As you think of ways to have your character transition back into the run cycle, consider how you can make your scene interesting. The possibilities are endless. Case in point this nearly 1 minute long sequence from Disney's 1937 classic "Snow White". Her terrified run through the forest is one of the most well-known animated sequences of all time.
Wednesday, April 2, 2014
WEEK 13: Asset Dev DESN1086: Assignment 4 due
ASSIGNMENT 4 due today in class.
Last project of the year!
ASSIGNMENT 5 –
3D PROP 20%
DUE DATE: in class on BlackBoard WEEK 15 April 17th
*ZERO marks for late submissions
In 3D Studio Max, build a prop model that accompanies your character design from Assignment 1. For example, if the character was a retro spaceman then the 3D prop model could be his ray gun or helmet.
Polycount range: 2500 – 5000
Last project of the year!
ASSIGNMENT 5 –
3D PROP 20%
DUE DATE: in class on BlackBoard WEEK 15 April 17th
*ZERO marks for late submissions
In 3D Studio Max, build a prop model that accompanies your character design from Assignment 1. For example, if the character was a retro spaceman then the 3D prop model could be his ray gun or helmet.
Polycount range: 2500 – 5000
When working be sure to keep in mind protocol and methodologies learned in Term 1 modeling class.
SUBMIT ALL OF THE FOLLOWING:
A) 3D prop model (.max or .fbx)
B) Reference material (sketches, photos etc. - jpg files)
C) Screenshots (front, side, back and ¾ view - .jpg files)
REQUIREMENTS:
Filenames:
1086_A5_YOUR-NAME_prop.max or fbx
1086_A5_YOUR-NAME_prop.jpg
1086_A5_YOUR-NAME_propref01.jpg
Ex - 1086_A5_BEIBER-JUSTIN_prop.max (last name first, please!)
FORMATS:
3D Studio Max
jpgs 1280w x 800h (pixels)
It's been a while since you guys did any modeling. If you need a refresher, here are some Digital Tutors tutorials to get you back up to speed:
CG101: Modeling
Beginner's Guide to Modeling in 3ds Max
10 Ways to Improve Your Modeling in 3ds Max
Modeling Game Props in 3ds Max
Hard Surface Modeling Workflows in 3ds Max
SUBMIT ALL OF THE FOLLOWING:
A) 3D prop model (.max or .fbx)
B) Reference material (sketches, photos etc. - jpg files)
C) Screenshots (front, side, back and ¾ view - .jpg files)
REQUIREMENTS:
Filenames:
1086_A5_YOUR-NAME_prop.max or fbx
1086_A5_YOUR-NAME_prop.jpg
1086_A5_YOUR-NAME_propref01.jpg
Ex - 1086_A5_BEIBER-JUSTIN_prop.max (last name first, please!)
FORMATS:
3D Studio Max
jpgs 1280w x 800h (pixels)
It's been a while since you guys did any modeling. If you need a refresher, here are some Digital Tutors tutorials to get you back up to speed:
CG101: Modeling
Beginner's Guide to Modeling in 3ds Max
10 Ways to Improve Your Modeling in 3ds Max
Modeling Game Props in 3ds Max
Hard Surface Modeling Workflows in 3ds Max
WEEK 13: Game Dev 4 DESN3012 Milestone 5 Due in 2 Weeks
Here's another interesting feature workflow from a Shrek the 3rd animator Justin Barrett. He explains the details of his workflow with video examples from a scene he did on Puss In Boots.
Wednesday, March 26, 2014
WEEK 12: Game Dev 2 DESN2017 Assignment 4 due
The final stretch! This is the last assignment for your course, hopefully one that will bring your character smoothly back into his run cycle you started off with this term. Think about how you can help this deceptively complex action look believable. It's not just a matter of letting the computer do the inbetweens for you - at this level we would like you to plan some interesting, subtle animation that will show your mastery of the tools and the animation principles. Ok, maybe "mastery" is scary. How about "facility" :D
What IS this 'recovery' of which I speak? Well, that's up to you, really - what happens after the slide, after the stagger, before the run cycle starts again? There's only one way to do this properly - act it out!
Don't forget to stretch!
Assignment 5: Recover
DUE DATE: WEEK 15 April 18 (in-class) – 20 Marks
*ZERO marks for late submissions
Using your bi-ped rig animate the character recovering from his stagger and transitioning back into your run cycle. The feel should be consistent with the personality and emotion of the previous animation. Secondary animations a broad range of movements and timing are encouraged to add life to the character.
SUBMIT THE FOLLOWING:
A) Thumbnails of key poses – minimum 6 key poses
B) Video file of 3D recovery animation
REQUIREMENTS:
Filename:
DESN2017_A5_YOURNAME_thumbnails.jpg
DESN2017_A5_YOURNAME_stagger.mov
EX -
DESN2017_A5_BIEBERJUSTIN_thumbnails.jpg (last name first, please!)
DUE DATE
SUBMIT TO BLACKBOARD WEEK 15 IN CLASS
Please compress all images and videos to keep them small using the following guidelines:
Videos:
Quicktimes, 560 pixels by 316 pixels, H.264 codec, max 10MB. You can use a variety of tools such as Handbrake, Adobe Media Encoder, Quicktime Pro and more to format your videos. I use the 11-second club guidelines for all submissions:
http://www.11secondclub.com/helpful_hints/encoding
Images:
JPGs between 500-1200 pixels along longest edge, 72-300 dpi/ppi, max 5MB. You can use a variety of tools such as Photoshop, Gimp, and online programs to compress files.
DUE DATE: WEEK 15 April 18 (in-class) – 20 Marks
*ZERO marks for late submissions
Using your bi-ped rig animate the character recovering from his stagger and transitioning back into your run cycle. The feel should be consistent with the personality and emotion of the previous animation. Secondary animations a broad range of movements and timing are encouraged to add life to the character.
SUBMIT THE FOLLOWING:
A) Thumbnails of key poses – minimum 6 key poses
B) Video file of 3D recovery animation
REQUIREMENTS:
Filename:
DESN2017_A5_YOURNAME_thumbnails.jpg
DESN2017_A5_YOURNAME_stagger.mov
EX -
DESN2017_A5_BIEBERJUSTIN_thumbnails.jpg (last name first, please!)
DUE DATE
SUBMIT TO BLACKBOARD WEEK 15 IN CLASS
Please compress all images and videos to keep them small using the following guidelines:
Videos:
Quicktimes, 560 pixels by 316 pixels, H.264 codec, max 10MB. You can use a variety of tools such as Handbrake, Adobe Media Encoder, Quicktime Pro and more to format your videos. I use the 11-second club guidelines for all submissions:
http://www.11secondclub.com/helpful_hints/encoding
Images:
JPGs between 500-1200 pixels along longest edge, 72-300 dpi/ppi, max 5MB. You can use a variety of tools such as Photoshop, Gimp, and online programs to compress files.
WEEK 12: Asset Dev DESN1086: Assignment 4 due Next Week
Assignment 4 - action - due next week!
Today is a work period - bring your questions & I'll have a look at your work in progress.
Make sure you put lots of time into the planning stages - thumbnailing animation is a really important skill. There's a lot of documentation on how to create nice thumbs online and on this blog. Remember to make the drawings readable in sillhouette. Think CLEAR not clean. The thumbs below are low-detail but very very clear.
Today is a work period - bring your questions & I'll have a look at your work in progress.
WEEK 12: Game Dev 4 DESN3012 Milestone 4 Due
Final stretch!
Just 3 weeks left.
Please sign in and let me know if there's anything I can help you with (animation, uv'ing, texturing, painting)
Please upload your assignments to Blackboard.
Your last assignment is due on the final week of class.
Milestone 5: ex 5-10 second piece of animation. Value: 20%
DUE DATE: WEEK 15 April 17th on BLACKBOARD
* Late submissions will receive ZERO marks.
It is recommended that you show work in progress each week. Aim to have everything animated by Week 14 so you can spend the following week on revisions and polish. Playbasts are fine. No rendering required.
FILE NAMING:
3012_ m5_lastnamefirstinitial_001.mov
ex: 3012_m5_donovant.mov
Videos:
Quicktimes, 560 pixels by 316 pixels, H.264 codec, max 10MB. You can use a variety of tools such as Handbrake, Adobe Media Encoder, Quicktime Pro and more to format your videos. I use the 11-second club guidelines for all submissions:
http://www.11secondclub.com/helpful_hints/encoding
As you approach the end of your program, here's a good question to start asking yourself?
'What is your workflow?'. The idea of WORKFLOW in animation is a very personal one.
Generally most animators will do at least most of the following:
- key all controllers on each pose, adding all the detail needed to sell the posing
- key only the basic controllers on each pose and layer the complexity in subsequent passes
- work straight ahead keying only the main controls and adding finer detail in subsequent passes
.. and there are more where that came from.
With 3D, it's important to stay SIMPLE because of the complexity of fixing animation on several controllers moving on different frames. That said, you need to show the director what you're planning, and that means adding even expressions and finger controls from a very early stage.
What you don't want to do is randomly start working without any plan. Think! Plan, then start animating. "Measure twice, cut once"
See this example of VFX workflow from John Carter from Animator Patrick Giusiano
DUE DATE: WEEK 15 April 17th on BLACKBOARD
* Late submissions will receive ZERO marks.
It is recommended that you show work in progress each week. Aim to have everything animated by Week 14 so you can spend the following week on revisions and polish. Playbasts are fine. No rendering required.
FILE NAMING:
3012_ m5_lastnamefirstinitial_001.mov
ex: 3012_m5_donovant.mov
Videos:
Quicktimes, 560 pixels by 316 pixels, H.264 codec, max 10MB. You can use a variety of tools such as Handbrake, Adobe Media Encoder, Quicktime Pro and more to format your videos. I use the 11-second club guidelines for all submissions:
http://www.11secondclub.com/helpful_hints/encoding
As you approach the end of your program, here's a good question to start asking yourself?
'What is your workflow?'. The idea of WORKFLOW in animation is a very personal one.
Generally most animators will do at least most of the following:
- read the script/watch the leica/look at the storyboard
- draw some thumbnails for key actions
- act out the scene on video
- block the broad strokes of their shot using stepped keys or very pose-to-pose timing
- approval or peer review
- start breaking it down
- approval or peer review
- add polish, layering, offsetting
- final approval
- revisions or retakes
- key all controllers on each pose, adding all the detail needed to sell the posing
- key only the basic controllers on each pose and layer the complexity in subsequent passes
- work straight ahead keying only the main controls and adding finer detail in subsequent passes
.. and there are more where that came from.
With 3D, it's important to stay SIMPLE because of the complexity of fixing animation on several controllers moving on different frames. That said, you need to show the director what you're planning, and that means adding even expressions and finger controls from a very early stage.
What you don't want to do is randomly start working without any plan. Think! Plan, then start animating. "Measure twice, cut once"
See this example of VFX workflow from John Carter from Animator Patrick Giusiano
Monday, March 17, 2014
WEEK 11: Game Dev 2 DESN2017 Assignment 4 due next week
I hope your stagger animation is going well! I keep finding these little examples of animated run-stagger-recovery sequences for you -- please send me links if you find more!
This is a great example from Tangled. Once again it's another 90-degree change of direction. Watch how carefully the animator slows the character's momentum and rebalances the COG so he can continue running.
This type of animation is very tricky. Be sure to show it in context -- the point of the exercise is to show how you handle the forces required.
The last assignment will lead you back into the run so don't worry about having that part completed for next week.
WEEK 11: Asset Dev DESN1086: Assignment 4 due in 2 Weeks
This class is for you to work on your character action. By the end of this class you should have animated your scene in rough. Please check with me if you don't understand your marks or my notes from the last assignment.
Be sure to double check your naming conventions and formatting.
Be sure to double check your naming conventions and formatting.
 | |
| Street Fighter |
 | ||
| Super Meat Boy |
 | |
| Braid |
WEEK 11: Game Dev 4 DESN3012 Milestone 4 Due Next Week!
Morning, folks! Don't forget to sign in.
Digital Tutors recently released a really nice 1-hour tutorial on polishing techniques:
Many animators have documented their polishing process. Here's a really nice one from Malcolm Pierce who worked on Tangled and Ice Age 3:
“FINAL” thoughts on Refining and Polishing a shot.
Your animation is due next week so I hope you have all your blocking done today so we can make any last-minute corrections in the final polishing phase. The polish pass is usually the most fun for animators - after all the hard work of blocking and posing, you finally get to finesse your shot and show everyone the lovely, fluid animation that's been playing in your head for days or weeks. :D
Digital Tutors recently released a really nice 1-hour tutorial on polishing techniques:
Many animators have documented their polishing process. Here's a really nice one from Malcolm Pierce who worked on Tangled and Ice Age 3:
“FINAL” thoughts on Refining and Polishing a shot.
Tuesday, March 11, 2014
WEEK 10: Game Dev 2 DESN2017 Assignment 4 due in 2 weeks!
Please let me know if you have any WIP to show me. It's good to get some feedback before you get too deep into your work. You have a couple of weeks left so you should be into your blocking this week. Next week you should aim to have all your animation finished in rough so you can polish it in the last week.
I'm really not finding much in the way of run-stagger-recover reference (here's a good excuse to do some video reference shooting if you'd like to borrow equipment like cameras and tripods just ask me).
A large part of making this assignment work has to do with how you handle the shifting of weight. This is true of any full-body animated scene. Here's a great student piece by "Kolin" from Animation Mentor (Kolin, if you're reading this, please tell me your full name so I can properly identify you!)
I'm really not finding much in the way of run-stagger-recover reference (here's a good excuse to do some video reference shooting if you'd like to borrow equipment like cameras and tripods just ask me).
A large part of making this assignment work has to do with how you handle the shifting of weight. This is true of any full-body animated scene. Here's a great student piece by "Kolin" from Animation Mentor (Kolin, if you're reading this, please tell me your full name so I can properly identify you!)
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