What software is Japanese comics made of?

Japanese animation is hand-drawn, with eight pictures in one second.

There are professional tools to draw such a picture.

He combined the computer software Animo6, which can't be installed on the computer. I downloaded this software for half a year and didn't install it. He needs to convert the physical network card address and IP address to each other.

In fact, his craft is very troublesome and needs many artists. Scripting is the first and most important thing.

Here are his details.

Work before production

"Script"

The first and most important step is to write a script. All character design, mechanical design, art design and director should compose music according to the script. Therefore, no matter what kind of planning, the script plays a very important role in the production process.

Producers are responsible for the success or failure of an animated work. Therefore, if the producer has a problem with the script (not attractive enough ...), the screenwriter will modify the script. Of course, if the director has an opinion on the script and the producer agrees with the director, then the revision of the script is inevitable. Furthermore, although the director doesn't agree with the preliminary script and the producer doesn't think it is necessary to modify it, the script will not be modified either.

"the director's work"

The director is the leader of the whole animation production team.

The following is a summary of the directors' actual work.

1, pre-production operation:

* Complete the script with the script writer and producer.

* Meeting with role stylist, mechanical stylist and graphic designer respectively to finalize the design case.

* Making sub-scenes (sometimes made by deputy directors)

2. During the production process, talk to the deputy director about the production direction of each episode.

3. Post-production operation:

* Edit movies with an editor

* Instruct the directors of seiyuu and sound effects to produce ideal effects.

* Image and sound synthesis.

4. Participate in all publicity activities.

Mirror image and assistant's work guide

Perspective is simply "a script presented as an image". The time * schedule for drawing mirror images is different. An average animation of 26 minutes takes 3 weeks to complete. The perspective view does not need to draw the figures correctly, as long as the later staff can understand it. Nevertheless, the lens splitter still needs to practice the character modeling of each work, understand the characteristics of the work in advance, and let the original painter correctly draw the shots needed by the deputy director in each episode with the lens splitter. It is often seen that the draftsman and assistant director are the same person. There is a simple reason. Because the designer of the drawing (the mirror artist) is usually the person who knows the effect and superb acting skills that each shot needs to best set off the charm of the work. Therefore, the split-view picture is often the work of the deputy director.

The assistant director basically shares the burden of the director. No matter how many episodes of OVA series or N episodes of TV animation series, it is impossible for a director to take care of all the production details. Therefore, each animation series has an assistant director position to manage the animation production of each episode. Most directors are responsible for the important first and last episodes. The assistant director's job content is basically the same as that of the director except that he is not responsible for the pre-script, design draft and post-production publicity activities. However, since the director is the commander-in-chief of the whole work, before the assistant director is responsible for the production of each episode, the assistant director's auxiliary mirror picture must be approved by the director before the work can be officially assigned to the original painter for production.

"Character Design and Character Designer"

When the original cartoon was adapted into animation, there was no need to design more because the characters and costumes had been finalized. But cartoons are static works, and the lines and costumes of characters can be complicated because of the small number of squares, so as to deepen the aesthetic feeling and impression of the works. However, when making animation, if you are loyal to the lines of the original characters, it will prolong the painting time and production time (and more funds), so it is necessary to simplify the lines of the original characters. In addition, cartoon characters don't have to be colored, and they don't have to connect every line. However, animation needs coloring, so it is necessary to improve the original character modeling and connect all the lines so that the coloring staff can color. Some original anime characters are not suitable for anime works. For the reasons of production efficiency, coloring, animation modeling and so on, the original animation needs to hire another animation role designer.

The role design of original animation is a creative and arduous work. When the design case of the original character is given to the character designer for design, it is only the written and oral instructions of the director. Therefore, designers can only design people who can set off the charm of the story and impress people out of thin air if they have their own ability of script and drawing. In addition, we should also consider the problem of production efficiency, and don't draw characters with too complicated lines. So even a senior stylist may take some time to finalize the design.

The character design of the pre-production work will be assigned to the original painter to draw each shot. The design of a character can be divided into three types: costume design, facial expression design and local decoration design. All designs are usually divided into front, side, back and special expressions (angry, sad or smiling, etc. ) for the original painter to simulate.

Mechanical Modeling Design and Background Design

Mechanical designers must consider many factors in animation in order to design the mechanical modeling required for each animation. First, we should do a lot of homework at ordinary times to meet the various design requirements that follow. Secondly, the mechanical model of "suitable" production line should be designed considering the production date and schedule. The so-called "appropriate" lines are because if there are many lines, although the robot or spaceship looks cool, the animator will take a relatively long time to draw a shot. But if there are too few lines, the robot looks too simple and lacks courage, so it is very important to make appropriate lines when designing. Finally, the study of each animation world is to understand and design a mechanical warrior or spaceship that can meet the requirements of the director.

Background designers have a long history compared with mechanical modeling, and there have been professional background designers since the era of black and white comics. Background designers basically want to draw "good, fast and beautiful".

[Color Design and Color Distribution]

After all the character modeling and mechanical modeling designs are completed, the director and stylist must work with the color designer to finally determine the color of the character (hair, clothes for various occasions or the color of the robot shell, etc.). ). Color design must match the tone (background and personality) of the whole work to design the color of the characters. After the color manuscript is finalized, the color specifier will specify a more detailed color type.

Nowadays, animation color design and color distribution are all done by software. Every production team uses different software, and any image processing software can be used for color design. It should be noted that different software processes colors in different ways, so the same software should be specified for color matching when it is delivered to the colorist. In addition, due to the digitalization of production methods and the freedom of color selection, the range of current color setting options has been expanded, and finer and more diverse colors have been set.

manufacture

[Composition, original painting, original painting director]

After the perspective and all the character designs and backgrounds are ready, someone must put all the materials together and draw an enlarged detailed perspective for subsequent actions. It is the composer who performs the work.

Perspective is often just a sketch, which gives an overview of a painting. For example, in a shot, "Xiaoming and Jessie are standing on the sports ground and talking", the composition staff must draw an enlarged picture of the detailed positional relationship between the characters (Xiaoming and Jessie) and the background (sports ground) according to the general description of each frame of the sub-scene, the figure modeling table (illustration) and the background (as shown in the following figure 1, mostly A4). If the explanation in the composition is not clear, it will affect the subsequent original painting homework. Submit the completed composition and figure design table to the original painter, and ask the original painter to start drawing a more detailed main mirror diagram according to the composition (such as the legend of the original painting at the end of this paper). As can be seen from the illustration, Xiao Ming gradually ran to the camera. Finally, he finished talking to Jesse with a towel, just like the composition example on the left.

Original painting directors exist because a work may have more than 1 original painters. Every figure painted by the original painter may be out of shape according to his own painting style (or painting skills). The work of the original painting director is to modify the original painting drawn by the original painter, unify the painting style and make it loyal to the character design draft.

A good original painter and director must do some research on the photographic lens in order to draw every main mirror well. Movies can require actors to stand in the right position and pose in the position the director wants. But animation can only draw the ideal position and character movements with strokes. Therefore, an original painter and director with good ability and qualification also refers to being able to draw the ideal main mirror picture (the correct posture and movements of the characters) according to the concepts of photography and editing. As far as the editor knows, many experienced original painters or directors love movies and have done some research on them.

Animation is a capability-oriented industry. No matter which production link you are engaged in, as long as you work hard enough to strengthen your ability, you will be affirmed by the surrounding areas. Some people may ask why the last primary mirror has no mouth. As shown in the composition example, this shot is "Xiaoming runs to Jesse → stands in front of Jesse → talks to Jesse". The last main mirror of this primitive legend ("Xiao Ming ran to Jesse → stood in front of Jesse") is "stood in front of Jesse". In the next "start talking" part, only Xiaoming's mouth is moving, so the main mirror with only mouth movement is drawn separately. The mouth movements drawn separately can be superimposed on the main mirror of "standing in front of Jesse" through editing. (Note: The legend of the original painting has been checked and corrected by the original painting guide, and the lines have been cleaned by the line tracing personnel. )

[grassroots animation]

Animators are grassroots employees who clean up lines and draw frames. After painting the main mirror, the original painter should hand it over to the animator to clean up the lines and take pictures in the middle. The framing action of the finished draft must be seen by the animation inspector before it can be handed over to the colorist for coloring. How many frames to draw is specified by the original artist in advance, so the animator doesn't need to draw a few frames between the main mirrors.

[coloring/coloring]

Coloring is the last step before all the painted shots are cut together. If the previous process is delayed, the coloring time will be relatively reduced.

At present, the digitalization of animation production, which is often discussed by all walks of life, usually starts from this coloring process, and the previous processes (except coloring) are all hand-made.

Content of coloring work after digitalization of production process

1, use the scanner to save the original painting and animated line drawing into the computer.

2, clean up the line

3. Color according to the specified color.

[Special effects and special effects personnel]

Special effects can be handled in the following three ways.

The first is background special effects.

The second is to add special effects to the lens with computer software after drawing the basic colors.

The third is the photographic effect of the photographic part.

The first kind of background special effects refers to drawing natural phenomena such as smoke, fog and flame. Put it directly on the background (such as the fog on the right).

The way of expression is specified in the perspective in advance and handed over to the art design company for drawing operation. The second and the third have two steps. The first step is that the original painter draws the parts that need special effects in the main mirror. The second step is to use computer software to add special effects to the parts designated by the original painter after coloring or to use photography skills in the later photography stage.

The second special effect is explained by smoke. When a shot needs the effect of smoke rising, the director will first have a meeting with the animation director who performs the composition work to discuss the required smoke painting method. Such as what kind of smoke, the size of the diffusion range. The animation director instructs the original painter to compose the main mirror after painting (as shown on the left).

After each episode, the director and assistant director checked, and entered the split-mirror animation operation of smoke.

In the coloring unit, it shows that all the lines of the animation are connected and the layers are obvious because of coloring. So the smoke after coating is quite flat (as shown in the left picture). However, the sense of smoke cannot be expressed by simple plane colors, so a brush is needed.

The related pictures of this theme are as follows:

Add an extra layer to achieve the hazy feeling of smoke shadow. This is the second kind of special effect (as shown on the right).

After the left and right pictures are superimposed together with background special effects, it is the shot that is finished according to the composition drawn by the original painter (as shown in the left picture).

The related pictures of this theme are as follows:

The second special effect is to use spray paint to express vague or hazy effects before using computer works in animation industry. Now the special effects are all made by computer software. The reason for using computer software is very simple, saving time, effort and money. This is not to say that manual painting is not realistic enough. If there is enough money for painting, hand painting is of course the best. However, a special person is hired to draw special effects. If you want to draw 100, you have to spend 100 on personnel and painting. If you use computer software, as long as you process the image through the filter, you can achieve the desired effect.

Usually in the coloring group, it is divided into ordinary coloring personnel and special effects personnel. After coloring, if there are special effects, give them to the special effects personnel to continue. There is no clear person who specializes in special effects in the coloring group. Most of them are reserved for those who draw better.

The third photographic effect can be found in photography.

[Photography and Photography Special Effects]

The so-called photography is simply animation and background composition. Photographic effect means that the operator in charge of photography uses a camera or filter to shoot special effects according to the position indicated on the director's chronograph. Photographic effect is very important to Japanese animation. Because the number of Japanese cartoons is very small, many shortcomings can be covered up by using photographic effects.

At present, computer software is mostly used to do photographic synthesis, and there are many kinds of computer synthesis software, such as Adobe After Effect, Discreet Inferno, Retas! Aye. Wait.

In the animation, you can see the twilight of the sunset on the lake, the starlight in the sky, the fading in and out of the memory lens, the vibration when the bomb explodes ... and so on. Using filters in digital photography can achieve many effects. The words used in photography now are no different from those used in the era of photography stations, except that a real camera is missing.

Photographic effect consists of two operations, one is camera movement, which refers to the movement adjustment of moving photographic objects. In addition, it is to use a filter or adjust the focal length of the lens, and shoot with a pre-drawn animation draft for special effects processing.

The following are some common photographic effects:

1.Fix: fix the camera position and shoot the animation draft at the fixed position. Most shots are shot like this.

2. T.I./T.B.: Zoom out or enlarge the camera centering on the people in the picture.

3. F.I./F.O.: People fade out/fade in, and the focal length of the lens is adjusted.

4. O.L.: For example, overlapping A and B squares transforms the picture by fading out A and fading in B (or vice versa).

5. Vibration effect: shoot the earthquake. When the vibration breaks out, move each picture slightly to shoot the vibration effect.

6. Corrugated glass: the filter with uneven surface distorts the picture. Usually used to represent water or fire scenes.

7. Backlight: refers to the flash (such as starlight and lake light) or flash (such as laser cannon and Lei Guang) illuminated by the light under the camera.

8. Soft focus: Adjust the focal length to blur the picture or make the picture look soft. Often used in romance or to emphasize the loveliness or handsomeness of the protagonist.

Most of the production processes in animation companies stop at this step. The post-production industry is mostly handed over to professional companies.

post production

[splicing]

The most ideal splicing situation is that all the shots that need to be colored and added with special effects are completed, and the director, assistant director and splicing personnel can perform splicing operations according to the scene diagram. However, most of the coloring and special effects can't be finished before the editing operation, so animation companies often hand over colorless black and white line drawings to editing companies. Please ask the film and television production company to change the line drawing after coloring.

During editing, the assistant director (the person who draws the mirror image) looks at the mirror image and gives instructions to the editor. For example, "cut the lens time shorter here", "lengthen this lens a little" and "it doesn't seem to fit this lens here. Try it in front. " Basically, no matter how long it takes, the splicing step should be finalized at one time. The reason is that if the original film is continuously lengthened and shortened, it means that recording or dubbing has to be re-recorded many times, which is not only time-consuming but also expensive. The importance of editing is that no matter how carefully you draw the perspective of an animation, you can't see anything wrong with the whole work before editing. Moreover, even if the director, assistant director and animation director check the manuscript repeatedly before editing, there are still omissions. For example, although it seems that lens A and lens B are connected in perspective, the effect after splicing may not be as good as that of lens B placed in front of lens A, or when the edited film exceeds the specified time, it is necessary to decide which lens to keep or give up at the editing stage. Therefore, editing is very important in the sense of "final inspection" for the step of showing an animated work in front of TV or theater.

Make the edited original into about three kinds of videos, which is convenient for post-production work. These three videos are as follows

1, video tape for audio operation

2. Original text

3. EDL digital data (editing data)

The first kind, as the name implies, is a dubbing, sound effect and synthetic video tape that will be explained after being handed over to the audio company. The second is to compare the sound effects and hand them over to the production company for storage and video synthesis. The third is pure editing operation data, such as which shot is added after which shot, which is generally not needed. However, if editing and editing operations use multiple production companies (such as theatrical version), you need to have an EDL data for * * * to work together.

[voiceover]

Sound is divided into three parts: role dubbing, music and sound effect. Most of this part was assigned to various sound departments (such as composer, lyricist, seiyuu, sound producer) by the sound director appointed after the meeting between the producer and the director. This time, let's talk about the dubbing staff who dub the animated characters.

Producer, production manager, director, sound director and assistant director all participated in the recording. Because of their rich experience or mature acting skills, senior voice actors may be able to formally record once in an audition. Of course, a line (especially laughing or crying) can be expressed in many ways. The director will instruct the dubbing staff to record in different ways, and then choose the most suitable part to use.

[Theme Music, Sound Effects and Synthesis]

In addition to the excellent acting skills of the voice actors of animated characters, sound effects and theme music are another important reason to attract people to watch. The theme music in the early and middle stages of animation needs to choose good lyricists, composers and singers.

As for sound effects, suppose an animated story takes place in summer, and there is no sound except the voice of the animated characters. Even if the image shows a sunny beach or ice, but there is no sound of sea water, the sound of ice melting will make the whole summer feel much less. The order of making sound effects is to collect sound materials-> Compile-> mix->； Recording-> Confirm-> Save the materials. There are three sound effects.

-"Artificial Sound": The original sound effect needs the sound created by the sound engineer himself, such as the sound produced by weapons or spaceships that do not exist in reality.

-"ambient sound": the sound of every scene around the characters, the sound of cars passing by, the school bell ... and other noises in the surrounding environment.

-"Sound": the sound of footsteps, clothes rubbing, door closing and door opening, which is simply the sound produced by the actions of characters in the picture.

According to the desired effect, artificial sound can be made of a mixture of various sound sources or made of different materials by sound engineers. As for the environmental sound effect or sound generation, sometimes it is recorded directly in the street or in the wild, and sometimes it is made of CD, a sound source material sold in the market. The different sound equipment, the volume or everyone's different views on various sounds will change the atmosphere of each animation, so the sound effects engineer should be quite sensitive to sound (any sound) and make great efforts to understand the sound equipment.