You can still make a digital animation feel personal and put your own stamp on it to achieve the best of both worlds, which I think is what we accomplished with The Replacements music video. ![]() The software doesn’t have to dictate what to do. But I think that you get what you want out of technology. They thought that computers would take away the charm of hand-drawn characters. Some people really resisted the digital revolution. My first big job was working on “Blue’s Clues,” and that’s where I learned how to use After Effects for animation. Zeichner: I started out as a very traditional cartoonist and artist, right when everything was going digital. Tell us a little bit about how you got into animation. With the Puppet Warp function in Photoshop, I pinned the illustrations and warped the figures just enough that the rough and ragged edges looked more intentional. I also used Photoshop when I needed to adjust any of the drawings and make the animation flow a little better. I could even combine multiple cycles, almost like I was comping multiple animations together but without needing to open After Effects. It’s used to cycle through layers of drawings and create repeating animations. The Replacements’ “Shutup” music video first shot in Adobe Character AnimatorĬycle Layers was another key part of the animation process. That might have taken hours to plan out and animate by hand, but with Character Animator we were done in minutes. I’d set up the puppet, queue up the music, hit record in Character Animator, and drag the puppet around so that it looked like it was bouncing to the beat. One cool feature I used a lot to animate a puppet was Limb IK. There are some scenes where I turned Pat’s static illustrations into a puppet and did the animation on my end without Pat needing to draw every frame. Zeichner: The Behavior features and real-time capabilities are a big part of what makes Character Animator incredible. What Character Animator features made the biggest difference for your work? It was really exciting to see their reactions. We didn’t actually show anyone the progress until we got to the final cut. The idea was that it looked like someone was just scribbling in a notebook, so the paper layer has slight wrinkles, smudges, and coffee stains. I added some effects to make it look even more rough and hand drawn because we didn’t want it to appear too clean. It was very easy to drop the individual Character Animator scenes into the timeline using Adobe Dynamic Link. I did all of the final comps and edits in Adobe After Effects. I’d take the raw scans, clean them up a bit in Adobe Photoshop, and bring them into Character Animator.Īnimatic for The Replacements’ “Shutup” music video I would plan the scenes out and give Pat a timing guide-what illustrations we needed and the timing for each frame-then Pat would just draw for hours. Pat and I worked together on either end of a video call for three weeks. Once approved, we sat down and got to work. Zeichner: We spent a day or two on the storyboard and turned it into an animatic in Adobe After Effects. The record label asked if we could do something similar for a music video. Zeichner: Pat and I had just finished working together on a short film called “The Realm Beyond Reason” which also used Character Animator to bring Pat’s illustrations to life. Pat Moriarity’s drawings How did you and Pat get involved in the music video? I could take a stack of scanned drawings from Pat, bring them into Character Animator, and preview the animation for him within minutes. We only had about three weeks to get it done, but with Adobe Character Animator, the process was very easy. I’ve never seen an animated project come together so quickly and cleanly. Zeichner: The response has really been amazing. We sat down with Zeichner to ask how he used Character Animator to create the animated video that captures the raw energy of a live performance.įans of The Replacements have been raving about the music video for “Shutup.” What was the most surprising aspect of the project for you? In just three weeks, Zeichner and Moriarity created an innovative animated video from more than 800 hand-drawn sketches for the single “Shutup” that has wowed the band’s loyal followers. So when The Replacements announced a 40th anniversary special edition of their 1981 album, “Sorry Ma, Forgot to Take Out the Trash,” it was only right that Moriarity was involved in the celebration. Many fans of the band The Replacements will recognize Moriarity’s illustrations on albums and posters from the punk rock scene in Minneapolis. ![]() ![]() With Adobe Character Animator, he’s developed stunning animations based on the unique ink illustrations of Pat Moriarity. Seth Zeichner believes that digital animation can powerfully convey any artistic style.
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