3D Animation. Completed 3D Character Animation

Here is my finished and rendered 3D character animation. After identifying the problems in my previous post, I started to find it easier and easier to perfect the movements within the animation. Although I produced a rough storyboard, I did change my ideas as I progressed with animating on Maya. The reason for this is I found better ways of showing character and expression more effectively than what was on my storyboard. If I were to stick strictly to it, my animation would be very dull and lifeless. Although I should have followed my storyboard, I think it was okay in the sense as I had no idea what the sequence would've looked like in 3D, considering animating and using Maya was new to me. So adding and enhancing the majority of the motions seemed ideal for my animation, and I did stick to the basic idea of the story board I originally made. It was basically that with added features, such as more facial expressions and secondary actions to purely enhance the animated sequence.


The actual additions I made appealed for both characters in the animation. I wanted them both to represent their roles stated from my storyboard, with that element of a victim and main threatening character. This was devised from the sound clip I chose, because of it's fearful presence, it felt right to represent that through this animation. That is when I came up with the idea of having a character creeping up to another to frighten him/her. Once that basic idea was planned out, I began animating it through onto Maya, where from there I could analyze the data and enhance movements that I think would make my animation stronger. For example, to start off I had the 'creeping' motion very basic, but after close analysis with the sound, I discovered shuffles that would replicate a different sort of motion. It was then that I thought to make the character appear to drag the foot alongside him, to add to that 'scary' appeal of my animation. Adding that drag to the foot made the character have much more 'edgy' personality which helped highlight that element of fear I was after. In addition to the creep cycle, I alter and moved the facial expressions to give the character that personality of being a truly frightening figure. This was done be altering the eyes and mouth into more exaggerated poses, such as wide sinister smiles and dramatically inverted eyebrows.


For the 'Victim' character, everything had to reflect from the sound clip and the action from the main opposing figure. I wanted to add a bit more character to the victim, so I paid specific attention to the emotions before and after the action from the other character. I made the victim appear relaxed and content, until when the other character gets right close behind (where the dialogue begins) he becomes shocked and fearful of the figure behind. This adds personality to the character and allows us to understand the mentalities. Because the victim doesn't play a specific action based role within the sound clip, I added motions to further enhance his personality. Elements such as rolling of the eyes, scratching and tapping the foot. Once the other character interacts, I over dramatized his emotions by stretching the body out with both facial expressions, hands and legs. I really  wanted to portray the fear within this figure, so I added an extra emotion of 'nervousnous'. I represented this by radical shaking of the knees and eyes, whilst the arms and hands scrunch over the face (to potentially hide his eyes from the foe behind)


 Within doing these extra animations, both characters gain specific roles that clearly represent their personalities. Although I am still very new to Maya, I have come to understand the importance of posture and expression through the face and body languages. I have also learned the importance of researching motion, as it greatly helps within understanding the mechanics of animation. Without it, it would be impossible to be able to represent accurate and fluid movements. Although it seemed simple enough to start with, I soon found that the 'easiest' of movements required a lot of study, so I could replicate the motions with success. Overall, I have found animating in Maya quite difficult, but in the same sense exciting and I often found myself ambitious to play with new things in order to make my animation better. I am glad I chose 3D as I have learned so much about a new type of art.

3D Animation. Progressing in Maya (Identifying Problems)

With Maya been new software to me, I thought it would be useful if I documented the issues that I came across, so in the future I would have better knowledge of how Maya works and how I could tackle some of the problems. During the production of my 3D animated character, I noticed some issues that seemed hard to resolve at the time due to the lack of knowledge with the software itself. I found my self often noticing parts of the body and face moving in peculiar directions, that I myself did not set or 'do'. Usually it would involve rotations or timing errors where certain movements had less fluidity and generally made my animation robotic. This usually occurred when I adjusted the wrong axis curve on the graph editor, basically through lack of understanding with how the system worked.

One screen shot of my graph editor:

When key frames are made at both start and the end of 'dramatic' poses, it is then padded out with in between motions in order to make the movement smoother. However, I found myself key framing a lot of the motions I made, which in result often messed up with the timing to the audio and actions became swifter for the worst. This was done for the fact I didn't pay attention to the start and end poses of the movements, I just did them as I went along. So to resolve this, I began figuring and planning the poses at both the beginning and end of the motions. Once this was done, I could then analyze the animation and add pieces in between to smoothen out the movements. This was done through looking at the graph editor and tweaking the curves in which key frames/moves where set. As previously stated, I found that sometimes my character would move in peculiar ways, such as radical rotation of hands or arms. Before I had no idea how to resolve them and ended up going back and deleting those key frames so I could re-do them. However, within paying close attention to how the graph editor replicates the animation, I began figuring out how to fix those problems.

With the image above you can see how the different coloured lines replicate the animation on XYZ axises. The dots on the lines show the key frames which I have made during the movement sequences. Where curves are, indicate how the axises are being manipulated for different motions. So when I came across those rotation errors, I went to the graph editor and found the axis in which I thought the error had formed. Once I found it, I could then playback and see how the curves on the axis change where the issue is and from there I could tweak them and resolve that issue. It took me a considerable amount of time to understand how the graph editor actually worked, within moving the curves to adjust the timing and positions. However, once I grasped the axises and saw where animation took place on the curves, I found it easier to fix problems and tweak movements to give my animation more life.


Evidence of me planning the timing of a movement:

Within taking this small documented post, I feel comfortable to use it to reflect back on, So I know that I understand Maya a lot better than previous and feel less daunted by the software.

3D Character Animation - Finding Expressions

Before i began actually producing my 3D animation, i wanted to play around with some facial expressions. I think it's important to understand facial features within representing both emotions and body language. Without it an animation involving character's such as this, would be dull, boring and have little inclusion within the 12 principles of animation (squash and stretch, secondary actions etc). Also without using lip sync, i have to rely on facial expressions in order to highlight the dialogue within the sound clip.

From my idea in a previous post, i am going to have two characters that both react to my chosen sound board in different ways. One character is going to be menacing, evil and generally quite creepy. He will be the one who represents the majority of the motions and expressions from the dialogue. I chose menacing because the voice within the actual sound clip is quite disrupting and eerie, so i felt it was important to capture that sort of side with my own character. The other figure will be the 'victim' of the   main character's actions. It will respond to the dialogue through facial expression and emotion.

I have done two sets of facial expressions for each of the two characters, The main character and the victim. So as previously stated, my main character is going to be menacing and creepy. So i played around with the facial anatomy of the figure through Maya and took some screenshots to show what i thought worked well to represent the character. I paid specific attention to the eyebrow shape for the simple factor that is easy to change the emotions through that muscle, however, i didn't want to stick with that element as it made the face look pretty inactive and lifeless. I decided to give the figure a very broad smile, which would aid me to express that 'menacing' feel. The best way to represent the figure's sinister intentions, was the addition of adding eyelids to the facial features. This gave made a squint, which gave the character's this appeal of being slightly crazy/evil/psycho. Adding these extra elements helped over exaggerate the emotion, which is ideal as it represents fragments of the 12 animation principles.

Here are some images of the facial expressions i formed during this experimentation:

For the second character known as the 'victim', i adopted the concept of playing with all muscle structures within the face, alongside the eyes. However, this time i had to make the character calm, fearful and horrified. I need this figure to react to the other character in shock (from the soundboard) to what has been said, or how it was approached. Judging by the sound clip and how i have produce my other character, i need this one to react horrified and scared. I need to make sure that the emotions expressed through this figure really show distress to the action that's taking place. Similar to previous, i  adjusted the eyebrows first to show the innocent and calmer side to the character. I then played around with the mouth muscles in order to get smiles, frowns and open jaw shock (=O). Changing elements of the mouth allowed me to create different depths of exaggeration, and with a bit of time playing with them, i think i achieved some food expressions. I finally did some minor adjustments to the eyelids again, to really enhance that sense of fear with the ongoing action from the opposing figure. Doing those small adjustments, really made a difference with how the character looked within my chosen emotions.

Here are some images of the 'victims' expressions:

Within doing this small exercise, i managed to find new facial expressions i wouldn't of found so easily if i went straight into animating. It also gave me a better understand of how the facial anatomy worked within the rig and on the 3D software. Without doing this small practice, i doubt i would have been able to find such good facial expressions for my animation.

:)

References to existing 'sneaking' movements.

To understand movement better for my animation, i looked into a couple of existing examples that represent the 'sneaking' motion. I chose to concentrate on the sneaking aspect as it is one of the crucial movements within my animation. So to get a better understanding of the psychical and mechanical changes, i found two videos that highlight different examples of sneaking. They're different in a sense because of the age difference and products used to make them.

Here is the video introduction of a very successful game called 'Oddworld, Abe's Oddysee', created in 1997 for Sony's Playstation (1). I chose this one from memory, as i remember the use of  over exaggerating the movements to give the character more personality and add more emotion to the story/action. In this video, the character known as 'Abe' works in a food processing plant, until he discovers a new product 'New and tasty'. With his curiosity he creeps into a meeting held by managerial figures to find out this new recipe, and it turns out to be him! (his race). In this scene however, you learn a lot with what Abe is like as a character. Working as a slave with his fellow Mudokons (same race) in a big corporate factory, to earn a small living for the protection of his life. However, Abe is different, ambitious and daring, through this it is evident with the 'sneaking' clip that he will make sacrifices to know truth, even if it threatens his very existence. The animation itself of Abe creeping is very precise and accurate to the mood in which is set. Knowing the information of his current life, you also feel threatened for him in an emotional connection. So when he approaches the meeting of superior's, you can see the dread and fear within his exaggerated steps, which adds to the tension emotionally for us as the player.

I thought it was a good idea to use this video clip to understand the way emotion is represent through movement, so i could use it for myself within my own animation.

Here is the video introduction sequence:

(point of reference at 2:13 - 2:16)

Here is the second animated sequence i remembered from my childhood. I this scene represents the early stages of animation that became very good with expressing personality through motion. From the animated film 'Fantasia', 'The Sorcerer's Apprentice' created in 1955  by Walt Disney. There is not a lot of heavy information of the film to date, and is still unclear who and how it was made (to an extent) The idea was taken from the Goethe story and made into an animated story. From watching this scene myself, i can firmly say that the animation itself represents emotions strongly through the unfolding action/movement. In this particular scene, Mickey Mouse or known as the 'Apprentice' is doing chores for the Sorcerer. It is evident the curiosity Mickey has by the way he watches his master perform magical spells and tricks, to the point he doesn't even watch what he is doing within his duties. Later on in the scene, the sorcerer finishes his work and heads off to sleep, leaving his magician's hat  to the side. This leaves Mickey left not only in awe from his practices, but also curious of the power that is withheld within the hat. Left to his own devices mickey creeps to check that his master had vanished, and then went to examine the hat.


When Mickey checks on his master going off to sleep, you see and feel his emotions by his movements around the scene. He is cautious and aware of his masters presence, he knows what he wants to do, and knows if he gets caught it would be serious punishment. So he creeps and follows his master off to bed, so he is comforted knowing he can go forth with his intentions. The whole creeping scene adds suspense to us as the viewer, as you can feel that connection between the Sorcerer and Apprentice, that they both have clear representations of superiority and obedience. I think considering the age of this animation, Disney did well to represent the atmosphere and emotion within this animation. Also taking into the account that this was all strictly 2D animated and hand drawn. There are many references to the 12 principles of animation, especially through the secondary action and exaggeration of movements: Ideally with the 'sneaking' clip. I chose this to obtain inspiration for my own animation. I think it is good to look at older and newer examples of animation, that were both made differently, yet both show similar representations of motion through over exaggeration. 


Here is the scene from 'The Sorcerer's Apprentice:
(sequence of interest: 1:18 - 1:24)

Small video demonstrating 3D animation of  'sneaking':

( point of interest - posture and weight)

http://www.youtube.com/watch?v=c4ar_gHZoR0&feature=related

3D Animation. Artist Research (Cultural)

Studio Ghibli is a Japanese film studio that produces quirky, animated movies. The majority of the titles they produced are known world wide for their unique character designs alongside unusual yet compelling stories. The most recognizable of the movies is probably 'Spirited Away' and 'My Neighbour Tororo' who have won multiple awards for their innovative flair.

I admire the company for inspiring the public to enjoy different forms of animated movies, that promote culture in a variety of weird and wonderful ways. Ghibli have a very specific art style, which is one of the main reasons they have achieved so well. Sadly, Japanese animated cartoons (or also known as anime) is frowned upon within animation for it's small frame rates and little attention to detail. Thankfully, Ghibli differs from the mainstream and successfully achieves beautifully animated stories with that like no other. There is a heavy influence of the Japanese culture within the movies, that is shown through character creation, landscaping and traditional drawing/colouring etc. It also has a slightly higher frame rate than standard anime hitting up to 14fps,  which results in smooth and more intricate animated details. 

In Japan, they worship all sorts of idols and gods for religion or cultural beliefs. It varies mainly from animals, the planet and historical legends. This is shown often through the majority of Ghibli films, by producing idols that exist or make their own that could potentially come to life. For example, 'My Neighbour Totoro' is about a large rabbit creature known as the king of the forest and bearer of the element of wind. Within the film he is known to be a guardian over some children, and uses these elements to connect with them more so spiritually than physically. This combined with the beautifully drawn scenes and instrumental soundtracks, you're left feeling very emotionally connected to the story. It's different from other animated movies on that basis of accepting differences in a more primitive way, through sound and movements more so than dialogue. Every story is different, but each host incredibly unique ways of making you feel inspired, educated and excited to all the new forms. It is with that, that Ghibli are one of the most successful, international animation studios to date. By inviting their audiences to new worlds, that have not been seen before, that are inviting new and exciting for everyone at any age. It is that, where i admire the Japanese for their incredible talent at making their audiences use their imaginations,  to be more open minded and to become more spiritually connected with a story.

Bibliography:

. Google Images

3D Animation. Historical Research

Animation has been around for much longer than we think in terms of traditional artwork, not digital. The subject of 'motion' became a fascination across many countries in history. The first initial discovery of motion within drawing was in 1600 BC when and Egyptian Pharaoh named Rameses II built a temple for the goddess Isis which had 110 columns. Ingeniously, each Clem had a painted figure of the goddess in a progressively changed position.  To horsemen or charioteers riding past, the optical illusion gave the impression that Isis actually moved. Another in recorded history, is when the ancient Greeks decorated all sorts of ornate pots with figures on them poised in successive stages of action. The result in turning or spinning the pot would result in an animated sequence of that figure.

However, as this form of art became more recognizable, it was then where artist's took different measures in order to capture motion in a more appealing way. In 1824 Peter Mark Roget discovered the vital principles, 'the persistence of vision'. This principles rests on the fact that our eyes temporarily  retain the image of anything they've just seen. If this wasn't so, we would never get the illusion of an unbroken connection in a series of images. Roget's principles quickly dawned various optical contraptions, such as the Thaumatrope. A circular piece of cardboard with two sides showing one of a cage and the other of bird, also attached to two pieces of string either side. While pulling or spinning the cardboard whilst holding the two ends of the string, the bird will appear to sit inside the cage. This is due to the same principle that Roget discovered about our eyes registering the last image we saw, so here an illusion is created.

From this, it became evident that animating imagery was a very compelling way to produce artwork. It was from the Thaumatrope that the Americans produce the 'Wheel of Life' or also know as the 'Zoetrope' in 1867. 'Zoe' in Greek meaning life, and trope meaning turn, which evidently gave the name to 'The Wheel of Life'. This was a contraption that had a sequence of poised characters inside a cylinder with small slits around the outside. It would then be positioned on a stand and be spun around. The speed in which the cylinder moves gives off the illusion that the character inside is actually moving, although it really wasn't. This is an early example of how timing creates animation through a collection of 'stills'.

It was from these contraptions that dawned animations today, through the use of traditional and digital practices. Even today items such as flip books are still used to show motion within drawings. It is mainly occurred for productions in 2D format, but can also be used to demonstrate a storyboard for 3D creations too. It is how we today have managed to sustain animated imagery within all forms of entertainment, from movies to video games. In reality not a lot has changed since the Egyptians to now! a lot of it is still drawing frame by frame.

3D Character Animation

For my character animation, I decided to go ahead with 3D as I want to understand the software better for future purposes. I also think it's a good opportunity for me to learn new things that I would not in strict 2D formats, such as different perspectives, textures and dimensions. However, instead of diving straight into animating, i want to take time and think about what i will be doing. For example, story boarding, researching human motion and existing examples.

For my 3D animation, i had to pick one of three sound clips to animate over. I decided to go for the third which highlighted sounds of footsteps, shuffles and dialogue such as "They're coming to get you Babara". I chose this sound clip because of the emotion portrayed just through itself. It sounded creepy and evil/sinister, but not only the way in which the voice is spoken, but the accompanying footsteps etc. It was then i began imagining animations to the sound and thinking what would work best for it.

Okay, so my idea was to have two characters within the animated sequence. One playing as the main figure who conducts all of the motion, the other would be known as 'Babara' or in other words the receiver/victim of the action. As previously stated, this sound clip made me think of more evil and frightening concepts, so i needed to plan how my animation would show elements of that theme. It was then that the footstep sounds would be turned into a tiptoe/sneaking motion, that would add to that element of the character becoming 'creepy'. I also envisioned from there that the character would have his hands perched just under the head with strained, bent fingers. With these small elements, already my main character hosts the image of being a frightening character. So from this creeping idea, i want the character to sneak up on the 'Victim' who will to start with, be calm and unaware of the other figure. In the sound clip there are multiple footsteps and shuffles, i have decided to use one of the shuffles as a stopping/halting motion as the main character finalizes his journey behind the 'Victim'. From there, it will raise one hand onto the shoulder of the 'Victim' and then express the dialogue through various facial expressions. In result of the sudden touch and the threatening dialogue, the Victim reacts in terror through the rising of the shoulders and facial expression.

To represent what i mean clearer, i have done a rough story board that has annotation to the 'fear' element i want to portray.

 

Sound clip for Animation chosen: 

I thought a lot about how the camera would be positioned within my animation, as i want both characters to represent different roles. In my story board you can see that i have made the 'Victim' the main focus, so that the other 'main' character appears in the distance and is more secretive/sneaky. It makes it appear that the Victim is unaware of the other character's actions as he cannot see him. I also chose for this figure to have part of his face showing, as i don't want to take away any emphasis on the other character's actions but obstructing the camera angles too much. This way i think works good, as i can see all the action portrayed by the main character, but also can have the Victim's emotions shown through facial expressions, based on the action taking place. Lip syncing is not part of this particular animation project, so i really have to think about portraying the correct emotions through both facial expression and body language.

To understand the correct postures and movements within my animation, i thought it would be a good idea to make small records of the action in reality. From this i can analyse the mechanics of the human form, with how the weight and shape changes during movements. For this particular idea, i want to look at how the body moves whilst 'creeping' or 'sneaking'. I filmed 3 different angles of the sneaking motion, side, front and back to gain a wider perspective on the transitions of form.

Here is the video clip with the 3 angles. I managed to get the actor to mimic the initial posture of the main character in my animation from my storyboard, so i could get a better idea of how i should manipulate movements:

 

From taking these clips I learned a great deal of how the body reacts to that sort of movement. The body lowers and rises depending on the posture of the legs. For example, when  a leg rises up, the body goes with it, and when the leg impacts with the floor, it squashes down. I think that is an important element to remember, not only for a more realistic animation, but it also emphasizes one of the 12 principles of animation 'Squash and Stretch' which i should use to exaggerate the movements of my character. It was also interesting to see how the force of weight and gravity affects the leg as it transitions between the motions, for example with this creeping motion, the knees fall very low to the floor in relation to how the body moves.

From this additional research, I feel more confident in making my animation now. Looking into the facial expressions, story boarding and even taking references from real time movements, I have a much clearer head for what I want want to do within Maya. So now it's just a case of going and doing it!