picard

[steve392]

Started playing with this voice from Animation Mentors archives,and thought I would show it and get some feedback maybe

worthy2.mov

[Rodney]

You'll get a lot of different ideas on this.

I'll offer one... or ten.

 

I like the first phrasing. The head, eyes and mouth all seem to work well.

At the word "Wow"... although this seems to be said sarcastically it still has an accented spike to it and that doesn't come across in his eyes/face.

At the end I'd delay the initiation of the smile just a little bit more so that there is a revelation of Picard's emotions appearing on his face for the grand finale.

As irony seems to be his intention a slight micro expression of anger/superiority might work well just before going into the final expression. (I'm thinking primarily of his brows furrowing slightly here)

I would be tempted to have Picards arms go behind his body as well to get some shoulder motion into the scene.

 

Added: The most important part of dialogue isn't lipsync but rather body orientation.

Consider how Picard might be rocking back and forth on the heels of his feet while pontificating.

 

My over all suggestion would be to play with the body more (put on your Milt Kahl cap here. Milt was a master of using all available screen real estate).

Consider that Picard might be slightly turned or leaning one way at the beginning, then turn slightly away from camera and then finally press in for the final phrase back on camera.

 

Over all that is a nice take!

[Simon Edmondson]

Started playing with this voice from Animation Mentors archives,and thought I would show it and get some feedback maybe

 

 

Steve

I liked the model and the expressions but, it seemed a bit stiff? Only the head,eyes, brows and lips were moving. For the amount of movement in the head you might expect the neck to move as well, even if only in small amounts. Likewise the shoulders and arms. As you have it at the moment the skull is pivoting around the upper neck joint. You would only need the smallest of movements in the other parts to loosen it up slightly.

regards

simon

[robcat2075]

If I had to budget myself to one suggestion it would be that the head can not pivot around on the top of the neck like a gymbal.

the head is the last link in a flexible chain that makes up the spine and it all has to come into play to look right.

 

All those head nods and turns you are doing have potential, but the torso and neck need to be part of what is making that head move. It's even physically impossible to move the head without them doing at least a little bit. A mime might be able to isolate the head but in normal everyday action ti's all working together to create expression.

 

There's lots of opportunity between the head and torso for overlapping action to loosen things up and create a more lifelike impression.

[steve392]

Thank,s a lot folks ,I see what you mean now. I will see what I can come up with

[robcat2075]

Isolated motion.

 

that's the term I was looking for. I've heard animators call it that, when one part of the body moves and the parts attached to it remain motionless.

 

This is an accepted practice in 2D limited animation. Fred Flinstone's head will nod and turn and talk without his body (on a different cel) moving at all, but the greater realism of our 3D models seems to make that not work for us.

 

I remember watching a critique where a student had a character with its hands gesturing in front of it. When the character leaned forward the hands (IK hands) remained motionless in space as if they were on an invisible hand rail. That's another example of Isolated Motion. Once you notice it, it looks very odd when it happens.

[steve392]

I see what your saying Robert,I updated it a bit but still needs more ,especially after reading your last post lol

worthy3.mov

[robcat2075]

I see what your saying Robert,I updated it a bit but still needs more ,especially after reading your last post lol

 

I like what you are doing at the very end where he's giving us a sideways glance

 

 

 

What if his head couldn't turn that much and you had to get most of that done with the shoulders?

 

And now that you have the shoulders moving more, I'll note that the torso can't pivot on motionless hips. it's all connected down to the feet. in general if the torso has to lean in one direction , the hips need to move opposite to keep the weight balanced over the feet.

[higginsdj]

I think you took off on the wrong foot. What the scene lacks is direction/purpose. At present he looks like he is just saying the words and you are now trying to animate the head to try to make the scene look interesting.

 

Is he commenting on something that has happened, commenting on something that he is looking at, is he talking to himself or someone else. Is he actually being sarcastic or just feining interest. Attitude/emotion starts with the body and ends with the head.

 

Adjust the lighting so you only see a black silouette - how does the animation read without the facial expressions? You need to define his 'attitude' poses so block those in first - worry about the facials last. The pose looks stiff because it completely lacks arcs. If you want him to look 'stiff' and pompus then push out his chest and arc that head and back and turn him away from the camera.

 

How did you intend to end it? Remember the sound of the report tablet hitting the table as he drops it (original). Look for something new and interesting. You could have him looking up from his report and out through a large viewport just as a meteroid hits it and causes a crack.... (ie something that wasn't in his report!)

 

Cheers