Posted by Julian Grant on January 5, 2012 at 5:01am
As I continue to evolve the roto look on my latest film, I am leaning towards a limited edition graphic novel using frame grabs and stills from the finished film. Here's an example of this approach. The real issue for me is being able to see my actor's eyes - this is where the audience falls in love - but also keep the manga inspired styling that I so adore.
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the eyes is a tough one if you were to bring back detail just in the face/eyes the effect would look "fake." It would trigger the uncanny valley response in the audience perception and the would be more distracted than engaged.
You can always manually brush some of the original source image back into individual movie frames to add some eye detail. Nina Paley used this to great effect on one of her Studio Artist projects. She rendered a paint animation. then loaded that as a movie layer and hand painted in the eye detail for each frame.
Another angle on this is to pre-process your source video in the eye or facial feature regions to make the dynamic contrast of those features better, prior to rendering the source movie.
You can also work with the visual error options in things like path end or path application control panels to work to limit overdrawing. If the source image or source frames really have the contrast details that differentiate the eye detail, then these paint synth options will work to prevent accidently overdrawing them.
Something that adaptively boosts the contrast, is also a great pre-processors of source images or source video frames (prior to rendering the enhanced source material). You can often dramatically over-enhance the source in a way that would not work if that was the actual output, but as a source for paint processing, might lead to much better painted results.
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the eyes is a tough one if you were to bring back detail just in the face/eyes the effect would look "fake." It would trigger the uncanny valley response in the audience perception and the would be more distracted than engaged.
You can always manually brush some of the original source image back into individual movie frames to add some eye detail. Nina Paley used this to great effect on one of her Studio Artist projects. She rendered a paint animation. then loaded that as a movie layer and hand painted in the eye detail for each frame.
Another angle on this is to pre-process your source video in the eye or facial feature regions to make the dynamic contrast of those features better, prior to rendering the source movie.
You can also work with the visual error options in things like path end or path application control panels to work to limit overdrawing. If the source image or source frames really have the contrast details that differentiate the eye detail, then these paint synth options will work to prevent accidently overdrawing them.
Something that adaptively boosts the contrast, is also a great pre-processors of source images or source video frames (prior to rendering the enhanced source material). You can often dramatically over-enhance the source in a way that would not work if that was the actual output, but as a source for paint processing, might lead to much better painted results.