Here I rest easy and let the new features in CTA 5 bring my 2D character to life.įor compositing, I relied on After Effects. ![]() The only exception was utilizing a 3D walk cycle, which makes 2D character animation in CTA 5 a breeze. I then began outlining the movements by keyframing essential actions and facial expressions. If you set up your character properly in a PSD Editor beforehand, it becomes simple to use in CTA 5 with these tools. While it may require some time investment, it will definitely pay off in the end, as it did for me when I was a beginner to rigging.ĬTA 5 has a great feature called the 360 Head and Facial Animation Set Up. Reallusion's website has plenty of examples, and you can also find helpful videos and courses on platforms like YouTube. If you're just starting out with animation, I recommend studying existing examples of how the rigging templates work and how characters move their joints and facial features. All I had to do was swap out the default 2D character design and sprites with my own creations. To rig my characters, I used Reallusion's PSD templates, which are incredibly user-friendly and intuitive. Not only did these props save me time, but they also helped maintain visual consistency and continuity between scenes. To populate the scene, I drew various reusable props such as loose rocks, cacti, and skulls, which I scattered strategically in different backgrounds throughout the story. With Cartoon Animator 5 (CTA 5), I was able to layer the mountains and ground planes to give the scene more visual interest and enhance the dynamic camera movements in my animation. Starting with a basic horizon line in my initial sketch, I gradually added layers to create a sense of depth and dimension. To set the stage for my story, I envisioned a desolate desert landscape, a place where you wouldn't want your car to break down. The initial steps of creating an animation aren't very different from those of a painter or sculptor, that is starting out with the broad strokes before splitting hairs. As long as they serve the purpose of establishing the story, they don't have to be perfect. My storyboards are usually loose and sketchy, often featuring stick figures instead of detailed characters. This saves me a lot of time and allows me to visualize what visuals or action sequences work best for my story. Once my thoughts are captured, I create all my panels in Photoshop. ![]() It all begins with an idea, which I jot down using keywords and sketches on my iPad.
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