Edgedeep

VFX and traditional 2D animation. 📧[email protected]

[Edgedeep @Edgedeep]

Hi! I’m JP, an animator and motion designer that works with VFX and traditional 2D animation. Looking for freelance compositing work.

💼 Reel: https://t.co/0oThKBSz7a
📧 Email: [email protected]
🎨 IG: https://t.co/uFaQgRBqax
#2Danimation #Compositing #MotionGraphics

[Edgedeep @Edgedeep]

@STEFisDOPE 🏆🏆🏆CONGRATS!!

[Edgedeep @Edgedeep]

@JosephPIllidge @DakotaUniverse Pic goes HARD AF!!🏆🏆🏆🏆

[Catsuka @catsuka]

Robert Valley ❤️

[VIKARE @vikare06]

Another great advice by Peter Chung, this time on direction amd story telling. Current cinema suffers from the issue he is showing here

[FramebyFrame @TheFramebyFrame]

We're slowing down this clip by Sergio Pablos and looking at some of the in-betweens and breakdowns. There's a couple great moments of lead and follow and interesting choices with the arcs that are worth studying.

[Character Design References @CDReferences]

Animation by Sandro Cleuzo* ( @InspectorCleuzo ) | Kung Fu Panda: Secrets of the Masters (2011)

#penciltest #sakuga #genga #2danimation

[Sakuga 作画 @sakugacontent]

Hiroyuki Okiura is incredibly skilled at portraying realistic & natural movements in character animation that it's not uncommon for some people to mistake his work for rotoscoping

[Animation Obsessive @ani_obsessive]

From: Allegro non Troppo (1976), dir. Bruno Bozzetto, Bruno Bozzetto Film

[Ki Innis @Ki_Innis]

ディズニー・アニメーターのRon Husband氏は、過去に創形美術学校(@IAS_sokei )で開催されたMaster Drawing Japanセミナーで、人物を描く際に「体重がどのように分散されているかを知ること」の重要性を説明しました。体重は常に人物を現実に接地させ、単なる2Dの表現ではなく、生き生きとした姿に見せてくれます。
Ron Husband氏の先達であるMilt Kahl氏は���体重についてこう語っています：
「私はすべての絵で体重がどこにあるかを知っています。キャラクターのどの瞬間でも、体重がどこにあるかを知っているのです。体重がどこにあり、どこから来て、どこを通過し、どこへ移っていくのかを知っています。」. #kicstudio

[habib kun @habibkun9]

i love when a one cut of animation just keeps going and shows insane background drawings

[Sakuga 作画 @sakugacontent]

Julian Bentley - Mob Psycho 100 iii

[Edgedeep @Edgedeep]

@Rahll @BongBong @NeillBlomkamp That’s a BAR!🔥🔥🔥
That statement that prompts questions: Are we using the correct map? Or are we reading the map incorrectly?

[Edgedeep @Edgedeep]

@mhenderson33 @TheStingisBack Yes!

[Edgedeep @Edgedeep]

@NikDraperIvey @MemphisQuinn SUPERpowered🏆🏆🏆🏆

[Edgedeep @Edgedeep]

@robertoblake 🏆🏆🏆🏆

[Edgedeep @Edgedeep]

@NCseventeen 🤯🤩🏆

[Edgedeep @Edgedeep]

@NCseventeen TUNE.

[James Lucas @JamesLucasIT]

We grew up watching hand drawn Disney and now it's gone. We don't talk about this enough.

Every frame of this video was painted by hand, by a human being. Every single one...

To put that into perspective: to make Snow White and the Seven Dwarfs, Disney employed around 750 artists for three years, and they produced nearly two million individual paintings. More than 700 of the backgrounds were painted in watercolour. Over 150 people worked in a single department whose only job was to ink and paint the transparent sheets, called cels, that the characters were drawn on.

It all ended within our lifetime.

According to the Smithsonian, The Little Mermaid, released in 1989, was the last Disney feature made with the hand-painted cel method. The very next film, one year later, went digital.

And something was lost in that transition. In every frame of the old films, a human hand physically touched the surface. A person sat at a desk, held a brush, and made a decision. Two million small decisions, made by hundreds of people, most of whose names we will never know.

But the deepest difference is that the old animators knew they were making a cartoon. They did not try to copy the world. They stretched it, exaggerated it, bent it out of shape, because they understood something we seem to have forgotten: a drawing that imitates life exactly feels dead.

Walt Disney even had a name for this: he called it the plausible impossible.

Today, everything chases realism. And somehow, the more real it looks, the less alive it feels...

I started my newsletter because the past is full of beauty, and fewer and fewer people take the time to show it to us anymore. Every week I try to. If that is something you'd like to be part of, you can join through the link in my bio, and if you'd like to support my work, a paid subscription is what makes it possible.

Thanks for reading.

[Character Design References @CDReferences]

Animation by Aaron Blaise ( @AaronBlaiseArt )* | Ferdinand (2017)

#penciltest #sakuga #genga #2danimation

[old toons @oldtoons_]

This prologue scene in Treasure Planet where Jim while solar surfing, cuts the engine and plummets always floors me because of how accurately it treats the physics of a free fall.

The sheer sense of weight, speed, and genuine air resistance they managed to capture. The violent camera shake perfectly mimicking how you'd experience it in a real dive.