Saturday, 18 December 2010
I had not previously rigged the eyebrows before, and I know this is only basic but I was interested to find you can do it in the same manner with the clusters on the face. Just got to work out how to scrunch them and raise certain sides as I know this will be time consuming to get many different poses.
I have just found a really good tutorial on the Autodesk website that I will definitely be completing over the next few days. It helps because it also included an unrigged head that I can use, as it is difficult finding decent ones for free.
However the bulk of my learning has been from this book 'Stop Staring' where I have been learning about all the background information of where is influenced in the face by the lower eyelids and the shapes I should utilise to make certain visimes etc. I am just getting to the point where the tutorials begin, so again I will have a practical week or so before Christmas using this.
I think that by taking time to read and understand the build up of the face I will be able to create better blendshapes, so combining these two sources should give me great results.
Wednesday, 1 December 2010
Tuesday, 30 November 2010
I used a Nurbs curve and the Wire Tool to influence the shape of Melvin's face as you can see below:
I realised after doing the mouth shapes that Melvin's texture on that file did not include eyebrows, so I had to open the next file on the disc which did have in order to create the rest of the blendshapes as you can see below:
Friday, 26 November 2010
The first stage was to set up the character for the blend shapes by painting the weights into the face using the Edit Membership tool and the Paint Cluster Weights tool. I have never done this before and had to find video reference of how to use the Paint Cluster Weights tool but once I got the hang of it I was quite pleased with the results.
I used the Reduce and Smooth tools mostly to widen Melvin's mouth and make the skin smooth around it.
This is only a quick playblast for starting a run cycle with the Moom Rig, but I was looking at the different ways the arms react when running. The right arm of Moom is rigged with FK and it moves with the body when it is going up and down whereas the FK left arm stays in the same position.
This will be something I must consider when creating my own rigs and the method of animation people prefer to use. Or even whether to use a mixture of the two for maybe the overlap of the hand movements.
Tuesday, 23 November 2010
I downloaded this rig from the Internet (I believe it was from Creative Crash).
The first thing I noticed from my rigging practice is how complicated the rig looks, with lots of facial controls and many for the body too in a small area.
Playing with the rig I found it is really easy to break the body. I only rotated the dog's head and this happened:
And this happened when I tried rotating the body...
Sunday, 21 November 2010
I followed the flame fluid tutorial as blogged below, with the following results:
I tried changing the intensity and the colour and believe this last test looks the best. It will be interesting to see how this would look in the cartoon style that we are looking for in my final year film.
I found this tutorial
in order to learn how to create effective looking fire without using particles as I do not think that will suit the style of our final film.
I started by creating joints in Melvin's legs and then for this body and head.
on box modelling a head, which is what I am going to be doing for the Mongolian character in my film. I am going to work through this to help me learn how to create my own character, especially as I will be learning rigging to coincide with this.
These are from the Animator's Survival Guide:
Obviously the leg positions are different to a walk cycle because they lift off the ground with the momentum, which is also why the body is more forwards as it is more forceful than a walk.
Timing for Animation reference:
And this is not really a walk or run, but I thought it was a nice animation of Pluto, and could be used towards the Marmot character we have in our film. He also seems to go through a whole range of emotions in a short space of time.
This is more of a leisurely jog, which may be good for practice but will probably not feature in our chase sequences.
Leg positions for a run cycle. It is similar to a run in that the contact positions are the same with the opposing legs, but evidently the back leg is in a different position as it is off the floor in comparison to a 'normal' walk cycle.
The jumping pictures are here as reference as we were not sure how the Marmot would move and whether he would bounce along like this or run like a person. We have since decided to make him run on two legs, which will definitely be easier to rig and also probably to animate.
Saturday, 13 November 2010
The tail is going to be really important as overlapping action when the marmot runs, similar to a squirrell. I really think this will sell the character and could be used to his advantage, for example he could use it to propell himself forward.
After our group discussions, it was evident that as the lead animator of the group I needed to practice run cycles as the majority of our film is a chase sequence. I used the rig I gained whilst on work experience at Rare as well as one of the rabbit from creative crash in order to practice a human and two legged animal run. I know the rabbit in particular needs a lot of work with the arms and smoothing out the actions, which is what I am going to focus on this week as well as learning basic body rigging.
(I will also upload the human run cycle at a later date)
I am not going to jump straight into the facial animation as that is my aim for the term, and I think I need a bit of practice with Maya before going head on into it.
I am an ANIMATOR
but I think in order to create myself a good set of complimenting skills to take into my career, I am going to learn RIGGING this term, with a particular focus on FACIAL RIGGING and BLEND SHAPES.
I think this will be very challenging in the short amount of time and will push my skills to the limit whilst also practicing my animation. I am aiming for a first in my degree, so hopefully this will help towards that rather than resting on my animation laurels.
Here are some example rigs I found on the internet. It is evident that each rig is not just set up with bones or joints, each part of the body has a controller that is used to move the joints within the body.
This was also quite interesting for the different stages of a Rig
This brief runs along side Unit ANP09306, which requires individuals to fulfill three roles (Artist, Animation and Technical) in which one will be your main role through out the year. Focusing on your main role you are required to carry out an advance level of research and experimentation within your main role. This research should be seen as a personal showreel which can potentially be used as a showreel come the end of your degree. The films you are working on for your final year drive the content of your research. You are to quickly determine your role and identify how your chosen role will fit in to the production from an early stage to begin analysing your skills. You should utilise the time to research and develop your work to help your personal skills and techniques through out the year rather than at specific times. For example, those interested in Animation should not take the view of waiting until all the preproduction, modeling and rigging is completed to start thinking about how a character will behave or act. Whilst the pre-production is on-going through term one, as animators, you will be expected to start picking out shots that require animation and to start researching and practicing some screen tests. You are encouraged to use live action, video reference and pre-rigged characters to start practicing your animation skills.
Technical artists can start looking at all the potential body movements and
Programme BA (Hons) Animation Production
extremes to determine a rig suitable for the animators. You should start considering lighting issues, effects and rigs that could speed up the work flow and further your own skills. Artists are encouraged to experiment with different mediums and techniques for their concept work. Modeling and texturing skills can potentially start early on in pre-production demonstrating experimentation and good evaluation skills. The aim is for you all to have eliminated as many technical or creative problems before you start your scheduled time to work on the film. You are encouraged to document your research in the form of a showreel or digital portfolio, whichever demonstrates your work more effectively. All the work is based on research; therefore the quality of work can vary from finished designs to rough tests. Do not undervalue any experimental tests as each should be a stepping stone towards the final outcome which should be demonstrated in the final submission.