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Al K

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  1. I recently discovered a really simple way to create a quasi-onion skin effect in AD that may be useful to animators using AD for character design. This technique uses the blend options to transform an image into a gray scale image that resembles onion skin. To do this, first create a rectangle with a white fill and no border. Change the blend option for this rectangle to "hue". Now just put any images you want to show up as onion skin underneath this rectangle, and your working image on top of the rectangle in the layers panel. Voila! Possibly playing with the blend setting for "hue" might give even more interesting results...
  2. I went back to look at ClipStudio again, and suddenly remembered the main reason why I never used it - the basic edition is limited to 24 frames of animation, which is only 1 second. The EX version costs $219, which is definitely painful. I'd feel better if they had a free trial version of EX so that I could see if it was going to work for me before I spring for the money. Your recommendation has definitely intrigued me, though.
  3. Thanks for the great suggestion! I actually have a copy of the non-EX version of this software (came free with my Wacom), but I quickly got discouraged with its complexity. Then I learned OpenToonz, which was just as complex, but never made it back to ClipStudio for a retry. I really like the drawing tools in AD, so it was easy to get stuck in a potential dead end. Time to go back and retry ClipStudio!
  4. This is an old thread, but I wanted to add my suggestions to the onion skin request. I do a lot of animating, and prefer AD for character drawing because it is much easier to use than the rather crude drawing tools in many animation packages. Here is what I have to do in order to simulate onion skinning in AD. Just using transparency (alpha) for this is NOT adequate, so if AD had a real onion skin feature, it would be a tremendous help to animators. 1. Make copies of the previous and next cells. This may involve copying many layers for each cell, each with its own gradients, colors, strokes, etc. The next cell is only used when tweening between existing cells, otherwise you only need the previous cell. 2. Reduce opacity for the previous and next cells. Change the stroke colors, often in many different layers. For example, blue stroke for previous cell, red stroke for next cell. 3. Overlay the previous and next cells. Alignment can be very tricky here, if the character is moving. It would be very good if there was a way to define cell boundaries or alignment "pegs" so that the cells could be easily aligned with each other. 4. Create a new copy of the original previous cell (before modifications). Reduce its opacity but keep stroke color the same, as long as it is different from the colors used in step 2. This cell will be the one that is modified to create a tween between the previous and next cells. 5. Align copy from step 4 on top of the aligned previous and next cells. Now you can modify this copy to tween it. 6. When finished tweening, restore opacity (and possibly stroke color) to the new cell. Add it to the animation sequence. This process works, but is very slow.
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