reigen and Serizawa before it. Either that’s gonna have to have a static cel shaded background which would look weird, or the style needs to switch when the camera starts moving. Not exactly great options, which is why all the camera rotation shots in mp100 only contain the camera move.If I ever make an attempt at colouring, I’d probably go for option 2 but try to be sneaky about it, I guess?

I found exaggerating the perspective with the fisheye effect made things way easier. The lines don’t have to be neat and straight, the perspective doesn’t need to be perfect (it’s ~artistic~ after all), and it’s possible to kinda bullshit improvise it instead of having to draw grids or whatnot. (Also it looks really dramatic, and if you’re doing a camera rotation in traditional animation, what else but drama would you be going for :D)

New WIP: shots 01–06

With 07 underway and 10 nearly done, there isn’t that much left, huh. 08 and 09 both have some tricky effects going on, akin to the ghost painting + camera move of 10, but I’ve really been looking forward to them this whole time.

「　 モブサイコ100 II 　//　 Mob Psycho 100 II 　」

and then ONE is just like