Aja animation study

Some note for the Lip Sync form Aaron video (below) 304 - 325 in The Animator's Survival Kit 151 - 163 in Character Animation Crash Course. 453 – 471 in The Illusion of Life The mouth move 2-4F ahead sound. Say the Dialogue and feel the mouth shape change between the word A sentence has a pose, award let the pose to buzz. Every pose would have meaning in it. Don't over animate, don't over-enunciate. At least 2 frames to read the important consonant Most of the time the head accent(頭的動作) is up anticipate is down then head accent up then lip on the vowel(母音) Hit only the vowels which are important. Gloss over the other. just hit the main accents progress the action as you speak Action: we experience the emotion and magnify the result. show the expression change avoid making a fast move while changing the expression change your expression before the move, or at the end, when the character is moving slowly enough for it to be seen D

Today I join an interview host by CGMA. They have invited the 3 animators from the movie Klaus. They are Cécile Carre , Simone Cirillo , Giovanni Braggio . They are all the animator I really like in the movie or as an artist/ animator. Really glad to have this interview and really inspired what they are talked. Here is some of the note I did in the interview. ___ Usually, in the studio, you will be assigned a sequence which is mean you will be give many shots that is connected. Think about those while planing those shots: What happens around the shots? What moment are those shots want to deliver? What is the use in the movie? Where is the big importance in the shot?  How the director wants you to communicate? How I want to show around those shots? Push more on the important one and release it on the others. Find a good balance between each shot. This is not about showing off your skills. It is about what the shot wants to describe In the production: shooting vide

The eye is the human soul. If the movement is not quite right, it is really easy to be recognized. In the blocking. Do the upper lip and eye direction. Usually, when eye direction goes up, upper lip moves up. When eye direction goes down not big change on the lip. Eye dart(眼球飄移) Humans have more eye dart when you relax, less eye dart when the tension happens. Usually, take 2-3'f to move from point A to point B, is a fast movement  Eye dart can be : convergence (緊) Divergence (鬆) saccades are ballistic (視線像是掃射的) Pursuit motion (追求的過程) Dart when it is an important moment, simply other parts (ex: no blink) Do don't eye dart when character: shock in the strong status Visualizing (searching, checking) Eye Blink Adult: 7-15time/ min Kid: 1-2time/ min Mix those: Half blink Full blink No blink Breath No blink when people angry More blink when people frustrated Eye direction Have more eye contact when you meet the people you familiar wit

Something I learn in Michal Makarewicz Mester class in CTN. He is a 3D animator who is a master of using layer aniamtion. That note is base on his experience. When you polish your animation. You don't want to change the core energy, but push the part would increase the emotion . Also, make every small part connect together smoothly. In the Big picture, we separate polish into two big part: Physical polish weight force/ environment(like when you touch st in the shot, the object will have slyly movement as well)  Emotion polish(push the emotion, make it more clear) loose ---> looser happy--->happier Animation polish checklist : Arc Lead and follow Typing in body movement(ear move, Bang ball, muscle move, nose, face, eye beg) Contact arc Motion Blur(smear frame) Scale(scale up or down if need it) Poel and relax(natural movement of bone) Residual movement Overlap/ Residual action Squash and stretch Breathing Polish inside out, from root to out

Thumbnail/ Exploration ▼ Rough pass(layout) ▼ Golden pose/ Story key ▼ Key, Break down ▼ Tied down, In-between Thumbnail/ Exploration A ton of small thumbnail to find which is the best poses to sell your story. Planning your shot before animate. Thumbnailing to find the best solution before animate. keep open and see which one the fit your situation Rough pass(layout) After thumbnail do a rough layout pass(character layout and environment layout) The layout should show rough environment and the brief path or key of where the character is Golden pose/ Story key I will say after Thumbnail you will pick some pose, and some of those will be your story key. A major key in animation which is the point story change. when you put those pose together people can easily understand the story. Simply the poses(limited it), try to don't use the pose which the pose telling the same thing at the same time. Key, Break down(rough) Now you have a rough story outline. Using

Some good note from Sir Wade's video Acting can't animate emotion it's come from circumstance, thought, action and boil together then it will give you a specific character choice base on the character personality Combat animation 1. good fight scene should be clear by its own, but also need to be clear who is winning in what time(not too obvious, but obvious enough that you understand what happen) the who wins part that changes the power dynamics and it makes the fight fun 2. Camera choice need to have specific choices to what you do your camera when you doing your camera, you want to make sure your camera is motivated by your character movement sometime character will move first and camera fellow, that will make the scene excited if you move the camera before character go there, it will make the audience expected what is gonna happen next and the scenes will become boring 3. animate character using a weapon  whatever is a fist, a sword, or bl

question yourself: what you want the audience to feel when they see? if mechanic lose, the animation might stand out too much be sincerity what is the truth of the character can you feel the feeling you want to the audience? observer  adjust as much I can, no matter live-action, animation feel stuff experience the moment and analysis why I will feel that(break down) Ben Willis workflow : First pass(blocking) -shot ref (If 2 week per shoot, spent 2-3day plaining, explore the idea) -edit the ref, speed the part of time up or slow it down, to close the character doing -spline, key in the extreme  (feel right first and push form there) (feel like starting from the root and go out to the body) -start root of the body, turn off the arm and leg ( start at ZX transformation, rotation ) - shoulder , rotation - head , rotation -a  whole arm full animate (many keys)(make the arm animation looks not wired IB) -whole facial pass(like an arm) keep mouth simple

some note from video: Before blocking, you should think ten other versions (option) for this shot. Force yourself to think what is the version never be approved, think above than what your original ideal and slow come back. Now you realize either your original ideal is right, or you will realize the original one is too retained and simple(need to push more). Give the viewer they didn't except. find the people your trust. If are not a good animator, it isn't mean they don't have a good idea Today Simon Otto workflow: -shot reference, do drawing -block through shot without looking in step mode -the least amount of pose to tell the story -turn to spline just see how it move, look it is something wired, but don't do anything. Just want to see what it is -back to step add more BD -spline, but just watch don't do anything(back and fore with the previous step) blocking without stopping coffee and see back again create a fixing list, and just fix

Some note for the video. This video is talking about how to explore the emotion and using in my animation. I think the biggest point and biggest challenge is to find a spontaneity action. Spontaneity action will make people feel more genuine, fresher. We need to find the Singularity acting which is : It isn't wired and doesn't make sense to people It is something simply shows out of common which is mean is unique and creative acting The process when we making character animation : 1. familiar with my emotion, normalize them and bring to surface(the shot) Let myself become the character feel the as same as the character feel it in your own body(emotion) 2. act the emotion when planning the shot(video reference, 2d planning) find the uniqueness avoid cliche which is mean the acting every will do shot the video reference, don't need to hit the beat in when you shot it. play the audio and feel it to act it out. do several times and find the uni

整理一下這學期動課上的學到的動畫流程 這個流程主要是從老師那邊拿到的標準流程後， 照著自己的狀況做出來的 其實整個流程走完就感覺你是真信社在偵查一個你不知道的人的身家背景一樣 了解他，破解他，運用他 在你的動畫 難怪老師常常在上說做動畫是科學，觀察、分析、運用 我拿我化的 Drunk Daffy Lip-sync作為例子 在這次的練習我是要用Looney tune 的 Daffy Duck去作出一個在說醉話的鴨子 01.   Study_ character    01-1   personality analyze    01-2   performance  analyze    01-3  model sheet study (proportion, mouse shape, the line of action)    01-4  capture the Daffy in the cartoon which is fixing our situation 02.  Thumbnail 03.  video reference 04.   Animation_ thumbnail rough 05.   Animation_ rough test 06.  St udy_ timing    06-1  chart    06-2  exposure    06-3  arc 07.   Animation_ rough in-between 08.    Animation_ tied down ----- 01.  Study_character (角色分析) 在畫動畫前，我們必須先了解這個角色的個性、比例、各種不同狀況他會做出的表演。這個部份是我很欠缺的，常常沒有完全了解(或記住) 就下去做動畫，其實蠻吃虧的，因為你如果做出不是這個角色應有的表演(Ex: 你畫一隻米老鼠，但他的行為像是唐老鴨)，這樣這個角色動畫其實就很難去說服看的人。先了解(記住)這些可以讓你在設計表演、劇情上，更加的順利。 01-1   personality analyze 這個部分主要是在觀察Daffy 這個角色的個性跟符合他的為。Daffy是既有的角色，所以這個

(Smear Drawing) Smear Drawing is 2D animation want to imitate the effect when human see the fast action. This week want to CTN and watch the Eric Golberg Demo. He mentions that sometimes he will use a little bit smear to not only imitate the fast action but support the arc of the motion. When the fast action usually we will see it blur(like the photo below) So use Smear and put in a frame to create the feel of real life. Same as D animation and stop motion. They use motion blur to create the same feel as Smear Drawing. (motion blur) Learn form :  http://andreasdeja.blogspot.com/2018/09/distortions.html

The artist to pull reality and boil it down and to accentuate. That why the Research is important. -Aaron Blaise Watch Aaron video remind me again how important reference is. If you want to make your work believable, you might study for reality. Even you think you know everything about the topic of your work. Every time study the reference would have to explore new things. Pick the sprite form life, and turn into animation. Don't do the boring animation, make is breathable and let people want to see. The amazing part of the animation is it can do the thing that real life can't do, but you can't without make is believable.

Make some note about the tip Toniko give in his video. Really helpful no matter for a traditional animator or digital animator. 1. Flipping and Rolling     flipping the paper every time, check the volume, and the continuity of the animation 2. Less onion skins and lighting table     less lightable is because sometimes we will too rely on the visually in-between, not feel the actual volume. flipping more can improve this thing happen 3. Less cutting and pasting drawing     If making the stable object is not for special propers, it will lose the illusion of life.     Although is the same pose you draw over again and again. You can tell the life in each drawing 4. Less use of distortion tool     Same reason of No.3. redrew more. 5. Plan your work     Trial(ask) and Erroring myself. Trial yourself just like a checklist. It will make sure every important part have been done. And be brave to make the error, find the error and fix it. It the fast way to improve your s

Since having storyboard we will make some reference to support the film(animation) more believable, for instance, video reference is one of the important things we will make. Video reference should include those point : - Right camera angle - the timing you want - read the video, and transform to the animation which is mean don't follow the actual video did. pick the important part and apply to the animation. follow the 12 principles, make the performance more dramatic, improve the timing......etc - watch live-action and inspired by live-action - If you can't make the video reference in once, do it spreadly, for instance, make the facial expression, body move, prop movement spread many mixes in your animation. Some good video reference made for animation : Also will make the reference before shooting the live-action. Take the Jurassic Park for example, Draw storyboard --> make stop motion(use puppet to animate the scene will be, here have the camera an

X-sheet = exposure sheet Dial = Dialouge BAL = Balance. which is mean ever part moving in the same chart T/B = traceback Ruff = rough REG = register the character BG = background

Helpful Hints for  Clean-Up Construction -Think the character have skeleton and muscle. not just line -Read through the model sheet. and look over the rule(formulas公式) of the character. (Ex: proportion, something he would do, something he wouldn't do, proportion) -drawing through. It can let you more clear the structure behind the drawing Simplify -Avoid parallel and twining(zombie) -Avoid tangents -create a strong silhouette  -Avoid ambiguity which is mean don't draw the thing like the thing it wouldn't able to be. Apple is Apple doesn't draw like the banana. -Avoid flap drawing. like a wooden board. - Avoid lazy line . the lazy line is the like can't feel the structure. Artist draw this line don't think too much about the purpose. just drawing with no thinking. beware of feeling nothing different between lazy and the line which has though. When you draw an apple. ask yourself. what the skin will look like. have the leaf? is the app

Before saying convincing leverage. Let talk what "Lever" first. According to Wiki : lever   is a  simple machine  consisting of a  beam  or rigid rod pivoted at a fixed  hinge , or  fulcrum .   A lever is a rigid body capable of rotating on a point on itself.  Use Lever in life can save a lot of energy. It have 3 classical type. Take the first for example, see the pic below the heavy object(M1) and the light object(M2) through the short distant(a): long distant(b) get a balance on the fulcrum. So the first item make Leverage convincing is have a reasonable relationship between the object and the distant form fulcrum . ------ Use the theory, we can apply lever in many thing in our life. //Take pick up the hammer for example, The hammer heavy side(M1) to the fulcrum(left hand) is more way short than the right hand(M2) to fulcrum. It make the people earlier to pick up the hammer. //If in the situation which is pick hammer and put it on your should

Discuss some stuff about Key, BD, ANT on Wednesday with Felix. Key : extreme poes of the action BD: between the key ANT : the action before the main action, usually is the opposite direction of the main action Look through the thumbnail the animator draw, and see how it apply to the real animation. here I'm looking at how to make a suitable thumbnail and ready to use on the key. K1 - definitely is a key, it a beginning of the performance ANT - the prepare action of head up to K2 K2 - head up to extreme BD - middle of the K2, 3 K3 - final extreme K1 - beginning position K2 - extreme location of the rolling forward K3 - extreme of the wood hitting up and Goofy extreme of the get hitten DB - middle of the K3, 4 K4 - the extreme pose of fall down (it might have an ANT before going to K5) K5 - going up ending pose On Wednesday also talk to Coco, and she shares this awesome demo from Andreas Deja. It is about the processing of thumbna

看完這個tied down 之後 發現其實有時候身體的某個部位可以不動一陣子(ex身體) 或是可以一次曝久一點(ex 4F+4F+4F) 不過前提是在有其他部位是有繼續動的情況下 也再次複習老師說到的每個部位都是不同的chart 不會有同時做出同樣的速度的動作(除非故意做成像機器人或是殭屍)