I uploaded one more Progress Reel! The first shot I had several problems, and ended up full of pops. At least it was worth for the experience and to learn ways about how to make it don't work properly, heh.
Returning to the blog, I realized that I never posted my progress reels of each class from Animation Mentor after Class 1. I will put them together to post here. For now, here's my Class 02 Ree, thanks to Pat Danaher guidance. Still need to polish here and there, but I do not intend to return on these shots anymore. I hope you like it!
I'm back after a long period to show my reel of a Brazilian TV series called 'Dino Aventuras' that I had the pleasure to work on. Unfortunately we are not allowed to use the rendered versions in our reels, so I put playblasts of my favorite scenes that I had the opportunity to animate. Dino Aventuras is a 3D animation directed by Andre Forni. Developed for preschool audience (3-6 years old), the show is now featured in the channels Disney Junior and Disney Channel (only in Brazil).
You can find more about the TV show here! (Porguese only).
I'm also considering options for a new work, so please feel free to drop me a line if you have or know about any opportunities. Thanks!
When you are downloading something, you cannot use it until you finish, right? Try to think about it in your shot when you think you did everything!
So, when you are addicted in your shot after a polishing marathon.. Make some notes!
- Watch your animation with a critical eye and make a list about what you see;
- Your body mechanics need to have a good physics. Try to watch every part separated, one at time;
- Don't forget the original intention of your scene. Your goal is constantly pushing you and this is awesome to have a road to follow on.
Remember to fix your Center of Gravity Pass:
- Always start with the torso;
- Clean as much is possible your Graph Editor.
- When animating the feet, always pay attention to the weight of the body;
- Don't forget the silhouette;
- Build Squash & Stretch into your character's sillhouette using the entire pose;
- Make every frame appealing;
- Watch out for twinning, variation in legs gives a more organic feel.
The last 2%:
Okay, you are almost done!
- Be attent to pops and exaggerated Squash & Stretch;
- Pay attention to the ballroll animation, fingers, blinks, hair, etc;
- Polish where movement is initiated first, and then work your way out to overlap it.
- Think you have more than 10%! This is normal and great at the same time, because you will be more critical about your work; - Without weight, you haven't a mechanical shot.
This is my final shot to my 3rd exercise in Class 2. :)
Hey! This time I will adress two issues! Let's see...
I was thinking to do some pose to talk about when I came across this picture by Michael D. Mattesi. Previously has been said about the possible ways to get into a final pose, right? "And what does it matter now?"
Animating a full body, it's essential to choose your key-poses, lest it becomes unknowable. So, whey you choose your key-poses, think about it:
- They must show the beginning and the end of an action;
- Change of an action;
- Change in characters thought the process.
One more reason (or many...?) to doodle enough before sitting in front of the computer. What you should do in the thumbnails:
Pose 1: Describing the beginning of an action; Pose 2: Describes the end of an action; Pose 3: Describes change of an action (action coming to a rest); Pose 4: Complete the action and show the final moment.
During my 3rd exercise in this class, I met the difficulty of caring the body rotation, and how this influences the dynamics of the scene.
Previously I posted a drawing of a baseball player to talk about torso. To rotate it right, you must know where to start your action. In this case, I was simulating a throwing of the shovel. That is: (a) I start the action by hand, (b) and then the shoulders, (c) chest, (d) belly, (e) waist...
It's always good you try to reproduce the actions to understand the mechanics. In this case, my waist was rotated to one direction, while the upper body to another.
A friend did this thumbs to help me to understand the intent of direction. Is almost like a tail! First he shows up the hands and goes to the award. When the hands are already in the hole, the feet are still walking in the air.
That's it for now :).
For this week we return to a subject discussed before. Perhaps the biggest reason is to emphasize that "the real art of animation comes with the subtlety of timing and spacing".
We have seen a lot of content beyond the balls exercise and I can tell how it affects timing and spacing and how they still walks hand in hand. A quick definition and which affects both:
Is the phrasing of movement. Think like a music. The way you distribute the notes are like you decide to put your key drawings or poses, and it will create the timing.
This influences many other effects:
Weight and Force;
You should remember about what Newton said before: "a body will remain at rest or in motion until acted upon by an outside force";
External and internal force, like momentum. And momentum can't be separated from weight and force;
Don't forget: the property of a moving body that determines the length of time bring it to rest;
Creating contrast in timing clarifies ad accentuates internal state of character.
As you can see, timing remains an important factor that influences what you are animating. And you can't avoid to exaggerate it! At this point you can already notice the difference between styles and how timing is crucial to differentiate them. More you exaggerate, more cartoony you will have and this will be a healthy balance that you will care forever. Try everything!
Some tips to apply before and during your a shot:
1. Know what you are going for before you start it - physics, attitude and personality will ever effect the timing.
2. Put key poses on every frame in order to focus solely on the posing first. "They are more than just mood or dramatics: they also create extremes." It's important to put texture.
3. Start to move poses in time. If you think it need some hold, do it.
4. Play with the timing and see if what feels right.
5. Be aware of the rhythm you are setting up. As a music - again, try to break if is too consistently.
6. You can completely change the feel of a look just changing the timing without change the poses.
Continuing the reasoning and comparison with a music, spacing is how the notes are positioned between the timed keys. In the case, your poses. Will be with your spacing you apply the concepts of acceleration.
The pros agree: don't let Maya make the in-betweens for you, because will be completely unappealing and boring.
I used to track my spacing with software allowing you to draw on top of most applications.
Remember: You can always push poses to create more dynamic spacing or adress spacing issues. If you squash to a pose, you are in essence creating a blur frame, which will allow you to broaden the gaps and create a snappy timing.
Here some stylized drawings I did for Anhanguera Educacional, here in Brazil.