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With Animate Pro 2, I started roughing out the animation using my 21' Cintiq tablet. With Animo, I still drew a big part of the animation on paper, which was later scanned and digitized. One of my goals with the software transition was to be able to go completely paperless. Each of these files were imported into Harmony, straight, with no vectorization.

I tested various formats and finally settled on PNGs as the type of file that provided the best quality when composited. I first saved them as Tiffs, but importing those into Toon Boom Animate Pro 2 revealed a strange hallow around the transparent edges. In Photoshop, I isolated each background element and saved them as separate files. For this, I essentially used the layers from the original PSD pages of the graphic novel. My first task was to create all the background elements. In a matter of a couple of hours, experimenting and poking around, I was up and running. Also, my experience with Animo ported easily to Toon Boom Animate Pro 2. The interface bears similarities to After Effects so I was still in my comfort zone. I opened the software and immediately felt at ease.

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I downloaded the trial version of Toon Boom Animate Pro 2.ДЇor my first little test, I took one panel from my graphic novel, The Saga of Rex, to see how fast I could animate and composite the whole thing in full HD. I turned my attention to Toon Boom, a series of 2D animation software that is receiving a lot of praise from members of the animation community. Not compatible with how my brain operates. I'm not saying it's a bad program-it's just not for me. I knew I wouldn't be able to get the look I want with the tools available. I had dabbled with Flash in 2005, when I did the interstitial series, Insanely Twisted Shadow Puppets, but I hadn't seriously looked at the software again since. So my first instinct was to go into my Adobe collection and start playing with Flash. I love the Adobe software: Photoshop, After Effects and Premiere are all part of my arsenal. I knew that this was the perfect time to face my animation software dilemma. And then, in early July, I was faced with deciding what to do next. When ITSP was completed, I devoted my time to finishing ZED: A Cosmic Tale, a 280-page graphic novel. I didn't want to switch software during the production of Insanely Twisted Shadow Planet, so I kept working with Animo for that project.

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I still had my portable license of the software but knew that the end was coming. I used Animo for Prelude to Eden, Sensology, Osmosis Jones, The Iron Giant, Ratatouille and many more.ДЄ few years ago, Cambridge Animation, the company that developed and supported Animo, went out of business. I even spent time in Cambridge, UK, working with the programming crew. Not only, did I use it, I actually helped develop it. The Saga of Rex Comes to Life with Toon Boom HarmonyДЄ fter finishing Insanely Twisted Shadow Planet, I pretty much concluded that the time had come to start migrating away from Animo-a software I had been using to create animation since 1993.