#halo screencaps

[tuppencetrinkets]

Sorted caps from Halo, seasons 1 & 2.

Pablo Schreiber - Master Chief ~19,000

Shabana Azmi - Margaret Parangosky ~4,500

Natasha Culzac - Riz ~2,300

Olive Gray - Miranda Keyes ~6,000

Yerin Ha - Kwan Ha ~9,000

Natascha McElhone - Catherine Halsey ~12,000

Bentley Kalu - Vannak ~500

Kate Kennedy - Kai ~5,000

Charlie Murphy - Makee ~7,000

Danny Sapani - Jacob Keyes ~2,500

Cortana ~1,800

Bokeem Woodbine - Soren ~4,000

Fiona O'Shaughnessy - Laera ~2,500

Tylan Bailey - Kessler ~400

Joseph Morgan - James Ackerson ~5,000

Cristina Rodlo - Talia Perez ~2,500

Bronte Carmichael - Julia ~500

Ryan McParlan - Adun ~1,500

Burn Gorman - Vinsher Grath ~1,400

This content is free for anyone to use or edit however you like; if you care to throw a dollar or two my way for time, effort, storage fees etc you are more than welcome to do so via my PAYPAL.  Please like or reblog this post if you have found it useful or are downloading the content within.  If you have any questions or you have any problems with the links or find any inconsistencies in the content, etc. please feel free to drop me a politely worded message via my ASKBOX (second icon from the top on my theme!

[gearsofmetal]

wow this combat sure is evolved

[angelkissedface]

did y'all see scaramouche in the 4.8 livestream omg

[antigonenikk]

Band of Brothers- Ep. 7 The Breaking Point

[smilingperformer]

I just realised the opening, AND early episodes actually, sorta suggests Liko and Roy being comparables to Moon and Sun.

[aduckwithears]

The way the light makes a casual halo of Aziraphale's hair.

Little things to love about Good Omens S2 (10/?) - Masterpost

[ecocharlier]

Hi sweetheart! I have to ask only bc she’s the light of my life but how would you feel about drawing Penelope Garcia? I feel like all her personal little flairs and details would make her so fun to try capture 🥹 my other babygirl.

Lo and behold! You've found my biggest weakness: drawing women 😔

But alas, I can't say no to you ever so here goes!

I love Garcia so much, I wish I could draw her properly, this took me like 6 different attempts I'm crying 😭

[mbangelofdeath]

Armed to the Teeth

I have always been a huge fan of Reach’s aesthetic. It’s one of my favorites in the franchise. It just looks so gritty and battle-worn. For the most part, the armors look great here in Infinite. And with the new Fleetcom Operation going live next week, it will be amazing to get the Military Police, Operator, and Haunted helmets in Infinite. The only unfortunate thing is they all most likely be behind a paywall which seriously sucks. I wish the game had more unlockable armors instead of everything costing quite a bit of money. Anywho, enough of that tangent. Enjoy the screenshots, my friends and I hope you all have an epic weekend!

[carlsdraws]

can’t believe the excalibur 1981 tag isn’t FILLED with gifs of lancelot kissing arthur’s sword tip what are we even doing here guys

[superintendent-b]

Levitate

[scottmemelordstrashpile]

My best attempts at cosplaying Mark V (Halo: CE) and Mark VI (Halo 2/3) Master Chief in Halo: Reach

Mark V

Mark VI

Extras below the cut:

Notes: I mostly took inspiration from the Anniversary version of CE for Mark V Chief specifically which is why he's a brighter green than the Mark VI Chief.

Also the default visor is closer to the original visor color from CE imo which was more of a yellow color as opposed to the more gold/orange color it was in the later games.

Cosplay guide:

Halo: CE Mark V. Chief

Helmet: Mjolnir Mk. V Variant - Base

Visor: Default

Left Shoulder: Mjolnir Mk. V

Right Shoulder: Mjolnir Mk. V

Chest: TACTICAL Variant - TACTICAL/LRP

Wrist: Default

Utility: Default

Knee Guards: Gungnir

Colors: Olive for both primary and secondary

Halo 2 Mark VI. Chief

Helmet: Mjolnir Mk. VI Variant - Base

Visor: Gold

Left Shoulder: Mjolnir Mk. V

Right Shoulder: Mjolnir Mk. V

Chest: Default

Wrist: Default

Utility: Default

Knee Guards: FJ/PARA

Colors: Sage for both primary and secondary

[hangmanssunnies]

[creative-clown-drawings]

Gomens screencap redraw 😈🪽

[ageless-aislynn]

Now, yesterday, I told you the epic tale of Noble Six and her struggle to get the par score on "The Package" level of Halo: Reach. I still can't make GIFs or capture video but it dawned on me... I can make screencaps from the Theater!

Noble Six, running through the gloom, to get that darn par score!

I always wanted to get those giant AA guns to blow up at the same time. I managed it on this run!

Awwww yeahhhh, Six making her epic parkour sprint-bounce-jump off the statue, aiming for that window to the right. Will she make it???

Six: *believing in herself SO HARD right now*

Score! And also was immediately shot by that blue bolt coming at me from a camouflaged Elite. 😑 But I lived to run on through, avoiding that darn General Elite with the concussion rifle who will be running down that ramp at the back annnnny minute now, only to realize I outsmarted him!

HOLY MOLY, HE DOUBLED BACK THROUGH THAT DOOR AFTER ME! 😱 Seriously, I knew he was shooting at me but I was running for that green button to trigger the cutscene and get me the heck out of there, so I didn't look back. I had no idea he was THAT CLOSE. I don't honestly know how he missed me with that concussion rifle. If he would've lobbed a plasma grenade at me, it would've been Bye Bye Noble Six. 👀 Whew.

And we're now flying the friendly skies with Noble Six and her jetpack, on the way to hijack that Banshee. 😇

Six: Hello, sir, would you like to have your Wraith hijacked today?"

Six: Of course you would! Heh.

Wow, Six is even better than I thought she was, she's looking at a blank wall while she's driving AND shooting the mortar bombs!

SIX IS TOTALLY NOT PANICKING RIGHT NOW, about to jump out of the Wraith and try to get past that Elite who's in between her and the sweet, sweet button of Ending This Level! It's a little hard to see but there's a line going diagonally from left to right across the Elite. I could hear somebody providing cover from the lab but didn't know who it was...

...until now when I could use the Theater camera to look. It was Carter, my beloved!

I'm contractually obligated to use this picture every time I say "Carter, my beloved." Sorry, I don't make the rules. 🤷‍♀️😇😉

In a dramatic ending, Six leaps from the Wraith as the counter is ticking down, failure is imminent if she can't get to the button by the door. So she activates her sprint and... wait, she's wearing the jetpack. Oops.

This is called "Panicked Jetpacking" and was done Entirely On Purpose™

Six must go, her people need her...

Also, note the enemy Wraith mortar bomb coming at the lab. 😱

Six remembers she has to go UNDER that opening to get to the button. It's not on the frickin' roof. 😑 Also note the Elite continuing to shoot at me. 😑😑😑

It's hard to see but that's Carter waiting for me next to those sandbags! I'm doing the most awful, awkward jetpack spluttering hops up this ramp because I continued to forget I don't have sprint. IT WAS AN EMOTIONAL TIME, OKAY? 😭😂

YESSSS, the button that only I, Noble Six, can push! The level ends and I achieved the par score at last!

Achievement accomplished! Noble Six can put her jetpack down and get a good night's rest, now that she has Pushed The Button No One Else Can.

Annnnd yes, you might notice that I have over 1,200 hours on the MCC, now! 😎👍🤷‍♀️😉

And there you have it! 💖💖💖

[smilingperformer]

I'm taking screenshots of the opening and um

This frame amuses me too much out of context skjfhskfhjsfjh

[marie-m-art]

Good Animated Omens - Behind the Scenes

Here's a behind-the-scenes look at the walk cycles I animated of Aziraphale and Crowley (original post here).

I'll reiterate that the character designs are @lookitsstevie's creation! I made builds in Toonboom Harmony based on their designs, and then animated the builds.

Long post under the cut, organized into four parts. Feel free to jump around or just click through the images and gifs to get an idea of the gist. (At least take a look at Part IV, where you'll see a version of Aziraphale without his jacket and a closeup of Crowley's torso!)

Hopefully this is interesting even if you don't know the first thing about animation. It's not a step-by-step-from-scratch tutorial, but it might give animators some ideas to think about when trying this software!

I'm happy to answer questions about what I cover here - comments, DM's, or ask-box questions are all fine by me. If you like any of the new gifs and want to reblog it on its own, I can make new posts for those upon request! (I'd prefer you don't reupload them, but if you do please at least credit me with a tag to my account - thank you!!)

Part I: The interface and some basics

Above is a screencap of the software interface.

In the centre is the Camera window, where all the drawing and animating is done. 

To the left, the Node View. It's a representation of how the pieces and layers that make the characters are grouped and connected to each other, which is what makes a character "build". Every piece in this window is called a node, and there are different types. Light blue "drawing nodes" contain the drawings themselves. Each drawing node usually has a green "peg" attached; the peg is used to move and rotate the drawing piece; you set a pivot point on each peg. Light grey nodes are groups that have more nodes within, and dark blue nodes are added effects (eg masks, the blur for the halo, etc).

Below, the Timeline - it's where keyframes are set and tweened. The red square dots indicate there is a new keyframe on a particular frame; the white dots indicate keyframes are on layers nested somewhere under the topmost visible layer. All the pieces of the characters can be found in the timeline and correspond to the pieces that exist in the Node View (and Camera). Typically you work with a collapsed view of the build layers in the timeline, which allows you to set keyframes on multiple layers at once.

To the right, a few tabs in this window - Tool Properties, Colour Palettes, and, shown on top here, the Library. The library is where you store your builds, so that you can bring in a fresh copy when animating a new scene. This library tab also has the Drawing Substitution window, which shows thumbnails of every drawing contained in a drawing node when that node is selected.

A second of animation is 24 frames long. Finished animation will often have keyframes on every second frame with the tweens removed, to help simulate the look and feel of traditional animation - this is known as animating "on twos", and saved time, money and paper in the old days. If you leave the tweens on, and/or have keyframes on every frame, the animation is "on ones".

My walks are on twos - it's the look I prefer.

When I say "tween" I'm specifically referring to the software feature that will automatically calculate and interpolate the path between two different poses/keys of a peg. An inbetween could be the result of using a tween, a new drawing, or both. On twos, an inbetween will look the same as any other keyframe on the timeline when you're finished - its relevance as a concept is during the process, not the end result.

Quality animation is achieved via a combination of moving/tweening pre-existing drawings using their pegs, and adding new drawings as hand-drawn inbetweens when needed. Toonboom Harmony also has nodes called "deformers": they offer a way to tween the shape of a drawing without needing to redraw inside the drawing node. (Part IV has the explanation for which pieces I used them for, and why.)

Part II: Navigating the builds

This is what their default poses with no animation look like.

Animation using builds is sometimes colloquially referred to as "puppet-style animation" because the way you can connect body parts to each other feels like making and handling a 2D digital puppet: you can connect a hand to a forearm so that they can move as a unit, and you can connect that unit to an upper arm to move the whole arm as a unit, and that arm gets connected to the torso, and so on.

When you want to connect two pieces, like a hand to a forearm, then you create another peg in the Node View and attach the two body parts together under that new peg. The screencaps below show the nodes that make up Aziraphale's and Crowley's entire builds inside their respective groups:

Things got a bit sloppy ... It looks extremely complicated, but once it's set up, you don't have to think about it too much when you're animating!

And I've zoomed in on the nodes that make their arms so you can see how there are pegs on top of pegs (all the green nodes), with wires connecting everything:

As I explained in Part I, new drawings are added and contained within a body part's drawing node (the light blue ones under the green ones), and the Drawing Substitution window is where you can see all the drawings that exist in a particular node. In the timeline, you set keyframes for moving the pegs, and you also choose which frame the new drawings will appear when applicable. You might have a lot of drawings stored in the nodes, but only what you set to appear in the timeline will be visible in the final animation.

You can select a body part in the camera view, and then find the corresponding layer in the Timeline or the Node View by pressing the "o" keyboard shortcut. If you select a body part by clicking on it, and then press the "b" keyboard shortcut, you will jump up to the next peg it's connected to. You can hide and unhide pieces using "d" and "a" respectively.

In the first capture above, I'm showing that the arm pieces can be moved separately or together, and you can see how the pegs in the Node View light up when I select them in the Camera window (hiding them turns them red). In the second capture, I pop down to the timeline to step back and forth between the poses - the light grey row (it appears between the rows of red dots) represents the hand's drawing node in the timeline.

Part III: Summary of animation process

In my head I imagined how their walks would differ from each other - Aziraphale bouncier but with very straight posture and limited arm movement, vs Crowley slinking and swaggering all over.

I also knew that I wanted the animation to look good for both a walking-on-the-spot version, and as a version walking across the screen (both versions are at the top of the post!).

Then I started doing some rough animation.

I set aside my finished builds for the roughs. For each character, I made a few drawing nodes and two pegs; a peg for the up-and-down upper body motion, which I tweened, and a peg for moving them across the screen. The legs and arms are drawing substitutions.

With these extremely rudimentary rough "builds", I worked out - how many frames long the walks would be, - how far the characters would move across the screen each step, - how much the upper bodies would move up and down, and - the key drawings of the legs and feet.

I didn't worry about animating clothing, hair, or Azi's arms in the rough stage. For those elements, the drawings would be spaced really close together and would be easier to figure out with tweens. (Note: this rudimentary setup would be sufficient if you want to clean up and inbetween characters by hand frame-by-frame instead of making full builds; my preference is build animation because the process is more fun for me)

Then I started working with the finished builds, using the roughs as a guide, and established the broadest motions first: the up-and-down motion in the upper bodies (I set a keyframe at the lowest point, a keyframe at the highest point, then tweened between them) and how far they'd travel across the screen. Then the feet were done.

I went back and forth between viewing them walking on the spot and walking across the screen to make sure that both versions worked. I also made sure they crossed the same amount of ground relative to each other.

After those crucial parts, I moved on to animating their arms, hair, torsos, clothing details, and finishing the legs, not necessarily in that order. I simulated twisting/rotating their torsos in 3d space by moving their waistcoats and lapels.

The first gif switches back and forth between versions (imagine a background scrolling by when they walk on the spot). The second gif is an example of bad "footslip" - they're moving at different speeds, and if you pay attention to their feet, Aziraphale appears to slip on ice while Crowley appears to slide forward on skates.

"You go too fast for me, Crowley!"

Part IV: Extras and details

Here is a version of Aziraphale's walk without his jacket, and a closeup of Crowley so you can see his swaying hips better:

One of the cool things about animating with builds is they lend themselves well to small modifications; the jacketless version took all of five minutes to make.

I'd be remiss not to include a close-up of Aziraphale's hair, the real star of the animation :) (Crowley's hair is also animated but I purposefully kept it understated since it's a much different texture.) And a closeup image of Crowley's snake tattoo:

The biggest unit for both of them are their upper bodies, which includes their pelvises. The up-and-down motion is only on one peg instead of on every single piece, which is handy because it means I can hide just that part of the animation when I want to work on the clothing details:

During the process of animation, I am often hiding then unhiding pieces like this so I can see what I'm doing.

Their clothing ended up being a lot of separate pieces, which I kept adding during animation rather than before, as it was hard to predict everything I needed. Their clothing also incorporates cutters (aka masks), and deformers (see explanation in Part I). In the next set of gifs the deformers show up as green outlines with handles and get turned on and off.

Aziraphale's torso functions as a mask for his clothing. The shape of his torso subtly changes via deformer. His lapels and waistcoat have V shapes that are masks/cutters (they cut a V shape out of those pieces); the same pieces that make the cutters also are used for the black lines of those V shapes via a special layering setup. The main shapes of his lapels are animated with deformers, and you can see how far beyond his torso shape they extend when I turn on the deformers in the second gif.

Deformers work best for shapes that change a little bit, and/or slowly. The minor shape changes in his and Crowley's clothes ended up being a great use case for deformers, because they pretty much tweened perfectly.

The reason I didn't use them on Aziraphale's legs was because those shapes change significantly between keys; I predicted I'd have to re-adjust every frame of a tweened deformer, so I drew the inbetweens by hand (halfway through, I realized I probably should have used them after all, but I was in too deep by then; hand drawing was fun though!). Deformers worked well on his bottom jacket:

Crowley's pelvis is layered above and below his thigh pieces and has a deformer. Also take a look at all the drawing substitutions for his hands:

And lastly the deformers on the hair:

Epilogue

I'm hoping the gifs all play at the same speed for everyone as they play for me. Hopefully the demo gifs are at least watchable, if not super clear... (I'll listen to feedback on the presentation of the information, for if I do similar posts in future!) Don't hesitate to ask questions about anything I covered, or about any details you noticed that I didn't elaborate on!

ko-fi.com/marieanimate

I'm shy about mentioning it, but I set up a Ko-fi account in case this post compels anyone to leave a small "tip" (but reblogging and sharing is just as good)!

Thanks for reading, and have a nice day!