Hello, this is my first post here.
I've been using your program for some time now, at my internship, and I really like it. Even though I prefer to use paper for animation, I still like just being able to animate something quickly in Moho.
But when I use the onion skin feature, especially with detailed models, I get confused, because all the lines have the same colour. Could you change it so every new onion skin has a new colour, so it's easier to identify what you're looking at?
Also, could you maybe take a look at the onion skin feature when imported images are involved? I find it really hard to see what I'm doing, when all I can see are just a couple of rectangles.
Thank you for your time, keep it up!
Onion skin colour/ image onion skin
Moderators: Víctor Paredes, Belgarath, slowtiger
-
- Posts: 14
- Joined: Tue Jan 25, 2005 5:05 pm
- Location: The Hague, Holland
Onion skinning basically shows the outline of the elements on your layers. Your vector layers show as lines because that's what they are, but with image layers the outline of the image is a rectangle, so that's what you see. Images are bitmaps, and don't have lines that can be shown they way vectors are shown. I don't think there is any way to onion skin imported images to show the image, because they are not composed of vectors.
Jack
Jack
-
- Posts: 14
- Joined: Tue Jan 25, 2005 5:05 pm
- Location: The Hague, Holland
I know, but the images wouldn't have to be converted to vectors or anything. Couldn't it just be a separate proces? I can imagine there should be some way to make them show up as onion skins. Like the way you can use onion skinning in Mirage or something? It would really help.
Though I think the colour issue really should be addressed. I really get confused looking at that big mess of lines, trying to make sense out of it.
BTW, for the most part, I think the onionskinning feature is great, because you can take any frame, at any part of your scene, and "onionskin" them. This creates more of a feel like you're actually working with paper, where you can also just take any frame, and place it on top of the other on your pegbar.
Unlike any other animation software I've ever seen, where you have to select a region(or within a certain region) of frames to be onionskinned.
Though I think the colour issue really should be addressed. I really get confused looking at that big mess of lines, trying to make sense out of it.
BTW, for the most part, I think the onionskinning feature is great, because you can take any frame, at any part of your scene, and "onionskin" them. This creates more of a feel like you're actually working with paper, where you can also just take any frame, and place it on top of the other on your pegbar.
Unlike any other animation software I've ever seen, where you have to select a region(or within a certain region) of frames to be onionskinned.
- Lost Marble
- Site Admin
- Posts: 2347
- Joined: Tue Aug 03, 2004 6:02 pm
- Location: Scotts Valley, California, USA
- Contact:
-
- Posts: 14
- Joined: Tue Jan 25, 2005 5:05 pm
- Location: The Hague, Holland
Thank you, Lost Marble, I appreciate it.
In response to Toontoonz' question: of course!
If it looks right, I'll let the tweens stay in, (usually for no more than 2 or 3 frames) but if it doesn't, I'll just have to go in and fix it, don't I?
Also, I come from a traditional animation background, and I like to have complete control. And frame by frame always looks better than tweens.
In response to Toontoonz' question: of course!
If it looks right, I'll let the tweens stay in, (usually for no more than 2 or 3 frames) but if it doesn't, I'll just have to go in and fix it, don't I?
Also, I come from a traditional animation background, and I like to have complete control. And frame by frame always looks better than tweens.
Animation Tool Showdown:Trondheimfan wrote:I come from a traditional animation background, and I like to have complete control. And frame by frame always looks better than tweens.
Just a thought.xxx ... was created with traditional animation methods in mind so that it could easily be adopted by those who are already used to working with a film camera, and peg-and-paper system.