The plan is always unchangeable, and according to Lu Ge's plan, the theme of the next comic will still be the kind of comic that is open to the brain and particularly depressing. Pen % fun % Pavilion www.biquge.info

However, because of the incident of the family association, his heart palpitated for a long time, and he finally gave up and turned to create a fresh and beautiful comic.

Although the final result is still sad, at least the atmosphere will not be as gloomy as "Magic Circle".

Because the next work is directly anime, and "Digimon" is also being serialized, Lu Ge will not serialize new manga in Drawing Soul Weekly for the time being.

After all, even if it is copied directly, a person's energy is limited.

As for the planning of the original animation, it can be regarded as a long time of planning.

Originally, Lu Ge thought that there would be a gap after "Magic Circle", and his new work would not be available to his fans until July.

But he didn't expect that after talking with those professional animation companies, he found that there was no need to think, assembly line work, how many people there were, how many speeds there were.

Lu Ge's next work is to tell a plain story, without storyboard technology, just a story telling one painting after another.

In particular, the outline of the combination of Lu Ge's story and the picture, the animation company does not need to create a second course, just use it directly.

Whether it's animation or film, the pre-planning arrangement and the post-production start manual work generally take half and half of the time.

And now Lu Ge has copied most of the storyboards of animation in another world, and many animation companies don't need to discuss how to create, just use it.

Think about it in "White Box", when the animation company where the protagonist works makes some animations involving professional fields, you have to check the information and conduct on-the-spot observations, so you can know the time of making animation, and the real big head is not those repetitive and circular intermediate paintings.

Instead, a few leaders stopped to discuss how to do the next animation, and the concept artist spent a lot of time thinking about how to present several important images and how to design the style of buildings in certain backgrounds.

Most of the time, it's still spent on originality.

When a manga is turned into an animation, whether to redesign the characters, whether to change the way of telling the story compared to the comics, how to arrange the beginning and end of the entire story of the animation, how to design a large number of scenes, and use that place as a reference, BGM's choice should invite the composer, and how the story of the next episode should be arranged to attract the audience.

This large number of things, in Lu Ge, who is equipped with the memory of the animation of his previous life, has all become a problem that does not need to be discussed at all.

There are still a lot of problems that need to be solved in the conversion of comics to animation.

Animate to animate, 90 percent of that problem is eliminated, and most importantly, Lu Ge also has the ability to express the effect he wants.

Draw!

As a creator, the most important thing is to give the most intuitive expression of your ideas to your subordinates, so that your subordinates can understand simply and clearly what the leader wants, and I can move forward towards this specific and intuitive goal.

And painting, without a doubt, is a means of obvious effect.

In particular, Lu Ge himself has a team of assistants who have honed two comics, and the tacit understanding is not bad, which allows him to show more of his own ideas for this animation.

The original animation was handed over to an animation company with rich production experience, and in this quarter, the manpower is also very abundant.

Lu Ge was in such a team and became a deputy overseer.

The supervisor is responsible for solving various technical problems that arise in the animation, while Lu Ge is responsible for proposing requirements.

In such a team, the most Lu Ge did was to recall the impression he had in the animation of his previous life, while drawing a picture in his hand and saying, "What should I imagine the picture to be." ”

To put it simply, Lu Ge uses stick figures or words to draw most of the original storyboards in an episode of animation.

Then let yourself have some tacit assistant team to complete these pictures, and then give these assistants to the animation company.

Using this as a reference and foundation, you can complete the middle painting or other things, and save a lot of time for thinking and creating.

For the above reasons, there is a lot less time that is pondered in general animation companies, and in the eyes of copyists who use Lu Ge's previous life animation as a template, it is a rip-off time.

Most of the time spent on animation production is naturally saved.

At this time, Lu Ge also felt that the higher the position, although the work was less, the scope of influence was great.

Ordinary animators have endless intermediate paintings, but his influence on the whole animation is only those intermediate actions without any characteristics, while the original artist draws some important pictures on the basis of the animator, and the storyboard artist is above the original artist, limiting the original artist's expression of each important picture.

The scripter designs the whole story process on top of the storyboarder, requiring the storyboard to show the story he writes with pictures, and then the producer pays to pat his head to decide what kind of story the storyteller should write.

Love? Plane battles? Fantasy?

Original or adapted.

In this, the producer should be the one who has done the least work, but he is the person who has the greatest influence on an animation, he directly determines the birth of the animation, then the scripter decides how the story of the animation is structured, and then the storyboarder, who determines what kind of lens these stories are used to represent the audience.

It's pretty much a straight line of a simple and crude animation relationship.

Of course, in reality animation is certainly not that simple.

After all, there is also work on dubbing, coloring, acting, etc.

By the way, there is also the supervision that coordinates the entire animation work, which seems to do everything, but there is not much supervision to do, but it is in the animation production industry, another straight line, and the grassroots position is probably going to be from the position of Miyamori Aoi in "White Box" - production and development.

These positions all fall under the category of co-ordination.

It's just that the supervision and coordination are large, and the production and coordination are small.

And the work that Lu Ge does on the line of animators, from top to bottom, is almost at the level of concept artists, but the way he works is through an experienced team.

There is only the level of animator, which is where he does not point fingers at all.

The matter that needed Lu Ge to pat his head was almost decided, and Lu Ge, who had been busy for a while, finally had a period of rest.

…… (To be continued.) )