We were concerned that, over the lifetime of a piece of software, we could be outlaying thousands of pounds and ultimately not own it once your subscription comes to an end, after paying a lot of money, you no longer have access. We were looking around for alternatives to the subscription pricing model. How did you first discover Affinity and what made you stick with it (are there particular features you use all the time)? Galdo’s Gift is a children’s picture book, downloaded onto a tablet, that comes to life and speaks to the reader.Ī double page spread from Galdo’s Gift. Tell us about your award winning project Galdo’s Gift-The Boovie. We then bring all these elements together in Photo and use various blend modes and colour corrections to create our final texture sheets. It’s a very therapeutic part of the process, away from the sometimes distracting environment of the computer. We like to create our mark-making and textures in the real world as much as possible, that means experimenting with paint and pencil before any computer work is started. “When you don’t have the budget or resources of Pixar you can always take the handmade charm route!”
When you don’t have the budget or resources of Pixar you can always take the handmade charm route! It’s really important for us to keep a handmade quality to the visuals. How do you retain that hand-drawn look in your finished, digital product? and to make sure we output with the correct embedded colour profile for the particular print shop requirements.Ī screenshot of one of the character puppets being made in pieces in Affinity Photo. Designer has all the settings we need to create colour bars, crop marks etc. We also use Designer to create our branding and design layouts that we send to print. We then convert these selected areas into mattes grouped with adjustment layers and scanned textures to build up a ‘texture sheet’ which is used to add material texture to the 3D models.Īffinity Designer is used to create the SVG shapes, based on our final ‘texture sheet’ that forms the structure of the final 3D model. We use Affinity Photo for the colouring and texturing process, using the really useful selection brush to isolate areas ready for colouring. Affinity has been our mainstay for a long time now.
AFFINITY PHOTO ANIMATION SOFTWARE
We’ve become very no-nonsense in our demands for software that performs well and doesn’t get in the way and we love using software which is made in complete service of the user no strange quirks, no demands or distractions. How has the Affinity suite become part of your animation process?Īffinity has become a crucial part of our workflow. Please turn on JavaScript to view this video Creating and animated commercial: an overview. In fact we found out much later that we had both worked on some of the same films. But also, like Trevor, I’ve had the pleasure of working on feature films too, creating the props and sets. Graduating with a masters in sculpture from the Royal College specialising in glass, I’ve been fortunate enough to have my architectural glass work adorn buildings around central London including Regent Street and The Royal Geographic Society. My work involved leading teams and supervising sequences tasked with compositing the digital effects this is the final stage of the visual effects process when all the elements of a shot are brought together.Įleanor-My past career is deeply rooted in fine art. This involved working with some of the industry’s top directors such as Guillermo del Toro and Terry Gilliam. Trevor-I spent over 15 years in the world of visual effects for feature films (including big franchises like Harry Potter, Hunger Games and Hellboy to name drop just a few).
Please turn on JavaScript to view this video What are each of your backgrounds and experience and how does it inform the work you do at Tapocketa?Įssentially, although our backgrounds were in different creative fields, they come together very well to inform our work style and all we do here at Tapocketa.
0 kommentar(er)
