And then the videographer would hold his phone up to the viewfinder of the camera and I would say, “Okay, I need you to stand here and pretend like you’re floating underwater.” For In My Eyes, ford and a videographer friend of his went out to a bike path and FaceTimed me. That was probably one of the big challenges, and it’s been a challenge for me throughout the last year.
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Let me see how cool I can make it and then I’ll try and fit it into this world somewhere.”Ī still from the ‘In My Eyes’ music video, provided by Mitch Pond Speaking of the footage, how did you get the live-action shots for the rotoscoping? It was an interesting process of just saying, “Okay, I’ve got this footage. That was just the skeleton - then I would go into Toon Boom and find a cool technique and get some good imagery going, and then hang that on the skeleton. I had this idea of going into yourself, underneath your subconscious to find the creative spark and how that bubbles up and takes a physical form when you make art. They had sent me all of the album artwork for In My Eyes and gave me an idea of what they were looking for, like the lotuses and lilies. How did you come up with the visuals in those videos? I got my process down through that and when I turned that one in, they were so happy with it that they asked me to do the Fruit&Sun video too. I wanted to see how far I could push this technique and if I could carry a whole video that way. We started with the In My Eyes music video and that was the first project I used the Morph tool on. I was contacted by his record label, who saw some work I had done for an artist called Somni. We caught up with Mitch Pond to chat about how he taught himself to animate, his work on the In My Eyes and Fruit&Sun music videos and his tips for using rotoscoping using Toon Boom Harmony.įord’s Fruit&Sun music video, rotoscoped by Mitch Pond in Harmony I did not realize that you were a musician prior to animating, but it makes sense! How did you connect with ford and this project?
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Spoiler: his first video was so good, ford asked him to do another.
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Verzache) and Fruit&Sun for American musician ford.įor both productions, Pond used Harmony’s Morph tool to save huge amounts of time while still delivering the highest levels of quality - all while being unable to capture his own live-action footage due to the pandemic. Based in Los Angeles, two of his most recent and prominent works are the music videos for the tracks In My Eyes (ft. Self-taught animator Mitch Pond works on Adult Swim’s Dream Corp LLC and during the current production break has been creating music videos. As those productions would suggest, the animation style has a distinctive dreamy quality much more realistic than the exaggerated nature of cartoons, but bringing more of a suspension of disbelief compared to live action.
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Revived in the modern era by Richard Linklater films Waking Life and A Scanner Darkly, studios have now begun rotoscoping for series including Amazon Prime’s Undone, Netflix’s The Liberators and Adult Swim’s Dream Corp LLC. The animation technique, which involves tracing over live action footage frame by frame, was first invented by Max Fleischer in 1915 and is enjoying a surge in popularity thanks to its surreal aesthetic and the increasing ease and efficiency of using digital solutions like Toon Boom Harmony. If you were to look at recent animation productions, you could make the argument that the industry is in a rotoscoping renaissance.