The speed that Gu Xue wants is not the kind of "I'll add a buff to you", but to reduce the switching of the camera and emphasize the coherence of the action, so as to make the characters look more 'fast'. + ∧ eight + ∧ eight + ∧ reading + ∧ book, ※ →o

For example, there is such a scene in the comics.

A warrior and a magician meet in a fight, 50 meters away from each other, the magician begins to chant magic, and the warrior runs towards each other, but on the way, the magician finishes chanting, a fireball sticks to the face, the warrior stops suddenly, and a donkey rolls and hides to the side.

How did you design the storyboard here?

The scene of the confrontation between the two was given first.

Then there's a close-up of the magician unleashing his magic.

Close-up of the fireball whizzing away.

Footage of a fireball smashing into the ground Baozha.

In the end, it was given to the fighters.

The soldier in the close-up looked shocked, and then he didn't know if it was blown up, he finally realized that it was not okay to run over like this, so he also began to release the sword skills that could rush forward, at this time, the camera turned into a telescopic lens, and the warrior squatted on the ground, raised his long face with one hand, and the sword began to glow.

The camera zooms in, and the fighters are ready to go.

Then the camera cuts back to the magician, a close-up of his face again, his pupils dilated, and then the camera zooms out again, and the warrior suddenly appears in front of the magician, with the blade facing the opponent's head.

Then came the magician's shocked expression, but when the shock was over, he turned around calmly, dodged the warrior's dash technique, and the triple flash opened the distance again.

The warrior's attack missed, and the turn was followed by the same set of preparations.

The above situation is repeated several times until one side releases a trick to decide the winner......

What do you think? Like a turn-based online game?

You shoot one, I shoot one, it drags on and there is no tension, although the medium of comics is very restrictive, but it is drawn like this, it is meticulous to say that it sounds good, but it is really water to say that it is difficult to hear, if it weren't for knowing that this comic was serialized in a monthly magazine, Gu Xue really suspected that Rina Shirakawa was in the water period......

This kind of draggering fight storyboard design has been criticized and complained about by many people in the comics, let alone made into the animation. C Eight 'C Eight 'C Read' C Book, ■ O↑

When the time comes, don't say that the audience is not satisfied, Gu Xue will not be able to pass her own level.

So when she designed the storyboard, she tried to maintain the combat power system in the comics while 'speeding up' all the actions.

It's still the same scene just mentioned.

Warriors and magicians face off.

If you make it into an animation, it won't be as inky.

Overlooking the lens.

Both sides are ready and ready to go.

The magician began to chant.

The warrior also immediately squatted slightly, holding the blade flat in his right hand, and directly launched the sword technique.

The camera moves behind the warrior, and after a pause, the hand-drawn void-breaking effect lights up, and then the camera pushes directly forward, following the warrior forward.

En route.

As the magician finished chanting, the fireball whistled and was facing the camera placed behind the warrior, as the fireball grew from small to large and close in front of him.

The warrior who was advancing with a one-handed sword turned over directly in mid-air, dodging the fireball at the same time, fell to the ground, and used the blade to stop the decline The moment the warrior's right leg stepped on the ground, accompanied by the fireball baozha behind him, he once again launched his sword skills to rush forward.

The camera follows the warrior all the way forward.

Just when the tip of the sword was only a few tens of centimeters away from the magician.

The magician spun around, brushed the warrior and his blade, and with the inertia of turning, he picked up his wand and struck the warrior in the back of the head, and finally three flashes widened the distance.

The warrior, after being struck, his center of gravity was unstable, but he still suddenly stopped and continued to advance, and as soon as his right foot stepped on the ground, he turned around smoothly, waved the blade of his right hand, and continued to approach the magician who had opened up the distance.

That's it.

What stands out is the sense of urgency and fluidity.

The magician did not dare to be approached by the warrior, and the warrior did not dare to let the magician sing comfortably.

The core combat system hasn't changed, but it's a lot better because both sides of the battle are in a state of urgency, not like in the comics.

Close-up, shock, and then spell close-up, fireball baozha close-up......

And the warrior will not wait until after the fireball is poured to remember that he is on fire, is ...... I know how to use swordsmanship.

Now Gu Xue is in charge of drawing the first episode of the battle card between the protagonists and Warcraft, and the same is true.

Gu Xue will reset all the key fight plots involved in the animation without changing the result and trying to maintain the flavor of the original comic book.

There is no way to change the combat system Gu Xue.

She can only try her best to make the picture look better under this established framework.

It's not easy to do that, though.

Because the shots that Gu Xue envisioned were not very easy to draw in animation production.

……

Brush.

Gu Xue opened the original painting at the bottom, glanced at the original painting that had been drawn in front of her, manually made the picture 'move', and found that there was no problem, so she began to draw the latest one.

This is the first time the male protagonist and his party have encountered Warcraft, but they haven't fought yet.

She's going to sketch out the beast now.

Warcraft is in this card, and there is no strenuous movement, so it is quite easy to draw.

And the cartoons drawn by Rina Shirakawa are not only handsome men, but also very handsome of these monsters, Gu Xue likes this kind of handsome monsters, and if she is willing to draw them, the speed will be faster.

Half an hour later.

Gu Xue got a few original paintings of Warcraft eyeing him.

She flipped through the law table, and after determining the length of stay of each original painting and the requirements for the middle cut photography, she sandwiched the finished original painting in it and threw it aside.

Then, Gu Xue rubbed her slightly sour right hand and pondered.

The first two cards are just foreshadowing, and the next thing is the official fight card.

Although the storyboard was designed by Gu Xue herself, it is really troublesome to make the picture look good.

I thought about it.

Gu Xue picked up the pencil and planned to draw a beginning.

First of all.

The camera is behind the trio of protagonists, and the monsters can be seen beyond the trio.

Seeing the monster, the first to react was the second male, he pulled out the long sword, squatted slightly, and then twisted his wrist, turned the long sword on the vertical sword of the sword body over, and then put his left hand on the sword.

The right hand holding the sword steps back, and the left hand holding the blade of the sword pushes forward.

Wait for the second man's left palm to touch the tip of the long sword.

The camera switches and zooms in to Warcraft.

An illusory sword composed of energy appeared above the demonic beast, and after spinning in mid-air, the illusory longsword that was still shaky at the beginning suddenly stood still, and the tip of the sword was facing the demonic beast, ready to attack.

In the animation, such a long sword will also appear a second one, the first", you can find this site for the first time.