![]() ![]() That way you can turn on/off or lock the layers to work in a less cluttered environment. I always start with the creation of separate layers for every single character/object that the shot will need. You must be thorough when starting to work on a shot: a good planning is essential to avoid problems later due to lack of order. The outliner is also a useful panel for jumping between scenes and when you have several cameras or objects parented to GP. The main panel that I use most often for storyboarding in my Layout is of course the 3D view, but with some display config that helps me work better: “Only render” to avoid distraction when drawing (this checkbox will go On/Off often) and “World background” with a light gray color is best suitable when using a black pencil brush. #How do you prepare a scene for GP layout? Working on the full storyboard for Agent 327 test animation just confirmed GP as an excellent tool for the job! ![]() It merges the best of storyboard artistic freedom and the precision and dynamics of an animatic in one single process (storyboard+animatic), so I started calling it storymatic! :) When I finally had the opportunity to test GP2 in production for the first time for Caminandes-Llamigos I quickly realized that the new GP tools open a whole new world for visualizing stories way beyond storyboards. Only by the end of the storyboard work for Cosmos new features appeared for GP and I started to make some tests in order to use it as a storyboard tool. ![]() No doubt the new GP is an amazing tool for storyboard work! By the time we started working on Cosmos Laundromat we didn’t have a complete and reliable tool in Blender to make storyboards and we also had a tight deadline, so I decided to go the traditional way while Mathieu (Director) made the animatic edit. ![]() In the final section he also shares some tips and tricks! In this interview with Matias Mendiola (story artist for Cosmos Laundromat, Caminandes and Agent 327) we go over his workflow with Grease Pencil. ![]()
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