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shaunf

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Posts posted by shaunf

    2_07_070

    in TWO Animating

    Posted

    Ooh... also.. always think about the weight of the object. In this case, upon the sigh... his head will drop, and the weight of his head will mean it will drop a little to far and then just recover slightly....

     

    Thinking about weight in each shot also really helps to sell the believabilty of the movement of a character...

    2_07_070

    in TWO Animating

    Posted

    Hey Steve...

    My thoughts:

     

    - Lead with the eyes by a frame or two... then the head, and the body last...

    - Make sure the head has an arc to its movement (you can do this not only by animating the head, but the body also). One tip with that... if you can actually SEE the arc... then its probably to big. If you can FEEL the arc (ie... its not a robotic straight line movement) you probably have it close to working.

    - make sure you soften the end of the movement, and it doesn't come to a complete stop. By that I mean, the haed might come to a stop... but the body may continue to move marginally (not necessarily along its same path, but still have some movement to break it up.

    - have an overlapping movement on the head (ie... the head tilts first (perhaps a frame of two only) and then turns.

    - Add some anticipation to the sigh... do this by perhaps moving the body and shoulders up first (and tilting the head down fractionally), and then as the body comes down, the head tilts up and the down... to give the effect of a sigh. (hold the anticipation a bit too... as you can use that to emphasise the breath in)

    - Dont have all the movements along the one path. If necessary use a whiteboard marker on your screen to plot its path frame by frame... and if you find that it is following one line without any arcing movement, figure out a way to put that movement in

    -Try and add a bit of shoulder movement in (perhaps as part of the anticipation) to break up the robotic stiffness of the move also. I have found that if you can get the appropriate timing, posing and then add overlap and anticipation to each movement... things really start to loosen up and work much more effectively.

    - Add some minor eye darts to 'make him come alive more'. Eyes are CONSTANTLY moving... even if they are imperceptable movements. By adding in eye darts (very minor ones which you would not automatically register), a character really does wake up and come alive.

     

    Film yourself as a refernce doing the same thing, and then watch it FRAME BY FRAME to not any things that move first, last and at the same time.

     

    Hope that helps! :)

     

    Shaun

    shaun freeman

    in Work In Progress / Sweatbox

    Posted

    LOL!!! You're making me laugh Stuart. :D

     

    Re: animating lip sync. I can't remember how I did the tute, but I basically do lip sync by constructing each mouth shape to suit the audio. So I don't really use phoneme shapes as such.

     

    I base my technique on the book by Jason Osipa 'Stop Staring' which is GOLD jerry... GOLD!!!

     

    Thanks for the kind words chaps.

     

    :)

    Jamster work

    in Work In Progress / Sweatbox

    Posted

    I don't know about that chaps. Do you have QT 7?

     

    Kenh.. re lipsync... I actually mentioned previously why it was a little out.

    Just one note. The lip sync is slightly out, this is because of a timing issue in the music after the animation was completed (they found the music was about a half second too long after it was all put together and had to re-edit it).

    Jamster work

    in Work In Progress / Sweatbox

    Posted

    Hey peoples,

     

    here is the latest mobile phone animation I have completed. This time for a company called 'Sharky Mobile' who have since sold it on to Jamster. Once again all done in A:M.

     

    http://amfilms.hash.com/search/entry.php?entry=1084

     

    Just one note. The lip sync is slightly out, this is because of a timing issue in the music after the animation was completed (they found the music was about a half second too long after it was all put together and had to re-edit it).

    Rigging the new Scarecrow

    in TWO: General Discussion

    Posted

    Think I found a bug as well. When I rendered with multipass/moblur, the dynamic only calculated the movement in those semi-frames and didn't take into account the velocity from previous frames, so it basically went nowhere. If this is a bug, I'll submit to A:M Reports. Example:

     

    Hey Ed,

     

    there is a simple work around to that one.

    Just simulate spring systems and keys are set down for the dynamic bones. YOu can then render with motion blur easily enough.

     

    Cheers

     

    Shaun

    Jamster work

    in Work In Progress / Sweatbox

    Posted

    Did you render that with V11 or V12? How long did that take to render with all that hair?

     

    Hey Kevin,

     

    I rendered it in v11, although hair looks better in v12 now. It took two weeks to render running a render farm of 6 x 2.8 gig machines.

     

    Each frame was about 1 hour. I rendered out one image of the background and comped the shadows and monsters in on top. If I had rendered the whole thing (ie. the background, monsters and shadows all as one pass) it would have been a much higher render time.

     

    I love my render farm. I wouldn't have been able to render this with my one machine.

     

    :)

    Jamster work

    in Work In Progress / Sweatbox

    Posted

    Hey Chaps,

     

    Thanks for the comments :)

     

    I bet you had a few 'pass throughs' to contend with.

    Damn right, And many that I missed, but I ran out of time and had to be happy with what I had.

     

    Where did the music come from? Did you do that or does Jamster provide the music?

    Nope. Not my music, they gave me the music and I animated to it. I'm more of a 'Maceo Parker' kind of music guy :)

    Little water test

    in Work In Progress / Sweatbox

    Posted

    As soon as I get a moment I'll post a decent explanation. In the short term though:

     

    I basically modelled a static wave, and a static foam model (at the point where the wave meets the ocean). I created moving animated bump and displacement maps using the techniques outlined in the babbage patch tutorial and stuck them on.

     

    I made the wave transparent with a refractive index of about 1.4, I made it reflective (mybe 20-30 percent), and then stuck in an large sphere with an environment map applied to give the water something the reflect and refract.

     

    I then added some sprites for the spray.

     

    And I got my wave. :)

     

    The original water was just following the babbage patch tutes.

     

    When I get a moment though I'll outline the process properly.

     

    Cheers

     

    Shaun

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