![]() To copy only the selection or the active layer, choose Edit ► Copy.To copy a selection, layer, or vector objectġ Select the area, layer, or object you want to copy. & ^ You can also cut by pressing Ctrl + X. To cut a selection, layer, or vector objectġ Select the area, layer, or object you want to cut. ![]() For information about exporting Corel Paint Shop Pro files into other formats, see " Saving images" on page 27. You can also copy a Corel Paint Shop Pro image into other applications, such as word processors or desktop publishing packages. You can copy one image into another by dragging an image from the Browser palette into an image in the workspace. You can paste the selected content as a new image, a new layer, or a selection. You can cut or copy a selection, a layer, or a vector object. Paste - pastes cut or copied content from the Clipboard into the same image or another image.Copy Merged - copies a flattened (merged) version of all the layers in a selection to the Clipboard.Copy - copies the selected content to the Clipboard.Cut - removes the selected content to the Clipboard and replaces it with the image background color or transparency.This brush had to be simulated in Photoshop but it worked through the film.You can cut or copy a selection or an entire layer to the Clipboard, and then paste the contents of the Clipboard into the same image or another image. I used only one brush: soft charcoal with 100% opacity. This workflow presented no difficulties as the common format used was PSD. I continued my work on Painter throughout the film and the studio artists simulated the same effect in Photoshop. So Painter works for experts in animation, but Photoshop works for beginners as well. You need to go to the menu each time to choose your frame. Painter does not have a timeline to view your frames. Navigating through countless frames becomes easy. ![]() Apart from the fact that the Adobe interface is intuitive and easy to navigate, one can work on layers in Photoshop as well as view the timeline in frames at the bottom of the screen. However the studio artists, when given a choice between using Painter and Adobe Photoshop for the painted animation, chose Photoshop for its easy interface. I painted one frame in every shot of the film - all the characters and their lighting - and this was followed by the team, frame by frame. I do not paint backgrounds myself but I do paint the characters. On Bombay Rose, I used the software to make the entire animatic as well as key colored frames. Unlike paint on glass, here you could go back and put in-betweens or delete extra frames. I used it to paint progressively frame by frame. The only limitation was (and still is) that you cannot maintain your layers as FRM files - they have to be flattened into a single layer.Ĭoming from the times of 35 mm, this was not a problem for me. It had four layers of onion skins and that was more than enough. And it had the Frame Stacks feature, which allowed you to make and see your animation at 25 fps at the click of a play button. At the time, it was still marvelous because of the authenticity of its few but brilliant brushes. Back then, around 2002, it was called Metacreations Painter. I used Corel Painter for the first time way back when it was introduced as a free software along with the Wacom Intuos tablet. ![]() Rao’s chosen tool is painting and design software Corel Painter - specifically its Frame Stacks animation feature, which she has used on almost all her films (including Bombay Rose). The director’s previous work includes the animated shorts Printed Rainbow and TrueLoveStory, which won at Cannes. This week’s guest is Gitanjali Rao, whose debut feature, the acclaimed Bombay Rose, debuts worldwide on Netflix in early 2021 (read our review here). Welcome to Tools Of The Trade, a series in which industry artists and filmmakers speak about their preferred tool on a recent project - be it a digital or physical tool, new or old, deluxe or dirt-cheap.
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