Nonetheless, if this cloud insists on having a silver lining then the upside of rotoscoping is that I can go anywhere to do it. As beautiful as my apartment may be, it's nice to have a change of scenery. I've even had time to be able to return to the cafe in which I produced pretty much the entire storyboard a few months back, and this academic year has ushered in a new generation of staff that aren't completely sick of the sight me yet (that'll last until about mid-month I'd wager).
I think that I have worked out what makes said cafe such a conducive work environment. Not only is it tucked away within a bookstore that isn't especially well-known, it also seems to be the only cafe in the known universe that doesn't constantly play shitty music. That's a double-whammy of peace and quiet right there, so all you're left with is the mild hubbub of milk being steamed and the odd customer mulling over whether he or she does in fact want any cakes or pastries at all to go with his or her drink. Other than that it's very peaceful, and it's so much easier to get shit done when the process isn't accompanied by the fucking Gotan Project*.
Sadly, the colouring stage is all digital, and as I am a laptopless soul that means I have to work in the studio. It's a faster job than inking the frames in, but the repetition can still be mind-numbing, not to mention wrist-and-arse-numbing to boot. It does make things prettier though:
With the fill-ins and clean-up the sequence is now a lot smoother and far easier on the eye than the black and white line-drawing stage. It's a slow process, but I enjoy the payoff. This first shot makes up two-thirds of the whole rotoscoping sequence, with another chunk left to do from scratch.
So hooray! That means I can go outside again!
*They're alright, but let's be honest, nothing sounds good when it's being played on a loop for eight hours straight.
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