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Here's a preview of sorts for the next page of Jackie Jackpot (Green Room Gratitude). I want to give you a process insight and a sort of conundrum. I rough out the overall animation with a sketch that I can follow with finished line work and color. It bloats the process because I end up with an enormous number of layers by the time I'm done. Another issue is that the frame rate is often choppy because of how tedious animation can be. I can use an app to interpolate in-between frames and the results are always a mixed bag. Often times sections need entire reworks because of how the interpolation is processed. It handles limited palettes well and corrections are easy. But with color/shading/highlights it can sometimes ruin whole areas trying to smooth something that's not intended to be smoothed. If I can figure out a way to speed the process and maintain a higher frame rate without losing the feel of a hand drawn animation I'd be happy but it's tough trying to solve a problem I'm creating.

Possible work flow alterations that may resolve it could be to do the line work in a lower frame rate and then color the frames after interpolation. Alternatively, linework and flats could get me half way there and then shadows and highlights after interpolation to avoid smearing.

IF anyone has a proven solution to this from experience I'd love to hear it. Otherwise I'm going to keep at it and refine the process as I go. With any luck I can get into a rhythm of putting out quality animated comic pages without spending all of my time obsessing over details.

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Comments

Phil3D

Have you tried Flowframes for interpolation?

Hammertyme

I think the low frames still looks fantastic here. The top old school animators reached a level where they would only do a few frames anyway, called key frames, as I'm sure you are well aware. I'm still more of a tweener myself and I struggle with key frames, but I want to try and focus on fewer frames that achieve more.

Neil

I have no relatable experience or wisdom to share here so I've only got total armchair opinions. Whether you're using a tool or an actual understudy animator, ultimately you the expert draw the important frames and then try to outsource the inbetween, with your own corrections or tweaks on top of it afterwards. Automated tools are probably easier to test out and toss away than switching real humans in and out for their services, but it may be something you'd like to consider. It seems far fetched but you'd be surprised how transformative a few freedombucks are on the other side of the globe. I know that I (the selfish consumer) always dreamed of futures where artists I dote on have teams of juniors that just do as much tedium as possible to make the experts time as efficient as possible. All of this ought to be chewed with a heaping helping of large flake salt, cause what do I know, anyway. P.S. I adore Jackie's hairstyle.

Wincent, The Hollow Knight

The 1st one is better IMO... The smoothness of the second one is kinda distracting and honestly, feels less impactful or "intense".