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Kind: captions
Language: en

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On this special episode of Scribble Kibble:
Adventure! Fire! Romance! Snakes! Because

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this is a show about animation made by an
animator. And animators… can do anything.

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Mmmmblaaahhhhh.

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Tigtone is the featured animation, and I’m
excited to share the odd animation technique

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behind it.

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I love this animation so much. It’s a massive,
brilliant joke about fantasy movies and games.

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But if that’s not your schtick, surely you
can still appreciate the captivating, grotesque

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animation of these amazing illustrations.

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Have you ever seen some of the behind the
scenes of a live action movie where you’ve

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got someone in a spandex suit with all these
little balls or dots attached to it walking

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around?

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That is essentially how Tigtone is animated.
It’s called motion capture. Or performance

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capture. That works too.

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Mike here has a bunch of dots glued directly
to his face. He orients himself to line up

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with the general position of the finished
artwork. Then the studio films him. They don’t

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need special cameras to do this; it’s the
software that does the work.

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Just like with animation software, there is
a plethora of motion capture software to choose

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from. Maybe you’ve played with a webcam
face identification program that turns the

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image of yourself into a talking dog or cartoon
person. That type of motion capture tries

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to read the position of your nose, eyes, and
lips to mimic your movements. Right now that

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type of motion capture is not very precise.

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Or maybe you’ve seen Dog of Wisdom. That’s
animated with a motion capture device called

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Leap Motion which reads the position of your
hand.

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Tigtone is a step up from those. Motion capture
software tracks the position of each of these

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balls to determine the morphology (the shape)
of the face and its muscles as the actor talks.

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The data on those positions is then translated
onto the artwork.

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Motion capture technology is getting better,
but it isn’t perfect. Motions that look

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normal for the actor may translate weird onto
the fantasy character, so animators have to

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go through and make a lot of adjustments to
the character animation after the fact. Tigtone

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probably did a lot less of the cleanup phase,
leaving the animation in its bizarre, “uncanny

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valley” state most of the time. Leaving
it weird is the point.

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Parts of Tigtone that don’t require motion
capture can be done with relative ease using

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a puppet pin warp tool and a ton of tweens.
The pen and hand here are flat pieces of art

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that only change in position and rotation,
no warp.

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You can poke around on the internet and find
highly detailed illustrations animated in

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this way. Sometimes people get permission
to use a really fancy piece of art and puppet

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warp it to make it look like the hair is moving.
The example I’m showing is drawn by the

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artist ____ and animated with permission by
____.

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For more complicated items you can actually
record live action of household objects and

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motion track parts of those. Like this cape
could be a real world piece of fabric with

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dots attached to it, filmed just like they
did to animate Tigtone talking. A motion tracker

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in an editing program would track the dots
on the fabric, and that data would be applied

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to the cape art.

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I’ve done this before to record the position
of characters, but I did have to go in and

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frame by frame fix a lot of parts where the
motion tracker in After Effects didn’t calculate

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right and was jumping all over the place.
In the end it would’ve been easier to animate

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the motion paths by hand.

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By the way, Cartoon Network recently trademarked
Tigtone. So… Adult Swim maybe?

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Yea, step closer traveller, and I shall tell
you the tale of the artwork I have seen. Wolves

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with twinkling eyes gazing to the skies. Traveling
long distances in search of a greater purpose.

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Those who are puffed up with pride, those
who are fluffed up in fancy, and those who

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must eat packages of dry scribble spaghetti
to survive.

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Skye Wascoe
CharlieDoodle

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KidCryPie
McKenzie Burns

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LAWFUl
XxCobaltChaosxX