Task – Plan a dog walk cycle and create 2 poses using Sloan.
I make a list of notes for my Peer Buddy who is in Class 01 so decided to collate them all here. Will add more as the term progresses.
Week 11 – Walk Splining
See below, week 09.
Two more tips for splining:
– Have you been using buffer curves? If not, they can be quite useful: www.youtube.com/watch?v=ny5K-Wq3nrw
– I’ve also found the top mel script here to be super handy: www.aaronkoressel.com/?nav=tools As you probably guessed by the name, it deletes all your redundant keys. It makes that initial step into splining all the more bearable having a cleaner graph editor.
Week 10 – Personality walks
See my blog post on this topic.
Week 09 – Walk splining
– Knee pops are a pain. They’re caused by the relationship of the hip rotations and the foot roll. Play around with that before touching the leg stretch. Also save knee pops until the end.
– When you’ve addressed your mentor’s notes, do a playblast of your final blocking pass and save it. While splining every now and then go back to it and check your splining hasn’t gone too off course
– Make sure the front leg gets straight for at least 2-3 frames on the contact.
– Arc track both feet, you can just use the controller under the foot. Also check the knees, I wrote up a blog post on arc tracking joints here: http://www.timrudder.com/animationmentor/arc-tracking-joints/
– Also here’s a tip that I used on every walk cycle, how to create a mel script to quickly jump between your key poses: http://www.timrudder.com/animationmentor/jump-frames-mel-script/
– I also use a screen drawing tool and mark out my key poses in different colours on the timeline. Just helps me see where everything is.
Week 08 – Vanilla Walk blocking
– Check the poses on pages 103 and 108 of The Animator’s Survival Kit for the key poses.
– If you quickly switch from stepped to linear, just check that your translate z on the hips is a nice straight line. There shouldn’t be changes in spacing between the poses.
– On the contact position the legs and ground should make a nice looking triangle. The body shouldn’t be favouring the front/behind leg.
– Download and step through this frame by frame https://www.youtube.com/watch?v=vq9A5FD8G5w, this one too (although it’s more of a personality walk): https://www.youtube.com/watch?v=G8Veye-N0A4
Week 06 – Tailor:
– Hide the tail on tailor and animate the ball first, get it feeling right before you touch the tail.- Squash & Stretch must always follow the direction of Tailor’s arc
– A tail in motion always points to where it’s coming from (unless muscles are being used).
– One workflow method: you could animate the first link in the tail, arc track it and then use the arc to key the remaining links in the tail.
– Some inspiration: https://vimeo.com/45350702
– And some more: http://2.bp.blogspot.com/-uzV-iHyDYLk/UG0eq6DUQtI/AAAAAAAAAgs/0FuQJAcRbOM/s1600/waveTailBlair.jpg
Week 05 – Pendulum:
– Do the easier option first. I did it thinking I’d nail that quickly and move onto a harder movement, but 4 or 5 days later I was still working on just getting that simple pendulum swing feeling right. It’s easy to get in over one’s head on this assignment.
– Some people like to animate the top link first then copy the keyframes down the chain and offset them a frame or two each
– But some other people like to keyframe the whole chain, choose whichever method works for you, just make sure you get the passing position right (see below)
– This Keith Lango tutorial is a must watch
– Even though the swings of the pendulum get shorter, their timing stays about the same
– Make your own pendulum to study! This is what I did in class 01.
Week 04 – 2 Bouncing balls:
– Definitely get reference material and check timing of each bounce and make sure to mark that on your planning sketches. I use the ‘Download Helper’ add on in Firefox to download and analyse Youtube clips more closely. Shooting your own material is even better, just try and shoot in 24fps if possible.
– Check out the pdf tutorials here if you haven’t already: animationphysics.org/?page_id=21
– The feeling of weight really comes from how high the ball bounces, I’d recommend paying particular attention to that. You might even be able to exaggerate it a little in your animation.
– Beach balls are hard, they bounce but also have a floaty element too. Be prepared if you want to tackle one in your assignment.
– Always use the arc track tool in the AM menu so you can clearly check your arcs and spacing.
– I recommend not worrying about balls contacting or hitting walls, etc. The assignment is about weight more than anything, so focus on that first.
Week 03 – Bouncing ball
See my notes on making poses.
Class 01 is done!
I’ve learnt a hell of a lot over the past 12 weeks, it’s really filled in a lot of tiny gaps in my understanding of animation and am looking forward to the jump in difficulty of Class 02.
Tim’s tips for anyone in/looking to do Class 01:
– Simple is best. I think class 01 is all about fundamentals, learn to nail them before trying to wow the world.
– Use your peers. Get a peer buddy, join Facebook groups, use your Public Review space and comment on other’s work. The community has really helped me in many ways.
– Use reference material for the pose sketches. The point is to learn how the body acts in the specific states/emotions. Just doing a few sketches off the top of your isn’t really push you to learn new knowledge.
Task: Animate a ball with the weight of a basketball and pose a character conveying excitement.
My mentor had no improvements for the pose and just a minute change on the ball. huzzah!
Lessons learned: Take measures to prevent RSI!
Closely examine reference footage. Measure distances, rotations, frames, etc.
Clichés may be overused, but they’re overused for a reason.