Monday, April 2, 2012

WEEK 13: Animation Direction 2: Final Stretch!!


This class is a group critique of everyone's raw, unedited footage. This will be the last chance to confer with me and your peers about any last-minute shooting complications.  The rest will be a work period for any reshoots or editing.
Farzad shows those deadlines who's the boss

Final Assignment: Completed Film including titles and sound
Assigned: 05/04/12
Due: 19/04/12 In class
% of final grade: 20%

Edit your final footage together and post-effects like comp'd bgs, lighting, colour adjustments, image stabilization, eye/mouth tracking, titles and sound.

Leave storyboard panels in place of any missing shots to preserve continuity.

Have a look over your assignment sheet from the beginning of the course to remind yourself of all the parameters we've discussed.

Rubric:
Exemplary:  All shots edited together into a cohesive whole piece. A high level of polish in lighting, camera work and comp effects.
Excellent: Almost all shots edited together into a good first attempt at stop-motion. A good degree of consistency in lighting, camera, and comp effects.
Acceptable: Most shots edited together with only minor technical problems.
Not Acceptable: Fewer than half the shots completed or many shot complete but having major technical problems.

Best of luck to everyone!!

you are here


Sunday, April 1, 2012

WEEK 13: Character Acting 2: Acting scene, continued: Adding the extremes


We'll take a look at your blocking from last week and tweak it before moving on to the next stage.

I'll also show you an example of great blocking from Sony Imageworks' lead animator, Kevin Webb.
Sony Imageworks' Kevin Webb's blocking & final animation 


Step Two:  Adding the extremes 
Due in class 04/11/12:
Also called adding breakdowns or tie downs. Working between the main poses, refine the timing and motion by adding more keys. If you've been using stepped keys, it's time to switch to spline and flat tangents, may I recommend you do that a section at a time. Now's the time to start adding moving holds, fingers & some facial details, but not yet time for full lip sync and eye details like blinks and darts.

Tweak your camera to flatter your action but consider it as locked as possible from now on.



WEEK 13: Modeling and Animation II - Character design and pitch group critique

We'll have a look at everybody's designs and hear their ideas for their final assignment. Last year there was a huge variety of styles -- some extremely creative and funny -- from zombie weightlifters to Ninja strawberries to eels hiding in underwater caves. 

Over the next couple of classes I'll show you a couple of essential Flash tools for integrating your characters with your photo or video environments.  
some of the widely varied designs from last year's class
Next .. Walk Cycles: The walk cycle is a tricky but basic part of every animation curriculum.  You're going to learn the nuts-and-bolts of bipedal locomotion, and try to apply them to your character.  If your character doesn't have 2 legs, that's ok, just practice with a generic guy or stick figure for now. This is a topic that needs revisiting to really sink in. 

We'll have a look at some beautiful 2D reference from some of the masters of animation who really pushed the medium to the limit.
Pencil Test Depot

Living Lines Library

Walk Cycle Depot


The classic 4-key walk cycle. There are other types of walks, but this is the most common

Tuesday, March 27, 2012

WEEK 12: Animation Direction 2 : Field Trip to TIFF + Work period for Milestone 5

If you're coming to the CASO event (and you should because it's part of our class) I'll see you at TIFF  -- more info here:
http://tarateach.blogspot.ca/2012/03/caso-presents-exploration-of-todays.html

We'll meet back at school at 2:00 for the last hour of class to continue with your work on Milestone 5. Please bring your questions or WIP. I'm there til 6 so you can use the equipment. Be sure to sign out the gear! Check the schedule to see what's available:
http://bit.ly/stopmosched
I do hope you're staying for Bobby Chiu's awesome talk - I've heard him several times and I definitely wouldn't miss it. He always makes me want to draw more. See you in 515 at 7:00!
http://tarateach.blogspot.ca/2012/03/bobby-chiu-coming-to-gbc-march-29th-700.html

Here's a video from his recent Master Class attended by some illustrious members of GBC.



WEEK 12: Character Acting 2: Quadruped Walk wrap-up + Final Assignment - Acting scene


We'll wrap up the quadruped animation and move on to your final assignment: A character acting scene.  Please don't think of this as 'lip sync' - acting has very little to do with the mouth moving in time to the sound.

You have 3 weeks for this assignment and I've divided the work for you into 3 neat chunks: blocking the keys, adding the extremes, then adding detail. The full description follows.
Jeff Gabor with his animation progression & a plastic spoon

It may come as a surprise that the 'lip sync' part of character acting does not happen until the very last stage.  Please do NOT blast forth with lip sync, that would be very gauche ;o) And for love of Thor, please, no face cams!  Ugh..

The only thing I want you to work on for now is the blocking. The poses are the scaffolding of your entire scene. If they work, every layer of detail will improve it. If not, every layer will magnify their flaws.

Step One: Layout
Due in class 04/04/12:
Also called blocking or posing. You may need to thumbnail your scene first.  Pose the main body positions to support the important ideas and beats, usually around 1 pose per second, with only 2 or 3 major accents per scene. You may work with stepped keys or include 4 frame transitions between poses. Do not include unecessary breakdowns or facial animation, just posing. Do pose the face into the relevant expression but do not animate it at this stage.

Establish your camera(s) at this stage and try not to change them for the duration of the project.  You may include cuts, and if justified, truck ins/outs or pans to follow the action.  Keep these minimal, motivated and crisp (no floaty cameras, please).

Please read the following pages from Richard Williams' "Animator's Survival Kit':
311-326, 338-339

We'll have a look at some great resources for creating animated dialogue including some critiques from Animation Mentor's 11 Second Slub and the iAnimate showreel. 

Another great resource is Keith Lango. His article about Lip Sync is clear and concise.

Assignment 5: Acting Scene
Assigned: 28/03/12
Due: 18/04/12
% of final grade: 20%

Animate a character acting scene with dialogue. Work from your own live action reference, ideally the scene you practiced with Ed in Term 1. You may work in your pairs or groups for multi-character dialogue scenes and animate one of the characters only, or you may attempt to animate multiple characters.

Use pre-built rigs of your choice.

Rubric:

Exemplary: Convincing and well-motivated acting, clear, strong posing, snappy timing and fluid motion with a strong grasp of all animation principles including secondary/overlapping action. High attention to detail in all parts of the body, including eyes, mouth, and hands. Very high level of polish. Demo reel ready.

Excellent:  Solid acting with consistently good posing and timing, almost entirely fluid motion with a good grasp of nearly all animation principles including a good attempt at secondary action. Attention to detail in face and hands. High level of polish. Nearly demo reel ready with minor adjustments.

Acceptable: Decent acting with mostly good posing and timing. Motion is mostly fluid with minor errors or missing animation principles. Some attempt at secondary action. Face and hands animated but not quite polished. Within a few hours of demo reel quality.

Not Acceptable: Acting, posing or timing not clear or well planned. Motion not fluid with quite a few glitches or missing animation principles. Secondary action needing major work. Face and hand animation lacking detail. Quite far from demo reel level.

Equal weight will be given to:
Acting, Posing, Timing, Fluidity, Overlapping Actions/Secondary Motion,

Please submit files by FTP.
Please hand in 2 files, your playblast and your maya file.
You can hand in videos in any standard format except .wmv.
Ex: .mov, .avi, .mp4,
Naming convention:
tdonovan_acting_000.ma
tdonovan_acting_000.avi

Include any necessary referenced files. Please watch your naming conventions. No caps, extra characters or spaces. Feel free to number the files up to 999 as you like. It will help differentiate the files should you need to resubmit.

Good luck!

WEEK 12: Modeling and Animation II - wrapping up "Flour Sack Escapes" + Final Assignment handout

Last chance to show me your Flour Sack Assignments before the midnight deadline!  I'll have a look and help you with any technical difficulties.

It's time for your 5th and final project.

This is a 2D/live action integration project that will bring together everything you've learned so far - the animation principles, working with video reference, 2D animation techniques in Flash - and adds the key component of design.

Yes, finally, you get to make up your own characters and stories.

Your mission is to create a little world of Flash-animated characters in a live-action environment.  You have a lot of creative freedom with this assignment. You can work by yourself or as a small group.  It can be line work or colour, it can be serious, cartoony, depressing, or rude (well, keep it SFW). This is a chance to let your creativity shine. Your character needs to be able to move around and ideally walk around.

Rex the Runt - simple = funny

We'll do some brainstorming in class so you can get started. For inspiration we'll be looking at a brilliantly whacko piece of Flash animation from the video "Animals" by Minilogue.  Anything goes in Flash -- have some fun with it!

"Animals" by Minilogue. A few simple shadows and voila! integration
We'll discuss character design techniques -- finding a style using at all kinds of media including what's in your fridge. I'll show you some classically simple character designs from comics, TV, games, and movies and give you some hints about finding inspiration.

Homework for next week:

  1. Design a character for the final project. Have a printout of it ready to hang on the wall. Three words of advice: Keep.  It.  Simple. 
    If you can't draw it in less than 10 seconds, it's too complicated.
  2. Create a pitch for your idea. Your pitch should include a description of your scenario, as well as drawings to show how your work will all fit with your live action plate.

Here's the full description of your final assignment:

Assignment 5: 

Assigned: 28/03/12
Due: 18/04/12 IN CLASS & FTP
% of final: 20%

Please use a movie file type compatible with QuickTime: AVI, MOV, MPeg4

File naming convention:
hhoudini_final_001.avi
hhoudini_dcopperfield_final_001.avi

In small groups or individually, create a short film starring your animated character integrated with a locked live action background plate. You may download or shoot the video yourself. It should be between 12-16 seconds long including credits.

If you don't have an original idea, use one of these:

  • Busking for bugs 
  • Everybody in the salad 
  • 5" UFO 
  • Leaps tall buildings in a single bound 
  • Other uses for the toilet 
  • Badly disguised 
  • Things on my foot 
  • Urban Emissions

Good luck!

Friday, March 23, 2012

Bobby Chiu coming to GBC! March 29th 7:00-9:00pm at room 515.

Character designer Bobby Chiu (Alice in Wonderland, MIB3) is coming to George Brown to give a one time only digital painting lesson that is not to be missed. 

Mark your calendars and spread the word for us.

March 29th 7:00-9:00pm at room 515.

Open to all students and friends of GBC Game Design

CASO presents: An Exploration of today's digital workflow Thursday, March 29, 2012 11:30am until 1:30pm

Animation Direction 2 (DESN1137) - this will be a field trip for your class. Meet at TIFF before 11:30.
--------------
CASO presents: A Visionary Lunch -- An Exploration of today's digital workflow -- MR. X case study with Dennis Berardi  
Thursday, March 29, 2012 11:30am until 1:30pm

Please note that pre-registration is now necessary as TIFF is not allowing money to be collected at the door. (:op)

Contact:
Shirlyn Antonio, CASO
345 Adelaide Street West
Suite 600
Toronto, ON M5V 1R5
416.207.9142
shirlyn@casont.ca

*SPECIAL GBC Students Price (+HST): $10.00 Lunch is included 

Members Price (+HST) $25.00 In Advanced $40.00 At the Door

Non-Members Price (+HST) $40.00 In Advanced $55.00 At The Door

Please sign up here: http://bit.ly/gbcsignup


Main areas of discussion:

TRON: LEGACY, Scott Pilgrim vs. The World, Resident Evil: Afterlife, Hanna, The Thing, The Three Musketeers

  • How to build a digital studio in the today's economic climate
  • How to deliver big volume and top quality on a deadline
  • How to compete on the global stage
  • How to get really good at digital animation and visual effects - the path to excellence finding and retaining top international talent

Tuesday, March 20, 2012

WEEK 11: Animation Direction 2 -- Welcome back Luke Mistruzzi

Luke hard at work making amazingly smooth animation 
Once again this week we have the expert assistance of Luke Mistruzzi.  He's planning to show you the ropes of stop-motion walk cycles.  If it's anything like his super-smooth animated wave from last week (despite having to use my badly-made broken puppet!)  I know it'll be fascinating.

It's time to get shooting! We have great resources now including 3 cuts of Dragonframe. I sent out an email about sign-up procedures with a link to our sign-up sheet. You should be able to use 515 whether I'm there or not. Ask Magda about signing up to work in the room.

We'll go over equipment booking in more detail in class and hopefully get to my timing exercise I've been dying to do for 3 weeks!  Always a busy class with you guys...


Milestone 5: Shooting and editing
Assigned: 22/03/12
Due: 05/04/12 In class, FTP
% of final grade: 20%

Finish shooting all your raw footage and piece it together. You should be all ready for compositing at the end of this milestone. This will be your first rough cut of your entire project, not the finished piece.
If you have some gaps (a scene that needs to be reshot, or a major change) you can include a storyboard panel in its place. One way to edit your work together is to cut it in, shot by shot, to your animatic.  That way you can always have a work-in-progress version of your whole film.

Please upload your work to the FTP with a clear file structure that includes the names of everyone
involved, the milestone, the iteration, and a movie file format compatible with QT. This includes: .mov, .mp4, .m4v, AVI. Not acceptable: .FLV, WMV. Test your file in QT to be sure it will open.

tdonovan_milestone5_001.avi
tdonovan_hhoudini_milestone5_013.mp3
tdonovan_hhoudini_dcopperfield_milestone5_303.mov

Rubric:
Exemplary: All shots completed with good lighting, focus, and composition.
Excellent: Almost all shots completed with mostly good lighting, focus, and composition.
Acceptable: Most shots completed with only minor technical problems.
Not Acceptable: Fewer than half the shots completed or many shot complete but having major technical problems.


Good luck!

WEEK 11: Character Acting 2: Quadrupeds, continued

Continuing this week with quadrupeds..
Part of this class will be a work period so I can help you guys work on your animation.


I also have a lot of video reference for you of horses and animating horses in video games and movies.

We'll compare some horse animation from some popular video games like Red Dead Redemption, Shadow of the Colossus, and Skyrim and see where the horse physics is really working .. or not.  
Epic! Lord of the Rings called for hundreds of horses. Some shots were too dangerous to use 100% real horses.
Special FX included digitally animated horses and integration using massive
blue screens.

They even used large-scale horse mo-cap.