Paul Fierlinger wrote:Asaf,
which part of this very attractive drawing was done by the brush you are testing, or was everything done with it? I am particularly interested in the way your clouds came out because we are still searching for a way to color all those ocean waves we will be using in our current film. This might be just what we are looking for. Can I get this brush from you?
Thanks, because everything you described about this brush goes way over my head.EDIT: I'll mail it to you.
Paul Fierlinger wrote:Thanks, because everything you described about this brush goes way over my head.EDIT: I'll mail it to you.
ZigOtto wrote:superbe !
your black "dry" brush looks very convincing !
I've done my share of these dissolves -- even on film and that's no picnic. I have improved it by stretching the layer the way you describe, then replicating the layer 3 times and staggering all three lines, while setting their transparency slides each to 30%. I've also experimented with cross-dissolving between these layers so that as frames dissolve one into the other, so do the layers, giving the layers different colors -- all sorts of tricks. But I always end up finding a simple solution without digital or camera tricks, which I prefer.Then you stretch the layer with interpolation, and the 2 frames blend. You can do so with as many frames as you need. But it has to be done cleverly, by which I mean that if you have 10 frames, you should not stretch the layer more than twice it's length. even if you need 60 frames out of these 10, stretch it incrementally: 10 -> 20 -> 40 -> 80, and then compress it down to 60 with interpolation. In this way, the blends will be gradual, more organic, and less choppy.
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