Awesome! Your videos look just like mine!

Stol'd.

You can see the rotoscoping getting lazier and lazier as I got more and more disgruntled with the class.

Not that it was much to write home about to begin with.

I was responding to memedumpster, guess I should have refreshed first.

That walk cycle could have been better, but everything else is A+, also shitty classes are the worst.

You've linked to the video edit page this time. I've resubmitted the correct URL.

10/10

Awesome. This is what the 'disgruntled student of the arts' tag was invented for!

Oh cool! I get it! I almost missed this in time to reply, about my own related experience. I've never done much rotoscoping but I spent some time trying to do it off of some footage that was hard for it at least on a first attempt, and I was practicing with something easier (a person in a field playing with a soccer ball vs. people hard to see well over a background and in heavy draped clothing with shadows everywhere) , and I didn't but I easily could have known you then if I'm not confusing you with someone else. You're talking about at most 2 years before I started going to PoE red. I couldn't find anyone very interested in doing animation between 1999 and 2000, or actually since then, but stopped expecting to around '03. I was in college, too, from '98-9'9 next to a big art school where I already knew people since it was in the same city where I went to High school about a block away, and had friends who went there and others who otherwise drew alot, but only liked the idea of animation, not directly making any. I took it for granted that in a large art school other people wanted to do animation as an exclusive things-- I mean-- with an objective of making a cartoon to show off for the sake of doing at and seeing what happens, as opposed to having assignments as part of a curriculum or to demonstrate skill in some kind of category. I was trying to do engineering but found all the math too rigorous maybe in the same way. I had grown up making flip books and using a Macintosh program called HyperCard, which could display monochrome images over a background layer at perhaps 5 fps, then eventually got a program called Animation Works which was almost modern but not quite and it had a huge limitation that all of the graphics had to be stored in RAM, so 256colors at 640x480 resolution would eat up a total 3.6MB with very little material by the standards I thought were acceptable, and internal sound as well made it frustrating to do anything I wanted so I gave up on that for a few years until in Spring 1999 when I looked around for better software and was sort of brainstorming about a series of short episodes, outlining a few with someone else until no one could a) find better (affordable) software/machinery b)no one else had a macintosh or wanted to actually draw tons of pictures. And I was waiting on finding a way to use any stuff they might have in the art school, which I didn't really go inside ever. Eventually I got an idea for something to do alone that would work out within limitations if graphics were limited to 16-color pallettes, OK for mostly grayscale and maybe with added value being distinguished. And I could use as many as one palette for each frame so I did that to put flickering everywhere in time to external music and to mimic early film but cross it with public concerns over pokemon and epilepsy. I tried to give my epileptic roomate a seizure with a stroboscope in 2000 because we didn't get along, but it didn't work because of his medication and surgery so I just put acid is his drink and it fucked him up anyway. I used various frame rates averaging normally 17/sec to 24/sec but went from 11 to 60). All the pallette switching and speed changes made it impossible to export pictures one by one. Someone with the knowhow could probably get that pallette info while the program was running or know where to look with a hex editor but I don't. When finished I'd take individual pictures of the screen with acceptable contrast. It's particular about individual pixels being sharp and bright/dark.
The intended "audience" was first maybe 9 people I knew, I had to screen it from the computer it was made on since no one had their own to run it on. I kept talking about how I was working on this great thing that I was dying to show them but it would take a while and that I was on the verge of developing a whole new kind of animation so they expected it to be terrible and that they would have to humor me, at least I thought so. Anyway it was then pretty well-received so I wanted to make it bigger except there was no deadline or structure or oversight, except that for a long time I compressed it and cut out stuff to keep it synchronized with an audio track. Over years then I kept returning to it but eventuall6y lost any sense of how it might look to spectators, and always against my own judgement I also retained and expand on stupid shit which had become unoriginal but still the only thing people indicated was funny. Maybe it was demanding too much attention from any viewers, and people only got second rate copies I made that could be played on normal computers. It came to a halt in 2008 when a computer caught fire and I was mostly in the last year just experimenting with CG. I plan to finish it all some time if I can still access the file.

THE BEST WORST thing and I knew it before it happened: I should not have ever ever been showing any of it at anytime to more than a few people or until it was in an almost a completed. It provoked me to work on it more and be guided by people's erratic comments, which I learned meant nothing. I have the suspicion that when they talk about movie sand especially animation, people barely know what the fuck they're seeing and not seeing. I don't think anyone cares about the difference between what I showed them in 1999, 2003, or later between 2006 and 2012 when all they saw was a bad recording what was up in a main file in 2008. My friend whose tastes are invalid says the a new part is the best i've done yet, but he was talking about a segment I recorded off of youtube with a camcorder of a video of a flight simulator game that I imported through an AV card to see how that worked, I forget even why, but it was just a shot of a fighter plane's hud when it was locking onto a target and then some stock footage of a plane exploding.

They want to be complimentary and polite but people don't know wha tthe fuck they're even watching.. It's all about presentation and what they anticipate. People also assume that computers just "make" animation if they see that one is involved, and I must lack critical thinking if I care about what people have to say who I think have no taste and think for a minute about the kind of things they are amused by.

I was listening to an older relative once talking about Snow White being one of the greatest animated films, and I have no opinion on what that even means but I thought they'd like to know about rotoscoping since that was a big part of it. At this they were actually horrified, or they felt cheated and disillusioned if maybe for the 1st time they had imagined real people making it like that, "insinscerely" or something, efficiently and not with inhuman skills they all shared that people nowadays aren't able replicate. I even used to watch the same Disney stuff when I was 5 or 6 and got the first Disney channel programming, which is most of what I saw for cartoons that made me want to draw them. I recall a "The Wonderful World of Disney" rerun where they showed an animators drawing one of the Seven Dwarves at high speed, suggesting I think that they actually drew that quickly all the time, and they showed how cels were made on transparent layers flipping back and forth for reference. I don't remember a comprehensive display of a studio floor and all this esoteric equipment and work stations or anything about rotoscoping human-proportioned characters.