This doesn't just apply to CGI, but to traditional animation too.That said, their animation is still pretty basic. When the series returned years later in CGI, rather than cut them to save costs, the production kept the cape and hair accurate to the original anime. The initial 80s series indulged in long fabrics and hair, like Mendoza's cape and Zia's hair. The Mysterious Cities of Gold: Averted.Digimon X-Evolution: Though they did give Omegamon and Dukemon their signature badass capes, they're awkwardly animated to a fairly visible extent.Meanwhile, Guilmon and Terriermon have smooth fur and much more robotic higher stages, lending them well to CGI (though Dukemon/Gallantmon's cape does look alright, for the three seconds it's around). Not coincidentally, Renamon is also the only one of the three who has lots of thick fluffy fur in one stage, billowy robes in another stage, and luxurious long hair in the final stage. In Digimon Tamers, Renamon was the only one of the three leads whose evolution Stock Footage was composed of traditional cel animation at every stage.But Reality Is Unrealistic and less cool, and besides, how else would the CGI animators show off their skills and technology (and their budget flowing in CGI can get expensive)?įor another approach to averting this trope, see Jiggle Physics. To be fair, in real life a lot of people's hair doesn't move much, unless they're in strong wind or fully submerged. Most game engines have rudimentary solutions in place, and some come closer than others, but on the whole, they still can't quite reach the level of detail seen in pre-rendered animation. ![]() While video game graphics rapidly improve with each generation, hair and cloth are still aspects that are difficult to realistically render in real time. The place you're most likely to see straight examples in the present day is in video games. In the modern day, however, aversions of this trope have become increasingly common to the point of ubiquity - film animators have spent decades perfecting the ability to render hair and cloth physics, and even low budget animation has improved in this aspect, with many off-the-shelf programs including physics engines in their toolkits. Just imagine the processing power required to handle the delicate and intricate clothes that flow in a Dramatic Wind. This trope is why A Space Marine Is You is still so extremely prevalent: It's easier to model and animate a bald guy (or better yet, always helmeted) wearing an armored spacesuit than it is trying to create an Elegant Gothic Lolita from Harajuku. When flowing is done right, it either is unambiguously the centerpiece of the scene, or doesn't call attention to itself but rather reinforces a viewer's immersion. Ross' hair in Final Fantasy: The Spirits Within, or Nariko's in Heavenly Sword. ![]() A lot of instances of flowing hair or gowns end up flowing too much, taking attention from anything else in the scene, like Dr. This can lead to things like, say, never showing a character sitting in bed with the covers up, and if they do get out of bed, then simply cutting away while they move the covers.Īverting this trope has long been a Holy Grail for CGI animators, which can lead to trouble. ![]() All loose fabrics will be inert, either by being drawn taut or by never having a breeze/character move them.For example, being plastic toys, computer programs, vegetables, robots that turn into animals, or ants. Films, TV episodes, or entire series would take place in settings whose inhabitants naturally lacked loose garments and billowing hair. ![]() Now, there are some low-priced and freely available feminine hair props for use in Poser or DAZ Studio that can be realistically animated with wind and gravity effects: for example, Egypt Hair by 3Dream. When they did have long hair, it would be done up in buns or heavily "moussed", becoming an immobile block. Girls and women would have short hair and wear skintight gear.To circumvent these limitations, authors and graphic artists had to make a few concessions and stylistic choices.
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