Had the absolute pleasure of directing this with @ebradzz for the @thedashbash. We couldn't have made it without the help of everyone who worked and volunteered their time. Thank you so much!! Also a huge thanks to @antfood for making such kickass music
@thedashbash’s opening video 🎉
What a ride. A wild, demanding, rewarding ride. One that would not have been feasible without utilizing the power of our rockstar team.
We quite literally could not have done it without you. Full vid + credits at https://t.co/Uc3dYppMdl!
I'm so excited to have finished editing 3 new classes for my new course, Animation Basecamp. That's 25 down, 4 to go. I can't wait to share it. Theres a link below with some more info if you're interested in learning the fundamentals of 2d animation
NPR is out and so am I ✌️
Gona be looking for new social spaces to join. HMU if you know of any good communities I should be in. I'll be checking DMs for a couple more days
Blur textures and Maxon Noises (!) in @redshift3d with this _amazing_ OSL shader created by @wuzelwazel . Works in any DCC.
Check out my overview video here: https://t.co/CpVRWhtX4c
https://t.co/H8A5Ii6NAJ
This first sequence of shots is the perfect example of what eye-tracing is and something to constantly think about while storyboarding. It can elevate your editing and make it easier for the view to follow the story/action
@Arcane_Motion Man 100% It seems like it happens when the person allocating tasks thinks, “Well my animators should be animating instead of drawing, and drawing is what illustrator do, so have the illustrator work on the storyboards.”
If your not leading the viewers eye and considering where it is already looking when making cuts, you will likely create an experience that is jarring and hard to follow
So it turns out I had completely misunderstood the tessellation settings in Redshift, as the "minimum edge length" refers to screen space and not world space when you're in "screen space adaptive" mode 🤦🏻♂️
No wonder displacement always took forever