Alongside its core line-based path tools, shape-based brushes and interactive paint tool, TBS provides dedicated features for automatically and interactively closing gaps, for filling shapes created by multiple lines, for quickly painting multiple zones, for unpainting and so on. This is immediately apparent in TBS’s drawing capabilities. What it does do is offer dedicated users some extraordinary power. And TBS’s overly technical approach doesn’t do much to protect users from the inherent complexity either. By the time you’re dealing with a cut-out character animation with peg hierarchies for every limb and multiple phoneme cels for lip-synchronising, you need to know exactly what you’re doing. It sounds straightforward, but don’t be fooled – the end results of animation might look like child’s play but producing it is another matter.
To animate a bird flying across a scene, for example, you create different cels for each wing position, set up their sequence and time onscreen in the exposure sheet and then attach the bird’s wing and body sequences to a peg that you then drag across the screen to animate. The key concepts here are cels, the equivalent of transparent overlays the exposure sheet, by which the onscreen display of cels is controlled and pegs, to which cel sequences can be attached and then automatically transformed over time. However, it’s important to realise that TBS is a very different beast to FutureSplash, based from the ground up on professional animation techniques.
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