glitter

It's synthetic

As long as you have such tools.

You can do it.

You must first find the right production tools.

First time: the steps before the first step of pre-production operation.

Generally, before the so-called animation production, there is often a short (or a little painful) pre-production operation. Pre-production operation refers to the preparation for starting production. But what about the front line before production?

In front of the system is planning.

There are two kinds of "planning". The first is that at the annual planning meeting, the boss of an animation company or a producer with a little loud voice sees a very interesting and famous animation or novel, and thinks that making an animation should be quite profitable, so he calls the agent of this animation or novel to see if he has the right to sell an animation. If not, he began to negotiate the right of "sometimes long, sometimes short, sometimes painful, sometimes happy". If you see the word "original" at the beginning of the animation, most of them belong to this type.

The other is the director or animator under the animation company. Because he didn't draw and submit the manuscript on time, he thought it would be interesting to make an animation, so he began to write his own plan and then gave it to his boss. Fortunately, if the plan is passed, the boss or producer will look around for financiers ... oh, no, sponsors will respond to the great plan together. If you see the word "original case" at the beginning of the animation, it probably belongs to this type.

Please don't ask what to do if the negotiation fails or the plan fails. The answer is simple: if the negotiation fails, look for the next goal; If the plan fails, write another plan.

The second time: after the negotiation is successful or the plan is adopted.

Let's talk about the next step of the animation company when the original plan is passed.

Animation companies basically don't have the funds to independently produce animation works (whether TV or OVA), so when animation companies want to make original works, the most important thing is to put forward a proposal to sponsors (* 1) to see if they are interested in investing. If the sponsor is not interested in the new work proposal put forward by the animation company, or thinks that the product (*2) has no market value, then this proposal 100% will never be seen again.

Compared with the original case, the animation planning of the original (*3) is usually easier to pass the sponsor. Because the original works basically have a fixed customer base (*4), the sponsors are psychologically more secure and more willing to invest in adapting the original works into animations and selling related products to recover their investment.

So in what form is this proposal presented to the sponsors?

For American production companies, they will make pilot movies first. The so-called pilot film refers to the essence of short films and is the main weapon for sponsors to persuade investment. However, in Japan, animation companies usually have no funds to make pilot films, and they often submit proposals or scripts to sponsors in paper form. Therefore, the script may be completed before the pre-production job. Because the more sponsors understand the "interesting point" of the original work, the more they can impress sponsors and get production funds.

* 1: sponsor-sponsor. Usually refers to film and television production companies, such as Bandai Vision, Pioneer LDC or Kind Record ... and so on. Traditionally, film and television production companies have to produce animation works, and animation production companies are only outsourcers. It is within the last ten or twenty years that the animation production company took the initiative to put forward the plan of production funds.

*2. Commodities: Undeniably, any entertainment film and television works are commodities. It is not difficult to understand as long as you look at the popular animation or film works.

*3. Original text: including comics, video games and novels.

*4. Customer groups: popular cartoonists, novelists or video game lovers.

The third time: how to calculate the production funds?

Theoretically, the calculation program is simple.

Suppose a film and television company estimates that an animated work (a 30-minute DVD) can sell 1000 sets, and then suppose that a DVD sells for 4000 yen, 1000 sets x￥4000 =￥4000000 sets.

That 4 million yen is the production cost. All the funds allocated to the production department are included in this 4 million yen. For example, we will introduce animation directors, role stylists, split-mirror animators, main-mirror animators, grassroots animators, music designers, color editors, packaging designers and so on.

In this way, it is very simple to calculate the cost. But in fact, how to estimate how many sets of an animated work can be sold depends on the sales experience of film and television producers, the popularity of animation directors, the charm of role designers and the popularity of seiyuu. These human factors make it difficult to estimate the production cost. For example, every animated film directed by a famous director will become a box office record of Japanese films and will win prizes at international film festivals, so the sponsors will give him much higher production funds than other works. With sufficient production funds, he can increase the number of shots, invite famous seiyuu (or actors) and music production groups, and improve the popularity and publicity effect of the products. If you are a newcomer and have no "achievements", then the funds may be less. Because the film and television company has no comparison benchmark (the performance of newcomers), it will be more cautious to invest in this new project.

Fourth pass: homework before production 1: script (* 1)

From the picture below, we have roughly explained several important steps before doing homework. From this time on, we began to explain the process of pre-production one by one. As you can see, the first and most important step is "scripting". All figure design (*2), mechanical design (*3), art design (*4) and directors should make composition according to the script. Therefore, no matter what kind of planning, the script plays a very important role in the production process.

We mentioned for the second time that the script may have been completed at the project stage. In that case, will the script be revised again after the plan is passed? It depends on the opinions of producers and directors. In the picture on the left, you can see the word producer (*5). Producers are responsible for the success or failure of an animated work. So if the producer has a problem with the script (not attractive enough), the screenwriter (*6) will modify the script. Of course, if the director has an opinion on the script and the producer agrees with the director, then the revision of the script is inevitable. Furthermore, although the director doesn't agree with the preliminary script and the producer doesn't think it is necessary to modify it, the script will not be modified either.

General animation companies don't have exclusive script writers, and most of them invite freelancers (some of these screenwriters are SOHO, and some set up studios with several like-minded screenwriters, such as the famous studio Orphy) to write manuscripts. The reason why we don't hire an exclusive screenwriter is because the script is not a department that needs it all year round. So if necessary, just sign a project contract with the scriptwriter. However, a few traditional animation production companies with a long history still have their own scriptwriting departments.

Script writing is not a simple matter. Different from novels, the actions and feelings of all characters need to be described in detail as bystanders. For example, a character is angry. Because everyone is angry in different ways, we should not only describe how he is angry, but also describe his actions in great detail to illustrate the character and characteristics (for example, Taro is furious = Taro clenched his fist, his eyes became a line, how the sweat dripped from his forehead, how the fire on his head became angry ...). The special way of writing plays makes a novelist sometimes unable to become a good playwright. And good scriptwriters are rare.

Section 5: Pre-production Homework 2: Directed Works (* 1)

The director is the leader of the whole animation production team. There is no certain benchmark for Japanese animation industry to judge the qualification as a director. At present, famous directors have different processes of becoming directors. Some of them switched careers from the film industry, some started as animators, some were screenwriters and directors, and some started from scratch. Generally speaking, most directors in the early stage of animation started from the production management (*2) who participated in animation production for many years, and then they were upgraded to directors or switched to the film industry. However, with the migration of the times, most animation directors are animators at present. The charm of being a director is that you can decide the direction of your work. But because the director decides everything, the work is busy, and the success or failure of the work lies with the director. Therefore, not everyone involved in animation production ultimately aims to be a director. However, for a person who wants to be a director, no matter what job he starts from, it is not difficult as long as he has the heart.

The following are the general contents of the directors' actual work:

1, pre-production operation:

* Complete the script with the script writer and producer.

* Meeting with role stylist, mechanical stylist and graphic designer respectively to finalize the design case.

* Making perspective (*3) (sometimes made by assistant directors)

2. During the production process, talk to the assistant director (*4) about the production direction of each episode.

3. Post-production operation:

* Edit movies with an editor

* Instruct seiyuu and sound effects to produce ideal effects.

* Image and sound synthesis.

4. Participate in all publicity activities.

Q: "How much manpower and material resources does it take to make an animation? 」

A: A simple 26-minute OVA animation requires at least 150 people. As for the material resources, we will introduce the main 150 producers one by one.

Cycle 6: Pre-production Operation 3: Split-lens diagram (* 1) and assistant director work (*2)

The following is a perspective view of Japan (Europe and America are mostly horizontal tables, which can be known in the "animation" project of Studio Tour, an American cartoon website). Perspective is simply "a script presented as an image". How long it takes to draw a mirror image depends on the progress. An average animation of 26 minutes takes 3 weeks to complete. The perspective view does not need to draw the figures correctly, as long as the later staff can understand it. Nevertheless, before the original painter (*3) correctly draws the shots needed by the deputy director in each episode by relying on the split-mirror diagram, the split-mirror painter still needs to practice the character modeling of each work and understand the characteristics of the work in advance.

It is often seen that the draftsman and assistant director are the same person. There is a simple reason. Because the designer of the drawing (the mirror artist) is usually the person who knows the effect and superb acting skills that each shot needs to best set off the charm of the work. Therefore, the split-view picture is often the work of the deputy director.

The assistant director basically shares the burden of the director. No matter how many episodes of OVA series or 26 episodes of TV animation series, it is impossible for a director to take care of all the production details. Therefore, each animation series has an assistant director position to manage the animation production of each episode. Most directors are responsible for the important first and last episodes. The assistant director's job content is basically the same as that of the director except that he is not responsible for the pre-script, design draft and post-production publicity activities. However, since the director is the commander-in-chief of the whole work, before the assistant director is responsible for the production of each episode, the assistant director's auxiliary mirror picture must be approved by the director before the work can be officially assigned to the original painter for production.

note:

* 1. Split view: English: storyboard

*2. Deputy Director-English: Assistant Director, Japanese: Ennshutu.

*3. Original painter-English: key frame animator Japanese: genga.

Seventh cycle: homework 4 before production: role design (* 1) and role designer (*2).

Animation is a collective activity that needs close cooperation. Therefore, besides a good script and an experienced director, a good work is of course an important factor to make it more attractive. For the first time in this unit, we explained that there are two kinds of animation works-original works and original cases. So the design of character modeling is different.

When the original cartoon was adapted into animation, there was no need to design more because the characters and costumes had been finalized. But why does every original animation still indicate "original character design" and "animation character designer"? First, comics are static works, because the number of squares is small, so the lines and costumes of the characters can be complicated to deepen the aesthetic feeling and impression of the works. However, when making animation, if you are loyal to the lines of the original characters, it will prolong the painting time and production time (and more funds), so it is necessary to simplify the lines of the original characters. Second, cartoon characters don't have to be colored, and they don't have to connect every line. However, animation needs coloring, so it is necessary to improve the original character modeling and connect all the lines, so that the coloring staff (*3) can color. Thirdly, some original anime characters are not suitable for anime works. For the reasons of production efficiency, coloring, animation modeling and so on, the original animation needs to hire another animation role designer.

The role design of original animation is a creative and arduous work. When the design case of the original characters is given to the character designer for design, it is only the director's words and verbal instructions (*4). Therefore, designers can only rely on the script and their own drawing ability to design people who can set off the charm of the story and leave a deep impression. In addition, we should also consider the problem of production efficiency, and don't draw characters with too complicated lines. Therefore, even a senior stylist may take some time (*5) to finalize the design.

The graphic design of the pre-production operation is completed (please refer to the graphic design listed on the website of Hades Project). Will be distributed to the original painter to do the drawing work of each shot. The design of a character can be divided into three types: costume design, facial expression design and local decoration design. All designs are usually divided into front, side, back and special expressions (angry, sad or smiling, etc. ) for the original painter to simulate.

How to be a role designer? According to AIC's senior designer, "it's very simple. Just keep practicing painting! " ... okay ... it's not that simple. The same person, everyone's painting style is different, some are very attractive, and some look inconspicuous. It really takes practice and tempering all the time to show different styles, just as they say. Moreover, just because female characters or animals are well drawn does not necessarily make them designers of animated characters. An important condition for a role designer is to be able to draw a wide range of roles specified in a work, which means that the designer's drawing ability should be flexible enough to meet the requirements of each work. If you can fully meet the requirements of the production company and the original characters you design are attractive enough, you can become an eye-catching animated character designer.

From the photos above, we can see the tools that role designers need. Drawing table, pencil, eraser and a pile of white paper are the most basic equipment. In addition, the mirror is necessary, because the movements and parts of the characters sometimes need to look at themselves in the mirror to sketch. Other reference books and drawing tools depend entirely on the needs of each character designer, so I won't describe them in detail here.

note:

* 1. Character modeling → English: Character design

*2. Character stylist → English: Character stylist

*3. Painter → English painter Japanese: stone

*4. According to the editor's experience, the director's requirements for character modeling are not very clear, such as: "This role should have the charm of both an adult and a little girl, a little cute but not too cute, that's all. Give it in about x weeks. Even so, most skilled designers can draw ideal shapes. This is where the senior stylist is powerful.

*5. The time from design to finalization varies from work to work. A fast and good designer may hand in the basic draft for revision in a week, while a slow and good designer may spend more time. The average completion time is one month. But it all depends on the situation of the production case, so it can't be compared.

Eighth cycle: Pre-production homework 5: Mechanical design and background designer's works

Many years ago, there was no specialized mechanical stylist. Most of them are designed by character designers or animators who are good at motors. From "Space Battleship Yamato" to "Gundam", we have truly positioned a professional mechanical plastic designer.

Mechanical designers must consider many factors in animation in order to design the mechanical modeling required for each animation. First, we should do a lot of homework at ordinary times to meet the various design requirements that follow. Secondly, the mechanical model of "suitable" production line should be designed considering the production date and schedule. The so-called "appropriate" lines are because if there are many lines, although the robot or spaceship looks cool, the animator will take a relatively long time to draw a shot. But if there are too few lines, the robot looks too simple and lacks courage, so it is very important to make appropriate lines when designing. Finally, the study of each animation world is to understand and design a mechanical warrior or spaceship that can meet the requirements of the director.

To be a mechanical stylist, you must have knowledge of industrial design and like machinery very much (such as cars, motorcycles, airplanes, boats ... as long as they are made of metal).

Background designers have a long history compared with mechanical modeling, and there have been professional background designers since the era of black and white comics. Background designers basically want to draw "good, fast and beautiful". This is why I mentioned it repeatedly in this unit. Animation time is limited, so there is not much time to draw slowly, so the popular professional art background design studio moves quickly and can meet the urgent delivery date. How to be a background designer? This is the same as shaping characters and mechanical stylists. You have to love painting, and you can draw well while lying down (a little exaggerated, but the animation industry is short of time, and there are few designers who can be OK at any time, but they are very popular). As for skills or tools,

note:

* 1. Mechanical Modeling → English: Mechanical Design

*2. Background Design → English: Background Art

Ninth

Pre-production homework 6: color design and color distribution

After all the character modeling and mechanical modeling designs are completed, the director and stylist must work with the color designer to finally determine the color of the character (hair, clothes for various occasions or the color of the robot shell, etc.). ). Color design must match the tone (background and personality) of the whole work to design the color of the characters. After the color manuscript is finalized, the color specifier will specify a more detailed color type.

Many years ago, before computers were used for coloring, watercolor pigments were used for color design on white paper (as shown in the left picture). Most of the colors of watercolor pigments are not prepared by the production companies themselves, but are designed according to the color cards and ready-made color types provided by the pigment companies. The reason why I don't paint myself is very simple, because after color design, I need a colorist to paint. If you color yourself, it is difficult for the colorist to name the same color. Of course, if the director asks and the funds permit, the production company can ask the pigment company to make the required colors, bottle them and distribute them to the colorists. Because the color type has been specified by the pigment company before the color design process, the color designer served as the color designator many years ago. And many animations look the same color.

At present, animation color design and color distribution are all done by software (as shown on the right). The software used by the company (animo and RETAS are popular animation software in Japan! PRO) is different, as long as it is software for processing images, color design can be carried out. It should be noted that different software processes colors in different ways, so the same software should be specified for color matching when it is delivered to the colorist. In addition, due to the digitalization of production methods and the freedom of color selection, the range of current color setting options has been expanded, and finer and more diverse colors have been set.

Color designers and color distributors all start from basic colorists. After one or two years (depending on personal qualifications), he was promoted to be a color designer or a color designer. The biggest difference between a color designer and a color specifier is that the color designer only needs to set the basic color (the color in ordinary sunlight, such as the left picture). The color matching staff should also work with the assistant director to set the colors needed for other lights and dramas in detail (dusk, night, special lights ... and so on). As the color design and color specification of animation, you need to have knowledge of image processing color. Because the picture quality and color displayed by each photographic equipment are different, if we don't design and specify it without a comprehensive understanding, the color displayed on the TV screen will be very different from the effect on the computer screen, which will reduce the charm of the work. Therefore, it takes one to two years for the basic colorists to be familiar with the actual operation process before they can be upgraded to colorists and then become color designers.

note:

* 1. color design → English: color design Japanese: color design/color setting.

*2. Color assignment → English: color setting Japanese: color assignment

*3. Computer coloring → British digital painting

Period 10: production process 1: composition, original painting and works directed by the original painting.

After the perspective and all the character designs and backgrounds are ready, someone must put all the materials together and draw an enlarged detailed perspective for subsequent actions. It is the composer who performs the work.

As can be seen from the lens diagram we introduced before, the lens diagram is often just a sketch, which shows the general scenery of a picture. For example, in a shot, "Xiaoming and Jessie are standing on the sports ground and talking", the composition staff must draw an enlarged picture of the detailed positional relationship between the characters (Xiaoming and Jessie) and the background (sports ground) according to the general description of each frame of the sub-scene map, the figure modeling table (illustration) and the background (as shown in the figure below, most of which are A4 in size).

If the explanation in the composition is not clear, it will affect the subsequent original painting homework. Submit the completed composition and figure design table to the original painter, and ask the original painter to start drawing a more detailed main mirror according to the composition (such as the original painting legend (*4) at the end of this paper). As can be seen from the illustration, Xiao Ming gradually ran to the camera. Finally, he finished talking to Jesse with a towel, just like the composition example on the left.

Some people may ask why the last primary mirror has no mouth.

As shown in the composition example, this shot is "Xiaoming runs to Jesse → stands in front of Jesse → talks to Jesse". The last main mirror of this primitive legend ("Xiao Ming ran to Jesse → stood in front of Jesse") is "stood in front of Jesse". In the next "start talking" part, only Xiaoming's mouth is moving, so the main mirror with only mouth movement is drawn separately. The mouth movements drawn separately can be superimposed on the main mirror of "standing in front of Jesse" through editing.

Original painting directors exist because a work usually employs two or four original painters (more or less depending on the work). Every figure painted by the original painter may be out of shape according to his own painting style (or painting skills). The work of the original painting director is to modify the original painting drawn by the original painter, unify the painting style and make it loyal to the character design draft.

A good original painter and director must do some research on the photographic lens in order to draw every main mirror well. Movies can require actors to stand in the right position and pose in the position the director wants. But animation can only draw the ideal position and character movements with strokes. Therefore, an original painter and director with good ability and qualification also refers to being able to draw the ideal main mirror picture (the correct posture and movements of the characters) according to the concepts of photography and editing. As far as the editor knows, many experienced original painters or directors love movies and have done some research on them.

Most of the original painters and original painting directors start from grassroots animators. Because it is necessary to know and be familiar with the animation production process before upgrading to the original painting, it is impossible for newcomers to work in the original painting as soon as they enter the animation company. An animator with good qualifications and hard work is promoted to the original painter and then to the original painting director, which is very fast. Those who are not qualified and don't work hard have to be grassroots animators all the time.

Animation is a capability-oriented industry. No matter which production link you are engaged in, as long as you work hard enough to strengthen your ability, you will be affirmed by the surrounding areas.

Animators are the poorest workers in the animation industry. However, those who want to become original paintings, original painting guidance and animated character modeling design must start from animators. At present, many famous Japanese animation masters, who were grass-roots animators of some animation production companies more than ten years ago, lead the dream-chasing youth to live in simple apartments and eat instant noodles on meager wages. Let's see how animators practice and why life is so cold.

Animators are grassroots employees who clean up lines and draw frames. After painting the main mirror, the original painter should hand it over to the animator to clean up the lines and take pictures in the middle. The framing action of the finished draft must be seen by the animation inspector before it can be handed over to the colorist for coloring. How many frames to draw is specified by the original artist in advance, so the animator doesn't need to draw a few frames between the main mirrors. Frame animation is simple and complicated. Simplicity means simple mouth movements or eye movements. Most newcomers who just entered the animation company just need to draw (practice) this simple frame picture and clean up the original picture drawn by the original painter. It will take several months to clean up the manuscript and "practice" seriously before sending it to a complex full-body framing picture like Tu 1. After sending it to a complex framing picture, it will take another 1 to two years to become an original painter. After becoming an original painter, your painting ability can be truly recognized in the animation industry, and your right to speak can be greater. Before introducing the original painter, we mentioned that animation is like a movie, but the difference is that animation uses pen and paper to create the picture that the director needs. Therefore, before you become an original painter, you must be familiar with how to freely draw various movements of characters, and then independently compose a perfect main mirror whose movements are loyal to human body design, suitable for animation production. This is why all production companies require newcomers to stay in animation classes for one or two years.

That animator is poor in everything. At present, the animation industry calculates the monthly salary according to the number of completed sheets. Basically, a split-screen animation draft is about 150 yen to 300 yen. A novice who just entered the animation company can complete about 400 split-screen animations in a month (generally less than 400). Based on the minimum 150 yen, you will only get 60,000 yen a month (at most, it will not exceed120,000 yen). In Tokyo, where the cost of living is high, it's really hard to live without living with your parents (no rent) or having some savings (perseverance and determination) to support yourself as an original painter.

It is not difficult to become an animator. There is no education or age limit. The shortcut is to enter a special school, which introduces animation production companies to graduates every year. However, as many predecessors in the animation industry have said, what you learn in special schools is useless in animation companies. If they want to participate in animation production, it is better to knock on the door of the animation company in person and study in the animation company without wasting time and tuition.

Cycle 12: production process 3: coloring/coloring personnel

Another poor class in the animation industry is the colorist. Animators and colorists are indispensable personnel in animation production, but their status is undeniably low. Their work is very boring and hard, and they can't shine even when the stage lighting is well done. The job content is simply to paint the color designated by the color designer on the part designated by the original painter (of course, the actual coloring skills are not so easy). The colorist is the last step before all the painted shots are cut together. If the previous process is delayed, the coloring time of the coloring staff will be relatively reduced. However, it is a common practice for Japanese animation circles not to submit on time, so colorists must often paint in a short time to catch up with the editing.

At present, the digitalization of animation production, which is often discussed by all walks of life, usually starts from this coloring process, and the previous processes (except coloring) are all hand-made.

Before the production process is digitized, the work of the colorist (as shown on the left) is as follows.

1, copy the cleaned original painting and animated line drawing on cellophane with a tracing machine.

2. Color with anime colors.

3. Check whether the coated cellophane is wrongly painted or stained.

When using cello a few years ago, a skilled colorist (pictured) carefully painted the copied cello according to the color design, and carefully painted the color behind the cello. If you use celluloid board, it will cost the production company a lot of money to buy celluloid chips, pigments and so on in one year. Plus, after painting, you have to wait for the rubber painting to dry before you can do photo editing. Sometimes it is time-consuming and laborious to draw several times if you can't draw well. However, many animation masterpieces are still completed on time (sometimes not, the audience doesn't know) and distributed on TV or cinema every week (most of them are not, the audience doesn't know), which depends on the strength of animation production contracting companies in other countries.

After the production process is digitized (as shown in the figure), the colorist's work is as follows.

1, use the scanner to save the original painting and animated line drawing into the computer.

2, clean up the line

3. Color according to the specified color.

As mentioned in color design, most animation production companies in Japan use ANIMO or RETAS! Pro carries out computer coloring and color assignment (in fact, any drawing software can be used as an animation coloring tool). RETAS is currently being used! Pro industry accounts for more than 80%. The reason is that Dongying Animation, an old animation manufacturer, took the lead in using that software to build a system, and many production companies followed him. Digital coloring operation really saves a lot of money and manpower. This software allows you to draw in the window, saving film and paint. But in fact, due to the lack of understanding of digital coloring by manual craftsmen, the hard work of coloring personnel has not been reduced.

First, when introducing the role design, the problem of "connection" was mentioned. Readers who have used drawing software may know that when drawing with software, if the lines are not connected together, the painting will overflow the specified range. Because the celluloid board is hand-painted, the part with unknown wiring can be drawn by experience regardless of wiring. But after using the computer, the computer will not be smart enough to actively help the colorist identify the wiring part. Therefore, the unconnected places should be carefully corrected by the colorist himself. More coloring time (but no salary increase).

Second, the computer saves the time of coloring and increases the variety and diversity of colors. However, due to the delay of the previous manual process and the wrong idea that colorists can complete or modify drawings with more colors in a shorter time. This makes the colorist still work very hard.

It is not difficult to become a colorist, as long as you are familiar with drawing software (because of the above problems, it is ideal to know the basic knowledge of painting). However, if you want to occupy a sky in the color department of the animation industry, you must work hard to study color and think about it in the animation company for a year or two before you can independently assume the heavy responsibility of the color department.

or

You can draw your own background, such as FLASH, PS and PAINTNER, or you can find a ready-made one, modify it into the desired style in PS, and then import it into FLASH.

For animation, you can choose to draw frame by frame or make it with components. Frame by frame, it is a frame by frame painting. You can simply use some components (such as horizontal movement and rotation), or draw it basically in one frame, which is more convenient.

Components, which are specially used for animation, are more troublesome. If it is a small animation, it is best not to use component animation.

That's probably it!