Class 13 11/29/2016

Links to topics covered in class.

Carlos Baena and Blinking

Highlighted Text About Blinking

"The exact moment we blink is being shosen unconscious, but so as to not interrupt the perception of valuable visual information. That is after we looked in one direction for a while and get "enough" information from that, we blink and change focus of interest. By analogy, sometimes we blink to separate one thought from another in a thought process."

"When a thought process is finished or a decision is made - I once

heard a film editor say that he likes to cut on blinks because blinks

signal completion of whatever is going on in a character's mind"

"another place I like to use a blink occasionally is when lip syncing the "P" sound,"

"This is what I thought was interesting. Someone here told me about a book (sorry - can't remember the title right now) where a film editor discussed how he edits his movies. Basically, he makes the cut where an actor blinks or when
the viewer naturally "feels" like it's time to blink. His whole theory is that our brain is viewing a film whenever we are awake and that our eyes are the editors, and the blinks are our eyes "cutting" the "scenes." This is why we blink when our though process changes or eye direction changes,"

"offset the blinks but the actual closure of the eyes occurs on the same frame."

"Other stuff I try to do is to actually anticipate eyeblinks over a frame or two. Not that is very noticeable, but when you have closeups I really think it makes a difference. When we dart our eyes, the pupil eases out...I also noticed that with blinks. The eyelid doesn't close in a constant way, we have slows in and out of the open/close move"


Eye Brows

Animation as Visual Music

Body Shapes and Lines

Homework

Bring in SPLINED animations!!  Also send me your maya files as well, in case I need to open it in class and demonstrate anything.

Class 12 11/09/2016

Notes from class last night

Characters holding objects

I talk about parent constraining a prop to your character's hand.

Props are usually rigged under Control Curves.  I usually use about 3, but you can make due with 2 or 2. 

Make sure the geo is parented to the lowest curve in the hierarchy.

Make a group null and put the top Control Curve under that group null.  That Group null you may call buffer, and use that to parent constrain to your animation wrist control.

The hierarchy will look something like this.

PropMasterGRP>PropBufferGRP>PropMasterCTRL>PropCTRL02>PropCTRL03>PropGEO

It is good practice to create your prop rig in a separate file and reference it in.

I used add attribute on the top rig control to create a custom attribute for toggling visibility.

I then used set driven key to connect the attribute to the visibility of the geo.  Please google set driven key for tutorials if you want to be refreshed on the concept.

https://knowledge.autodesk.com/support/maya/learn-explore/caas/CloudHelp/cloudhelp/2016/ENU/Maya/files/GUID-F5429279-8EDB-449C-9E8D-4B5C0210757D-htm.html

Throwing objects

When I throw objects, I would rather toggle the visibility of multiple objects than trying to keyframe the parent constraint.  Usually I do this by referencing a prop twice, and parent constraining only one to the hand.

Creating shot folder hierarchy

Once your layout is all set, break up your maya scene into separate files.

Animate in those separate files and render from them.

Edit those clips in after effects.

Videos about cameras and character placement:

HOMEWORK

Once your layout is in a good place, begin animation blocking.  Break up your maya layout scene into separate shots and add more detail to your poses, animation blocking and timing.  Bring in your updated edit next week, so we can critique your progress.

Class 10 10/25/2016

In today's class, I outlined what I would like to see in your final assignments.  I showed more examples of Animation planning, and some videos that will hopefully inspire your ideas.  You will have the rest of the semester to work on your final, with it being due on the last day of class.  Each week's assignment will be to work on various aspects of the animation process.

Animator Acting reference:
http://i.imgur.com/UWmcpFk.gifv
http://i.imgur.com/mK9ZmYP.gifv

Animation using real baseball game as reference.
https://i.imgur.com/cNjgPH1.gifv

Every Frame a Painting. 
These videos give some ideas and knowledge about how you can use the camera to enhance the actions you are trying to show.  Remember, you do not have to be as elaborate as some of the examples shown here.  I just would like you to see all the possibilities that are available within the frame of the camera.

Drive (2011) - The Quadrant System from Tony Zhou on Vimeo.
Wolf Children (2012) - The Lateral Tracking Shot from Tony Zhou on Vimeo.
Edgar Wright - How to Do Visual Comedy from Tony Zhou on Vimeo.

Some really dumb, but well done animations.

Animator Progression reels:

The last two videos for Ratatoullie, and Monsters Inc, I want you to pay attention to.  These two videos show very well many of the steps I would like you to do for your final.

Another source of inspiration might be the Frame X Frame Tumblr.  Surf this website, and see if there are any animations or actions that interest you.

Mr. Buttons

I've shown this animation before in class, but I will be happy to link you to it again, since it is a nice clip that meets the requirements of the final project.

Blind Date Animation (right click, save as)

You may use the Mr. Buttons free rig if you like, but I would not suggest it for lip synch animation.

HOMEWORK

1) Finish your lip synch animations. 

2) Final Project Phase 1:

-Please come up with at least two animation ideas.  It could be anything from a lip synch animation like the 11 Second Club, to an action, like dancing or fight choreography.

-Sketch out thumbnails of how you would animate these ideas.  If you are not sure what thumbnail sketches are, here are some examples:

-Essentially, the idea is to sketch out the most important points of your story, or action.  Bring in these images and present your idea for class.

-Bring in any material that supports your animation idea.  It could be the audio, video, or animation reference.  Like I said you could surf FrameXFrame for ideas, or bring in a video of a dancer for reference.

-Remember to pick an idea that really engages you!  It will make it that much more fun to work on!

Class 09 10/18/2016

During the last class I showed you in more detail how I go about splining your animation from blocking.

One animation I showed to you that really demonstrated eye movement and facial expressions was called "One More Beer!"

One More Beer! from pedro conti on Vimeo.

Homework

Please begin splining your lip synch animation.  What I want to see if movement in the head, neck, and/or chest that adds to the animation.  Really make sure your movements support the dialogue that is coming out of the character's mouth.  Just moving lips won't do.

Class 08 10/11/2016

Last class we I showed you how I would spline our head turns, and initial blocking of the lip synch.

What I forgot to mention is that this is the Midterm!  This really snuck up on us.  Time flies!

Lip Synch Steps to remember.

1. -Have audio in .wav format
2. -Import audio into your shot.
3. -I usually like to have my timeline set at 4x height.  You can do this in preferences.

Here is a link to see how other animators approach their workflow.  Please look at these and try to keep in mind how you can use different processes for your own work.
An animation playlist about the workflow processes to get inspired.

Here is the drawing reference that I showed in class a few times. Flickr drawing references.

Here are some other videos to watch to see how people animate talking and acting.

I won't post anything about AE since you already have the audio file, and I will be opening AE again in class.  If you are curious to know more about AE, then please google it.

Homework

-Spline and finish your head turns

-Begin blocking out you lip synch

1. -Film youself saying the word.  Act it out.  Try different options.  Filming yourself is REQUIRED.
2. -Optional: Sketch out your ideas as well, similar to the pixar images I linked earlier.
3. -Using stepped keyframes, block out your character animation.
4. -Don't be afraid to think about what the character is doing before and after they "Ok"

Class 07 10/05/2016

Head Turn Animation

Hello everyone!  

Here are some helpful references on the topic of head turning.  Hopefully these will reiterate what I went over in class, and you can use these as helpful reference for when you are doing your homework assignment.

Jack Jack's head turn

Pocahontas

Please take note, there are many different ways to do a head turn.  A neutral head turn is completely valid, but whatever the emotion of the character might be would also affect how the turn is happening.  For instance, my animation that i worked on in class the other day was of a scared man.  He turned his head quickly, looking around to make sure nothing will hurt him.  If someone is relaxed, they might turn their head more slowly.  

aTools

I used the tween function of aTools quite a bit.  I hope you guys will continue to use it and become familiar with powerful a tool it can be.  As a reminder, here is the youtube video demonstrating aTools and how you can use it:

Review of Morpheus Face Rig

Please watch this video if you need any reviewing for the face rig on Morpheus.  Start at 14:30 to begin right at the face.

Morpheus Rig 101 - "The Rig As Is" from Josh Burton on Vimeo.

Other videos we watched in class:

Satoshi Kon - Editing Space & Time from Tony Zhou on Vimeo.


Chuck Jones - The Evolution of an Artist from Tony Zhou on Vimeo.

HOMEWORK

Based on what was shown in class, and the reference I provided in this blog post, please create your own head turn.  This is your chance to get creative.  Don't just rotate the head and blink the eyes.  Make me feel the turn in the body and the shoulders.  Create an expressive face that might communicate what your character might be feeling on the inside.  Please feel free to explore and experiment.  Remember you are creating art.  Let's see some emotion!

Don't forget to create a new perspective camera to view our animation with.  I usually rename it "RenderCam" which is what many studios do.  Find a good place for this camera, and lock it in place by locking attributes, or just keyframe it.  Make sure this camera view is the best angle for viewing your work.  Remember what I said about the eyes.  Our animations will work much better when we see both eyes in the shot.  Use your RenderCam to figure that out.

Please record yourself a few times turning your head and looking.  This is required!  Turn it in with your animation progress!

So in summary I want to see:
1 blocked animation of a head turn.
1 video of your filmed reference.

Class 6 09/27/2016

Hi guys!

Please continue to work on your running and jumping animations.

HanJun,

-Please be sure to add more key poses to your animation.  I would like to see the hands and feet really connect to the surfaces they are pushing off of.  Watch as many references as you can and observe how these parkour moves work.
-Work on speeding up your run.
-Simplify your camera.  I think you may only need two shots.

EunYoung,

-Work on ramping up your run cycle, and fixing the body as your character is jumping.  Check both realistic and cartoony references and see how the spine moves.
-Simplify your camera move, and try to keep the eye direction of your character consistent

For both of you, remember to watch the timing of your animation.  You both seem to be doing well with mechanics, but could work on your timing.  Shift the keyframes closer together if you want to make something seem faster.  

You could almost have your characters running this fast before jumping.

Space them apart if you want to slow anything down.  Please film yourself, or download a clip of someone running or jumping.  Pay attention to the timing, or even the frame count between steps or jumps.  When you review your animations, compare them to your references and ask yourself "does this feel right?"  And please feel free to show me, or each other for feedback.  Sometimes it is hard to see what you need fix on your own work.  You will need someone else's eye to find the problems.

In the meantime, here is more inspiration and reference:

Homework

Finish up your run and jump animations.  I think for this assignment, you can turn in a persp, side, and Rendercam view.

Class 5 09/20/2016

Last class I showed you guys how I would do a run or jump.  I showed you straight ahead animation, and quickly demonstrated pose to pose at the end of the class.

Here is a great video about it:

Here are the run jump examples I showed in class:
http://framexframe.tumblr.com/post/131747642902/studio-ghiblis-when-marnie-was-there
http://framexframe.tumblr.com/post/128186142038/glen-keanes-duet
http://framexframe.tumblr.com/post/118282198064/disneys-the-great-mouse-detective

Other drawings:

Drawing examples from a pixar animator, for planning his animation:
https://www.flickr.com/photos/victor_navone/collections/72157630141875812/

HOMEWORK

Revise your run cycles and bring them into class

Block out your animations for running and jumping.  Please bring in quicktimes showing the side view and any kind of persp view you would like to set up.

If you are doing pose to pose animation, please keep in mind to make as many keys and poses as you need to sell the idea.  There is no limit.  The more you lay down, the easier it might be to spline the animation.

Class 4 09/13/2016

Run Cycles

Hi guys.  Here are some inspirations and references for your run cycles.

This video shows something that is interesting to note.  This girl is shown landing on the balls of her feet instead of her heel, which is what I showed you in class.  That's ok!  That's very realistic, since jogging this way is better for your knees.

In fact the last two videos come from a very useful youtube channel.  It is full of great video reference for animators.

I have tried to find running tutorials, but the ones I see are not very good.  I think by now you should be comfortable keyframing in maya., and you know what kind of poses you want to hit.

Topics covered in class to remember
-A-tools tweening
-Holding "I" and middle mouse in the graph editor to drop key frames on the curves.
-Retiming the run cycle by pushing and pulling keys.

HOMEWORK

Based on critiques in class, please revise your walk cycles.  Polish them up!  Perhaps you can use it on an animation reel!

Next do a run cycle!  Please playblast a quicktime with H.264 compression, at HD 720.  Please email them before class begins.  We will critique them at the beginning of class.

Class 3 09/07/2016

Hello everyone.  In this blog post, I have a refresher on how some of aTools works.  Also I have provided some references for walk cycles.

I am still working on a default pose script for Morpheus, so stay tuned.

Atools for maya at home (click to save)

Tutorial Video on aTools:

Walk cycle images:

This man here is an inspiration.  This person was not an animator before, but he decided he wanted to try it.  Everyday for 100 days, he tried to animate a walk cycle.  You can see him getting better and better with each try.

Youtube Channel with Film Reference for Animators.

Other Walk Cycles:

Other Tutorials:

Homework!

Please put together a first pass of your walk cycles.  Don't forget to use aTools to save time. Use the images provided if you need references for which poses you would like to have in your walk cycle.  Please work on your poses and timing until you feel like they look like good walk cycles.

If you film yourself walking as reference, I will give extra credit.

For next class I would like to see a quicktime of your walk cycles and your references if you have them.  Please playblast them and email them to me before class begins.  We will then take those and I will show you how to take them a step further and refine them.

If you need help or advice, please send me an email!

Class 2 08/30/2016

Covered in class:

-creating maya project

-where to save rig

-reference rig

-Setting up a scene

-explaining manipulators

-rotating and translating on object, world, and gimbal. I forgot to cover scale last night,

but you actually won't need to worry about changing the settings on that.

-IK FK

-Camera

-Frame your camera to make the best compostion and show off your posing.

-setting keys for poses

-selecting all

-Morpheus should have a select all script, and a reset script. I will find this and update

you later.

-playblasting

  -Playblast the format as image with jpg encoding.

-Playblast with render settings, scale 1. Your render settings should be set to 720 x 540.

-Make sure to hide curves and show only polygons in viewport.

Inspiration:

https://brendanjacquinjmcanimation1.wordpress.com/tag/poses/

http://www.3d-reel.com/scripts/keyPoses_09.jpg

Morpheus Notes:
Here are some videos and resources about Morpheus.  This is also the website it comes from, if you are looking for more information.

http://www.joshburton.com/projects/morpheus.asp

Morpheus can have his gender and appearance modified.  If you wish to explore that, please do.  I can show you more in detail during the next class.

However, please use the rig I emailed to you.

 In the video above, you can see FK on the left, and IK on the right.  This is the difference between FK and IK.  FK you need to rotate Shoulder, Elbow, and Wrist to position the arm.  IK you only need to translate the wrist control, and position the pole vector. 

To switch between FK and IK, find this control near the hand.  0 is FK and 1 means IK.

There are similar controls for the foot for switching FK/IK, but honestly, 95 percent of the time you will not animate the foot/leg with FK.  Best to keep it IK.

And just so you know, the spine has FK/IK controls as well.  Another way of telling the difference, is that in Morpheus, FK controls are only rotated, while most IK controls can be rotated AND translated.  Some more advanced and flexible rigs allows you to translate, rotate and scale FK or IK, but Morpheus will not.  Here is a video demonstrating the difference.

The control name usually indicate whether it is an FK or IK control.  If you don't know how to find the name of the control, I have shown you 3 places in maya that tell you, once you have it selected.

To reiterate, here is a Morpheus demo video to help you get more familiar with the rig.

Morpheus Rig 101 - "The Rig As Is" from Josh Burton on Vimeo.


HOMEWORK

Please pose out Morpheus to your drawings.  There should be 10 poses.  If you want to more please feel free to do so.