sandsuna

【2025/03~05】Process - 🧪Accident (Part 10) | 過程 - 🧪Accident (Part 10)

Added 2025-03-19 16:34:26 +0000 UTC

Concept | 概念

Welcome back to another part of Accidents! The theme this time is "Tentacle + confined environment (vore)". I want the end product to be two videos: First, a tentacle/vore animation. Second, package the animation to look like Ġrapes' employee training video.

The training video's goal is to teach employee on what NOT to do when there's a lab outbreak. The video includes both the correct protocol and the bad demonstrations. Of course, the "bad demonstrations" will be animation of our lovely Orbi's unfortunate accident with the creature (👉｡•̀ᴗ-)✧👉

The training video will be a great opportunity to explain to the readers on the creature's settings and abilities.

Below is a rough script for the training video:

歡迎又回到Accidents系列啦！這次的主題是「觸手 + 狹窄的空間（丸吞）」。最後我想生出兩個影片：（1）觸手/丸吞動畫、（2）將這個動畫包裝得像是Ġrapes的員工訓練影片一樣。

員工訓練影片的目的是教導員工該如何應對實驗室的意外。影片包含了正確示範與錯誤示範，而「錯誤示範」必然是我們最愛的Orbi出意外的片段囉(👉｡•̀ᴗ-)✧👉

這訓練影片將會是向員工（與讀者）解釋這個生物的設定的好時機，以下是訓練影片的草稿：

If you have good ideas for Ġrapes' tagline, feel free to submit them below (?

要是有好的Ġrapes標語想建議的話，歡迎下方留言（？

Storyboard & Setting | 分鏡與設定

And some irrelevant doodles

還有一些不太重要的塗鴉

3D Scene | 3D場景

I want the lab to have a super high ceiling so that it can fit these giant culture tanks. The tank at the focal point will malfunction, leading to the warm red hue contrasting with the overall cool colored environment. It should look both very sci-fi and dystopian XD

我想要實驗室有超級高的天花板，這樣才可以塞入這些巨大的培養槽。在焦點的培養槽會失靈，閃爍出溫暖的紅光，與冷色的環境做出對比。這環境應該要同時看起來很科幻又很反烏托邦XD

Draft | 草稿

My original design here is to let Orbi pick up a crowbar, but my brother suggested this stick thing that's used to supress opponent. He reasoned that, a researcher's first reaction to its creation escaping probably wouldn't be to kill it, but rather try to recapture it again, which I thought was a fair point🤔

我原本的設計是讓Orbi拿起一根翹棍，但我哥反而建議了這支防暴叉。他的理由是研究員遇到自己的創作逃跑的情況時，第一個想法應該不會是把它殺了，而是嘗試把它抓回來，我覺得挺有道理的🤔

This is inside the throat of the creature, getting swallowed and slowly stripped. You might feel like the space is not tight enough for vore theme, that's because the space will be deformed and animated in Live2D, so I need to draw it straightened out and top-bottom separated first to achieve the best result when squeezing everything together in Live2D!

這是在生物的喉嚨內，一邊被吞噬、衣服一邊被脫光。你可能會想說作為丸吞主題，這個空間好像還不夠緊，但主要是背後有Live2D的考量。為了讓結果最好看，我會先畫觸手牆被拉直且上下分開的樣子，之後才在Live2D變形把空隙貼合！

This close up is the right half of the screen for this scene!

這個特寫是這一幕的右半邊！

aaaaand the final destination when the predator decides to keep you as their surrogate and their involuntary semen donor ⁄(⁄ ⁄˘⁄･⁄з⁄･⁄)⁄

當該生物決定把你留下來當代孕工具以及非自願的捐精者時，你就會抵達這個最深處 ⁄(⁄ ⁄˘⁄･⁄з⁄･⁄)⁄

Base Color | 底色

Lighting & Grayscale | 光影＆灰階

Here's the million dollar question, when you're inside the creature, where does the light come from...?

It doesn't really make sense for the creature to evolve the ability to glow in their digestive track since it doesn't serve much of an evolutionary advantage. So... this is where artistic license comes in, there just is light lmao ∠( ᐛ 」∠)＿

The way I contrast inside from the outside is by using strong direct artificial light on the outside, but on the inside, it's a soft diffused light. This should better hint at the difference in environment

重要的難題來了，當你在生物體內時，光源是從哪來的…？

讓生物的消化系統自帶螢光效果其實不太合理，畢竟從演化論的角度來說，這樣的發光功能並不能有效提升該生物的存活率。所以解法就是藝術家說的算，總之有光就對了 ∠( ᐛ 」∠)＿

我對比體內與體外的方法是讓體外的光源有強度很高的人工直射光，而體內則是柔和的漫射光，這樣比較容易暗示環境的轉變

Colored Draft | 草稿上色

This will always be one of the most satisfying steps, seeing all the prep work come together is so satisfying (๑˃́ꇴ˂̀๑)

這絕對是最爽的步驟之一，看所有繁瑣的前置準備一起綻放的感覺真的好爽啊(๑˃́ꇴ˂̀๑)

Because the skin needs to feel more slimely and slippery than usual, this time, I developed a different brush for doing the skin highlight. The effect turned out better than I anticipated!

Next step will be rendering hell once again _(´ཀ`」 ∠) Thank you guys being patient with me!

由於這次的皮膚必須比平常更光滑，我研發了新的高光筆刷。效果比我預期的好不少！

接下來的步驟就是細修地獄啦 _(´ཀ`」 ∠) 謝謝你們耐心的等待！

Rendering (Character) | 細修（角色）

A little fun fact: I looked at a lot of deep-sea animals when designing the creature this time (?), above are some of the references I used :3c

為了設計這次的實驗生物，我參考了不少深海的生物，以上是我這次存的一些參考資料 :3c

Rendering (Background) | 細修（背景）

One trick I found very useful when doing complex background is to first create masks of different sections first. This way, when I'm rendering, I can easily add and subtract my selection by using the mask folder! This is especially useful when adding big effects such as fogs or glow

我發現在畫複雜的背景的時候，先把不同區域的遮色片做出來，整理成一個資料夾能提升不少效率。這樣在選取要細修的部分時，只要拿資料夾內的圖層加加減減就能圈出我要影響的區域了！這對於安排大範圍的效果挺有幫助的，例如加入霧氣或是光暈

Post-Processing | 後製

I tried squeezing the color a bit more into just red and blue for better temperature contrast 🤔

為了讓溫度對比更好，我試圖將顏色更往純紅與純藍的方向去壓 🤔

Slight tweak for the contrast here to better focus on the special milking tentacle

稍微調整了一下這區的對比，讓榨精觸手更能跳出一些

Draugnut's Suggestion | 爪爪的建議

@Draugnut made a really good suggestion on exaggerating the size of the head and the tilt of the neck to better lead the viewer's gaze around the image. He also mentioned that Orbi's neck being shrunken into his body seem a bit too exaggerated; hence, the neck was pulled out a little. There were also some miscellaneous changes to the fabric's shape design!

@爪爪給了一個超讚的建議：他建議我把實驗生物的頭大小誇大、並且將脖子稍微傾斜，這樣能更好引導觀眾的視線。他也提到了Orbi的脖子似乎有點太縮，並且稍微拉出來了一點。同時也強化了布料的造型設計！

Draugnut mentioned that, for continuity sake, it seemed a little weird that Orbi's back is suddenly facing the monster's mouth in the next frame. After discussing a few possible solution, we decided to add another monster on the edge of the frame which Orbi is unaware of, that will attack him instead.

爪爪提到在下一張的構圖裡，Orbi背對著怪物的鏡頭似乎有點不合理。在討論了幾個不同的修改方案後，我們決定在畫面邊緣多加一隻逃出了，但Orbi沒注意到的生物，而這隻生物才是實際吞下Orbi的兇手。

Some subtle changes to the feet and thigh shape in this one. It's not very visible when the tentacles have engulfed him XD

Huge thanks to Draugnut for his critique ᕙ( •̀ ᗜ •́ )ᕗ

這邊有小改一些腳與大腿的形狀，可惜被觸手包好好的看不太出來XD

非常感謝爪爪給的建議ᕙ( •̀ ᗜ •́ )ᕗ

Time for Live2D hell 🌚

又到了Live2D地獄時間囉🌚

Live2D Parameters | Live2D參數

Accident pt10 Live2D Scene 1

Accident pt10 Live2D Scene 2

Accident pt10 Live2D Scene 3

Accident pt10 Live2D Scene 5

光從影片應該就能看出這次的作業量有多誇張了吧…

這又打破了我最複雜的Live2D紀錄 _(´ཀ`」 ∠)

Ġrapes Logo Animation | Ġrapes 標誌動畫

Because I'll also be packaging the animation as a Ġrapes employee training video, I figured I need an intro animation for them!

Above is the super rough draft to plan out what the animation will be like, and below is the final result animated using After Effects!

由於最後動畫會被包裝成Ġrapes的員工訓練影片，我覺得是時候讓Ġrapes有個開頭動畫了！

以上是用來規劃標誌動畫的超級粗略草稿，以下是用After Effects完成的動畫！

Grapes Logo Small Watermarked

Huge thanks for my son, Aile (@aile_vtb) for doing the sound effect for this logo!

If you have a perfect pitch, please don't listen too carefully ⌓‿⌓(?

特別感謝我兒子，艾魯（@aile_vtb）幫忙做了logo動畫的音效！

如果你有絕對音感的話，千萬別聽得太仔細 ⌓‿⌓（？

Editing | 剪接

I used to add SFX and subtitles to animations using After Effects, OH BOY WAS THAT A MISTAKE. It was like trying to chop down a tree using a Japanese knife instead of an axe, both are great tools, but I was using it in a totally wrong context.

Using Premiere lead to a much faster preview and rendering time and it was surprisingly easy to pick up. I'll be using it to do more video editing works in the future, and leave the complex tasks in After Effects.

我以前都會拿After Effects來加音效和字幕，只能說我以前真的好笨啊啊啊啊。這跟拿三德刀砍樹一樣沒效率，我該拿的是斧頭才對，兩個都是很好的工具，但完全被我用錯地方。

Premiere除了預覽跟輸出的速度都快很多，而且上手也挺容易的。未來我應該會用Premiere來做更多影片剪接，把困難的任務再留給After Effects就好

This is how much SFX was used for the 11minute animation ( 'ω')👌

11分鐘的動畫所使用的音效量 ( 'ω')👌

This is the timeline for editing the Employee Training Video

Thank you guys for patiently waiting for this super long project to finish (ง ˘ω˘ )ว

而這是用來剪接員工訓練影片的時間軸

感謝你們耐心等待這個超費時的作品誕生(ง ˘ω˘ )ว