Whatever you do, you have to think about it (consciously or unconsciously) before you actually do it. So in order to show that in your animation and communicate the idea as a whole, have actions lead into the next action by having the eye look in the direction of where the character is going, or have the hand reach towards something before actually touching it. A really good way to help decide on what pose to have.
lecture notes from Randy Haycock
Friday, December 18, 2009
Monday, December 14, 2009
Worksheet
New little worksheets for planning animation. Print and plan away!
There are 2 layouts, choose the best one for you.
Animation Worksheet 1
Animation Worksheet 2
Just a note, this planning sheet is intended to be used on a tv production schedule where the deadlines mean there is little or no time to do any planning. The simple act of filling in these sections can help a lot and because they are such small sections it's not too overwhelming (for people like me, if you like drawing then you wont need this hehe).
Details: Write all the shot details, date started, dialogue (if any) and director's and/or personal notes
Ideas: Explore all possible poses (using what you imagine, reference material and acting reference as a guide).
Final: Choose your favourite poses and draw the final in sequence, mark which ones are keys and which ones are breakdowns. Detail movement notes can be drawn in or made note of.
Thursday, December 10, 2009
Workflow
Rhythm: establishing (so audience can catch onto it) and varying tempo
Texture: Variations of timing within a scene (give weight and presence)
Readability: so audience can understand what is going on
Spacing: the closer you put your frames together, the slower the action (based on the spacing charts in traditional animation).
Spacing is the distances between each pose.
convinces audience that the character is alive
Relates one frame to the next in a fluid way
First Phase:
Storytelling poses: the most comfortable poses that the audience can settle on and understand
Planning for readability
Adding timing planning to workflow
The poses and timing should convey enough to the audience.
Second Phase:
Secondary Keys: how the character get from one pose to another (lead and follow, arcs and reversals),
add new ideas (like the secondary action in searching, in the lecture animation example)
What you need to define the action
Think about the character's feelings that influence the pose for the action
Think about the timing allocated and make the pose suitable/readable in that amount of time (like how much of an antic is needed)
Third Phase:
Breakdown Poses: add in how the character is feeling, eg tired, so make the breakdown pose incorporate it.
The weight must be very apparent in the poses.
Lead and follow
In the spacing, look at the line of movement and vary the shape to show the feeling and weight
Try and stay away from a very even spacing- dont just stick a pose in the middle.
Take before a take. Make the character look like they're thinking, registering what's the character is seeing, processing the information
Add in variation in the different parts, how can I make the parts contribute to the overall action and mood?
You could have the audience feel the rhythm before jumping out of it
Overshoots
Final Phase:
Inbetweens: Can be mechanical, but in some parts of the shot you can add a bit more interest
While most of the body action can be a direct inbetween, you can choose parts like hands and appendages to add eccentricity
Lead and follow, drag, overshoots, favouring the poses on either side.
Variation in the timing in certain parts, like have the hands stick and flourish
You can have the character do extreme, very dynamic poses in the breakdowns to help convey a feeling
Then you can have the character settle into a more normal pose.
notes from an Eric Goldberg lecture.
Texture: Variations of timing within a scene (give weight and presence)
Readability: so audience can understand what is going on
Spacing: the closer you put your frames together, the slower the action (based on the spacing charts in traditional animation).
Spacing is the distances between each pose.
convinces audience that the character is alive
Relates one frame to the next in a fluid way
First Phase:
Storytelling poses: the most comfortable poses that the audience can settle on and understand
Planning for readability
Adding timing planning to workflow
The poses and timing should convey enough to the audience.
Second Phase:
Secondary Keys: how the character get from one pose to another (lead and follow, arcs and reversals),
add new ideas (like the secondary action in searching, in the lecture animation example)
What you need to define the action
Think about the character's feelings that influence the pose for the action
Think about the timing allocated and make the pose suitable/readable in that amount of time (like how much of an antic is needed)
Third Phase:
Breakdown Poses: add in how the character is feeling, eg tired, so make the breakdown pose incorporate it.
The weight must be very apparent in the poses.
Lead and follow
In the spacing, look at the line of movement and vary the shape to show the feeling and weight
Try and stay away from a very even spacing- dont just stick a pose in the middle.
Take before a take. Make the character look like they're thinking, registering what's the character is seeing, processing the information
Add in variation in the different parts, how can I make the parts contribute to the overall action and mood?
You could have the audience feel the rhythm before jumping out of it
Overshoots
Final Phase:
Inbetweens: Can be mechanical, but in some parts of the shot you can add a bit more interest
While most of the body action can be a direct inbetween, you can choose parts like hands and appendages to add eccentricity
Lead and follow, drag, overshoots, favouring the poses on either side.
Variation in the timing in certain parts, like have the hands stick and flourish
You can have the character do extreme, very dynamic poses in the breakdowns to help convey a feeling
Then you can have the character settle into a more normal pose.
notes from an Eric Goldberg lecture.
Tuesday, December 1, 2009
Spine
What I've noticed about most cartoony 3d rigs is the torso doesnt move all that much when you rotate in a twisting motion. The only indication is you've moved the head, shoulders and arms. But what if you rotate all the joints and then counter rotate the top control back to default position? Then you've got yourself a hidden problem.
As with all counter rotation, translation or any animation, it's such an easy thing to do, but to keep yourself young and sane it's best to avoid at all costs. Remember what you've done and zero out as often as possible (except for the main rotation). This is also very important for any spine, shoulder or head controls that are translatable.
For example with a spine, most of my poses uses the rotate forwards and backwards axis. I usually try and keep any twisting or side to side bending to a minimum (that's not to say I dont use it, whatever is required for the pose should be used but remember it's there). When a character has positive and negative values on the same axis on various spine controls, but looks like it should be a relaxed default position. Clean it up! It's very easy and it's usually very quick to return the character to it's original pose but with a much cleaner, workable spine.
Rigging was my first job, and while I was very junior and have no idea how to script anything, I did learn from my lead, Oyvind Nostdal, how to keep a scene clean. While I have comitted all of the animation crimes above (and still do when I'm rushed or not paying attention), keeping an eye on these things have kept me sane.
As with all counter rotation, translation or any animation, it's such an easy thing to do, but to keep yourself young and sane it's best to avoid at all costs. Remember what you've done and zero out as often as possible (except for the main rotation). This is also very important for any spine, shoulder or head controls that are translatable.
For example with a spine, most of my poses uses the rotate forwards and backwards axis. I usually try and keep any twisting or side to side bending to a minimum (that's not to say I dont use it, whatever is required for the pose should be used but remember it's there). When a character has positive and negative values on the same axis on various spine controls, but looks like it should be a relaxed default position. Clean it up! It's very easy and it's usually very quick to return the character to it's original pose but with a much cleaner, workable spine.
Rigging was my first job, and while I was very junior and have no idea how to script anything, I did learn from my lead, Oyvind Nostdal, how to keep a scene clean. While I have comitted all of the animation crimes above (and still do when I'm rushed or not paying attention), keeping an eye on these things have kept me sane.
Arms and legs
I came across a really REALLY frustrating problem over the weekend while trying to finish my animation mentor homework. Gimble... nuff said.
My personal method of avoiding gimble is to try and keep all the rotation values under 100. Having 1 axis go over is fine, but any more than that it becomes a problem. So in blocking, it's essential to keep an eye on the rotation values. And TURN ON GIMBLE DISPLAY MODE. All the other rotation displays (local or global) lie. Gimble shows exactly what is happening and when two axis become gimbled. Also, zeroing out the values constantly helps too, if things become confused. This works well with arms and legs.
Second, and probably should be considered first before starting blocking, is to think about what direction the character is facing most of the time, so you wont have to rotate the hands and feet to compensate.
Third, work out what the rotation order before starting. What is it? If you turn on gimble display mode (double click on the rotate icon in Maya, the attribute editor pops up and check the gimble option) and rotate each axis one by one, you'll see what moves what. The axis that moves a second axis to match the third, is the one you should move last.
The key is to keep it clean, and think it through before starting. I was in a rush two weeks ago and now I'm paying for it with gimble all over the place. I wish I could start again.
My personal method of avoiding gimble is to try and keep all the rotation values under 100. Having 1 axis go over is fine, but any more than that it becomes a problem. So in blocking, it's essential to keep an eye on the rotation values. And TURN ON GIMBLE DISPLAY MODE. All the other rotation displays (local or global) lie. Gimble shows exactly what is happening and when two axis become gimbled. Also, zeroing out the values constantly helps too, if things become confused. This works well with arms and legs.
Second, and probably should be considered first before starting blocking, is to think about what direction the character is facing most of the time, so you wont have to rotate the hands and feet to compensate.
Third, work out what the rotation order before starting. What is it? If you turn on gimble display mode (double click on the rotate icon in Maya, the attribute editor pops up and check the gimble option) and rotate each axis one by one, you'll see what moves what. The axis that moves a second axis to match the third, is the one you should move last.
The key is to keep it clean, and think it through before starting. I was in a rush two weeks ago and now I'm paying for it with gimble all over the place. I wish I could start again.
Animation Tips & Tricks: How Do You Animate a Fight?
Animation Tips & Tricks: How Do You Animate a Fight?
This is a really good article about one of the most complex situations in animation, fighting and/or dancing. Shawn Kelly suggests blocking all the important moments first with both characters in the scene, then turning one off and work in the details individually.
Would love to try a dance animation using this method. A lovely waltz, Beauty and the Beast style :)
This is a really good article about one of the most complex situations in animation, fighting and/or dancing. Shawn Kelly suggests blocking all the important moments first with both characters in the scene, then turning one off and work in the details individually.
Would love to try a dance animation using this method. A lovely waltz, Beauty and the Beast style :)
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