The final element in the scene is a small silhouette foreground character with some environmental detail. It’s good practice to create each element, of your scene, on a new layer to allow for more creative control when applying transforms and effects. They can really add a level of polish to an element or scene. It’s worthwhile experimenting with effects. This gives a look of rising smoke like wisps. I also added a pixel layer with a few vertical freehand lines with an animated distortion and blob effect to smooth away the pixel edges. For the top edge of the image I added a black gradient to give the impression of darkness above the scene. I lowered the opacity to give a hazy look and create distance between the creature and the foreground. The tentacle layer behind the creature has a reduced opacity to help convey distance.įrom this point I added a white gradient layer rising from the bottom of the canvas. By having each of the two layers transform across the length of my timeline, and having the intersection point at the midpoint of the creatures rotation, I could simplify a potentially complex sequence.
One tentacle layer is below the creature Layer, the other is above it. To give the illusion of the tentacles rotating along with the creature reveal I required two pixel layers. I wanted to add more shape to the creature so the next logical step was tentacles, because I love all things Lovecraftian. Effects like this can be found in the dedicated ‘Effects’ drop down menu or from the layer properties window. This allowed me to animate the intensity and direction of the blur without impacting upon any other scene elements. I filled each new selection with a strong yellow colour then added a directional motion blur effect to each cell. This effect was created by creating a new pixel layer for the eyes. The next step was to animate glowing yellow eyes. This is how my animation looked once I was happy the blocking of some of the main shapes. I carried on using this technique for every frame, and once finished extended the cube down to the bottom of the canvas to give the creature a body. Next, I used the paint bucket to fill each outlined area. I used the line tool to trace the outline around each colour ignoring shade altogether. I lowered the opacity of the reference animation to make painting above, on a new pixel layer, more visible.
Rotating in hexels full#
This gives the option to add each image on its own layer of the entire sequence as a single layer animation.Ĭhoosing the latter meant I could see the full animation like a flip book and I now had my rotoscoping reference. I exported the frames of the animation and then imported the entire sequence of images into Hexels, all at once, by simply dragging it onto my hexels canvas. I started by creating a short 180° turn amination with a 3d model of the Hexels monkey head Logo in a 3D package. With the new Pixel Layers allowing me to draw curves and lines in any direction, I wanted to see if it was possible to Rotoscope over imported images using the new mode. From classics like Bakshi’s ‘Lord of the Rings’ to modern anime production, rotoscope can be used in many interesting ways.īeing told Hexels was getting Pixel Mode, with the ability to combine Pixel Layers and Trixel Layers in the same document I saw this as a real game-changer for the software. I’m Mark Knight from Marmoset and I’ve always been fascinated with rotoscope animation.
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