Animation Tips - Revision history

Rodney at 13:10, 1 December 2007

2007-12-01T13:10:30Z

Rodney at 04:49, 29 November 2007

2007-11-29T04:49:49Z

Rodney at 04:49, 29 November 2007

2007-11-29T04:49:05Z

Rodney at 04:48, 29 November 2007

2007-11-29T04:48:23Z

Rodney at 04:43, 29 November 2007

2007-11-29T04:43:48Z

Rodney at 04:21, 29 November 2007

2007-11-29T04:21:07Z

Rodney at 04:18, 29 November 2007

2007-11-29T04:18:03Z

Rodney at 04:09, 29 November 2007

2007-11-29T04:09:42Z

Rodney at 04:09, 29 November 2007

2007-11-29T04:09:12Z

Rodney at 03:54, 29 November 2007

2007-11-29T03:54:00Z

← Older revision		Revision as of 13:10, 1 December 2007
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	# Keep dialog animation in a separate action. It makes it easier to modify (pick out the appropriate keys) later.		# Keep dialog animation in a separate action. It makes it easier to modify (pick out the appropriate keys) later.
	# Keep emotion animation, blinks etc. out of dialog actions. Reduce the clutter in the action and it will be easier to have emotion outside the length of the dialog action in the choreography. (KH)		# Keep emotion animation, blinks etc. out of dialog actions. Reduce the clutter in the action and it will be easier to have emotion outside the length of the dialog action in the choreography. (KH)
		+
		+
		+	See also:
		+
		+	[[Modeling Tips]]

@@ Line 65: / Line 65: @@
 Things that make cleanup easier:
 # Keep dialog animation in a separate action. It makes it easier to modify (pick out the appropriate keys) later.
+# Keep emotion animation, blinks etc. out of dialog actions. Reduce the clutter in the action and it will be easier to have emotion outside the length of the dialog action in the choreography.  (KH)

@@ Line 44: / Line 44: @@
 * Cycles for each character should be made early on. Then each character will be more likely to walk/run the same throughout the movie. (KH)
-* Where possible assignments should be given out in batches of sequences.  Among other things this will minimize the adverse effects of suddenly different animation styles. (C)
+* Where possible assignments should be given out in batches of sequences.  Among other things this will minimize the adverse effects of suddenly different animation styles. ( C )
-* Set up a 'storyboard' / 'bible' for each character with animated examples of special features for that character. (C)
+* Set up a 'storyboard' / 'bible' for each character with animated examples of special features for that character. ( C )
 * Animators often learn well via progression through cycles. That is, a cycle of blocking out a scene, a cycle of rough animation, a cycle of clean up animation and a cycle of dialogue.  They may even do a cycle of do it all yourself.  Let people do enough work in one cycle to exercise that skill and then move on. (DH)

← Older revision		Revision as of 04:48, 29 November 2007
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	If characters have all these things built into a pose already or defaulted to ON via their constructed rigging the characters will look natural from the start. It will often eliminate the need for adjusting this kind of thing in cleanup. (KH)		If characters have all these things built into a pose already or defaulted to ON via their constructed rigging the characters will look natural from the start. It will often eliminate the need for adjusting this kind of thing in cleanup. (KH)
		+
		+	Have a workflow method
		+	* Plan out the shot (pre-planning is essential in animation). This includes video reference, thumbnails, etc.
		+	* Block the shot
		+	* Refine (TN)
		+
		+	Things that make cleanup easier:
		+	# Keep dialog animation in a separate action. It makes it easier to modify (pick out the appropriate keys) later.
		+
		+	# Keep emotion animation, blinks etc. out of dialog actions. Reduce the clutter in the action and it will be easier to have emotion outside the length of the dialog action in the choreography.

@@ Line 1: / Line 1: @@
 Over the course of making [[Tin Woodman of Oz]] many suggestions were made to improve the process, quality and enjoyment of animating.  While not all may be universally agreed upon some may work for you.
-Note:  Tips have been edited.
+Note:  Tips have been edited.  They are ONLY suggestions.
 * Keep animation as [[definition:  assymetric|assymetric]] as possible.  Learn the value of being productive and don't get stuck in "refine mode".  We all often do this in the beginning.   Keep with the flow of the story and deliver the best shot you can to finish your assignment within the allotted time.  (D)
@@ Line 39: / Line 39: @@
 * I was assigned a scene (Tinman juggling his axe) and found I really liked Tinman's pose done in the following scene by another animator.  I wanted to use this pose for my last keyframe as a means to maintain continuity and elimiate the need to redo what was already done so well.  I exported the desired choreography action to an action file, opened that action in my project and copy/pasted the frame where I needed it to be.  This method saved me from having to add a new action in the choreography and I find it works even if you switch beetween IK FK. (M)

@@ Line 6: / Line 6: @@
 Recommended steps to take upon assignment:
-. Find out what your assignment is (and where possible what it isn't).
+# Find out what your assignment is (and where possible what it isn't).
-. Determine what it is required for the sequence.
+# Determine what it is required for the sequence.
-. Make a note of how many frames you have to work in.
+# Make a note of how many frames you have to work in.
-. Check to see if there are any logs others have entered about the sequence.
+# Check to see if there are any logs others have entered about the sequence.
-. Check the animatic or storyboard (Note:  It may not exist or may be out of date).
+# Check the animatic or storyboard (Note:  It may not exist or may be out of date).
-. Check the script (It may be out of date too).
+# Check the script (It may be out of date too).
-. MOST IMPORTANT!!  CHECK previous sequences others have worked on that pertain to your sequence (Note:  It may not be the shot just before yours. You might have to go back a few shots).
+# VERY IMPORTANT!!  CHECK previous sequences others have worked on that pertain to your sequence (Note:  It may not be the shot just before yours. You might have to go back a few shots).
-. Check the sequences that follow your sequence (Note: It may not be the very next shot)  (G)
+# Check the sequences that follow your sequence (Note: It may not be the very next shot)

← Older revision		Revision as of 04:18, 29 November 2007
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	* Keep animation as [[definition: assymetric\|assymetric]] as possible. Learn the value of being productive and don't get stuck in "refine mode". We all often do this in the beginning. Keep with the flow of the story and deliver the best shot you can to finish your assignment within the allotted time. (D)		* Keep animation as [[definition: assymetric\|assymetric]] as possible. Learn the value of being productive and don't get stuck in "refine mode". We all often do this in the beginning. Keep with the flow of the story and deliver the best shot you can to finish your assignment within the allotted time. (D)
		+
		+	Recommended steps to take upon assignment:
		+	1. Find out what your assignment is (and where possible what it isn't).
		+	2. Determine what it is required for the sequence.
		+	3. Make a note of how many frames you have to work in.
		+	4. Check to see if there are any logs others have entered about the sequence.
		+	5. Check the animatic or storyboard (Note: It may not exist or may be out of date).
		+	6. Check the script (It may be out of date too).
		+	7. MOST IMPORTANT!! CHECK previous sequences others have worked on that pertain to your sequence (Note: It may not be the shot just before yours. You might have to go back a few shots).
		+	8. Check the sequences that follow your sequence (Note: It may not be the very next shot) (G)
		+

	* Lead with the eyes by a frame or two. Follow with the head. Then animate the body last. (SF)		* Lead with the eyes by a frame or two. Follow with the head. Then animate the body last. (SF)

@@ Line 3: / Line 3: @@
 Note:  Tips have been edited.
-* Keep animation as [[assymetric|definition:  assymetric]] as possible.  Learn the value of being productive and don't get stuck in "refine mode".  We all often do this in the beginning.   Keep with the flow of the story and deliver the best shot you can to finish your assignment within the allotted time.  (D)
+* Keep animation as [[definition:  assymetric|assymetric]] as possible.  Learn the value of being productive and don't get stuck in "refine mode".  We all often do this in the beginning.   Keep with the flow of the story and deliver the best shot you can to finish your assignment within the allotted time.  (D)
 * Lead with the eyes by a frame or two.  Follow with the head.  Then animate the body last. (SF)

← Older revision		Revision as of 03:54, 29 November 2007
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	* Always think about the weight of the object. Thinking about weight in each shot helps to sell the believabilty of the movement of a character. In a sigh the head will drop, and the weight of the head will cause it to drop a little too far and then recover slightly. (SF)		* Always think about the weight of the object. Thinking about weight in each shot helps to sell the believabilty of the movement of a character. In a sigh the head will drop, and the weight of the head will cause it to drop a little too far and then recover slightly. (SF)
		+
		+	* I was assigned a scene (Tinman juggling his axe) and found I really liked Tinman's pose done in the following scene by another animator. I wanted to use this pose for my last keyframe as a means to maintain continuity and elimiate the need to redo what was already done so well. I exported the desired choreography action to an action file, opened that action in my project and copy/pasted the frame where I needed it to be. This method saved me from having to add a new action in the choreography and I find it works even if you switch beetween IK FK. (M)