jorgy wrote:So to paraphrase, you are basically rotoscoping a 3d movie into 2d a frame a time.
Well, this is not nearly as much work as one frame at a time. A correct paraphrase would refer instead to the keyframes.
First, I will use morph software to map from static 2d models to key stills from the 3D movie.
(I believe that morphing a single still image into another single still is technically called a "warp," because it's a valuable distinction to make...)
Understand that once I have the 2D keyframes the way I want them, then I program my robot assistant -- the morpher -- to tween all my dirtywork for me, while I go have a Coke Zero. So I build each segment of my content, accumulating it from keyframe to keyframe, that way.
One must take for granted that these compositions will involve separate foreground and background objects. I may do the layer compositing in Anime Studio, in GIF Movie Gear, or perhaps even in the Firefox browser.
I guess the last point I would want to clarify about my strategy is that until I can work productively in AS... and I have no idea when that will be... the workflow I've described yields a bitmapped movie at some fixed screen resolution -- almost certainly 1920 x 1080.
But what if I want to display this short movie at cinema resolution (4096 x 2160) in the future?
If I carefully archive all my foreground and background assets, then I could potentially return and re-vectorize each character and background frame in Illustrator (or even The GIMP!!).
Vectors imply infinite resolution...
