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So working on my own series will be the next big thing for me. I have my own scenes at home that I’ve tested I talk to my friends about ideas and I try to write pitches all the time. I haven’t changed shows.Ī lifetime dream would be getting my own series, and working on pitches all day. We’re on season two right now and I’m still on it. My first job in the animation industry here was at Mercury and I started working on The Ghost and Molly McGee. What projects are you currently working on? What do you hope to work on in the future? Getting some people in the industry commenting on my stuff and following me - I was like, “Wow! I think I did something right here!” A well-organized node view always helps when animating complex character rigs. Once they said, “you know what? I think you’re good,” I knew the project was going well.Īfter releasing The Little Girl & The Alien, I also shared it on my Instagram, and I received a lot of love and compliments from my friends. Once I was starting animation and comp, I knew which friends I was going to ask for advice. How would you describe the reaction to this film so far? When he’s about to shoot the lasers, there’s lighting coming out of his mouth. I wanted to make that effect really nice. I decided to add this glow when the alien is about to shoot the lasers. The most challenging thing was getting that shot to work. I think the most challenging thing was getting the compositing done at the end to give the vibe of the evil alien dominating the world. What challenges did you face in producing “The Little Girl & The Alien?”
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Intimidated by animating textures on clothing? The Little Girl’s tartan skirt makes use of Harmony Premium’s Free Form Deformer node. I got the boiling line using a very small wave warp on the sequence. Every character is on a PNG sequence, and I just tossed them in After Effects. How did you accomplish the jittery line boil effect? The contrast of her pink collar and green dress looks nice. That helped me a lot with the skirt and textures. It’s the Free Form Deformer node in Harmony. There’s a tool that we didn’t have back in the day. It’s not plaid, but it has some texture on it. On the production I currently work on the main character wears a skirt.
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Her skirt was looking way too empty with full organic texture. How did you manage to animate the little girl’s plaid skirt? Why did you choose such a challenging pattern?
The Little Girl’s character rig includes six rotations as well as artfully-applied deformers and cutters. It gives that nice slow-mo feeling and saved a lot of time on polishing at the end. Instead of putting in a lot of keys, I spaced them out. Even though I had to have full-body shots of some of the characters, building the rigs was challenging but a lot of fun.Īnimating was pretty straightforward. I went for it and it took about a week-and-a-half for each character. The way I rig my characters is the way that they rig the characters on my current production.
Toon boom harmony student license terms and conditions how to#
Once I started working at Mercury I discovered a whole universe - how to make things way easier and more complex. In other jobs I rigged characters even though I was an animator. I never imagined myself as a rigging artist. How would you describe the process of rigging and animating the characters? Process shot from The Little Girl & The Alien: Storyboard to character rigs, render view and a final production still with compositing effects applied. I knew exactly what to do in my head - characters, boards. And I thought, “I have ideas I could animate one day.” One of them was The Little Girl & The Alien. I started as a designer, so I didn’t know how to make animations at the time. It was really straightforward because I had the idea for a long time, even before I started animating. What did the planning stage of this project look like? I think I ended up finishing a few months before everyone else because I was way ahead with the rigs and compositing. It was just me working on it, and having input from my friends. When the second round of shorts came up, I already had all the builds with the final designs. I was like, “You know what? I’m just going to continue this project. I started the project with a work friend, and he ended up leaving Mercury at the time. The Little Girl & The Alien is such a creative short! Who collaborated on this project? Mercury Filmworks’ shorts program gives artists the opportunity to work with the studio’s development team to create their own animated shorts.