Image Processing Reference
In-Depth Information
from being easily brushed aside. Artists even use double-stick tape or small
pieces of sticky wax under the cutout. The glass releases the adhesion of the
tape or wax quite easily but residue may remain on the glass. The animator
has to be vigilant about these cutout footprints, cleaning them up during the
shooting process when necessary. Many cutout artists use a tacky material
called Blu-Tack that leaves less residue.
The second challenge with cutouts, especially cutouts that are figurative in
nature, is the consistent relationship of one cutout to the next. For example,
if you create a cutout character that walks, the relationship of the legs to the
hip have to be jointed or pivoted from the same point for each movement
orframe.Hingingtheseelementstogetheristhesolutionforthiskindof
relationship. There are many different approaches to hinging cutouts. The
most effective approach is to purchase a hand rivet set. The rivets are slightly
visible and so must be integrated into the design of the animation. Another
approach that is a bit less intrusive is to use small holes in the cutouts and
hold the cutouts together with very thin wire strung between the holes. The
last technique is the use of sticky microcrystalline wax between the cutouts.
This technique requires a little more scrutiny on the animator's part, because
the pivot point can drift over several moves, but this technique is quick and
less visually intrusive. Blu-Tack can be used in place of the wax. Many times,
cutout artists tack down only larger cutout sections of the body like the
torso and leave the arms untacked so they can be easily moved. Usually, the
head and arms move a fair amount compared to the torso, so this approach
makes the animation go faster, although it does require a delicate touch. This
last tack-down technique of hinging has the added benefit of allowing the
animator to incorporate the classic “squash-and-stretch” animation technique
to the character. Since the cutout puppet has no fixed positions for hinging,
the animator can compress and stretch the placement of the various parts,
making the animation a little more dynamic.
Fig 7.10 three versions of cutout
hinging (rivets, wire, and wax).
There are many more techniques for gaining control and hinging cutouts. It all
depends on your ability to work at the animation stand, how patient you are,
and your style of work and animation. As Evan Spiridellis puts it,
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