Saturday, October 18, 2008

samll dialog clip

I haven't posted any thing from some time so here is a little dialog animation clip is from cg tantra i know it still needs a lot work in terms of lip syn and polishing i guess i will do it some time but what ever it is its here


video

Thursday, July 10, 2008

A samll slide animation

A guy sliding and jumping


video

Tuesday, May 27, 2008

Some mocap fun

Its been long since i wanted to learn mocap animation.I finally able to get some decent result out.The process was the character was rigged in maya according to the naming conventions of the motion builder then exported to motion builder in FBX(film box) format.Then the mocap is applied on the custom rig then exported back to maya.


video video

Monday, April 14, 2008

Alfred jump

video

Tuesday, March 25, 2008

Box lift

video

Sunday, March 16, 2008

Basic walk cycle

Another walk cycle but this time i tried to make it bit real



video

Wednesday, March 12, 2008

Diffrence between timing and spacing ?

Lets take the eg of a bouncing ball the frames where the ball is hitting the ground is timing and the frames in between are the spacing of that scene.An object has to go from point a to b in one sec in a 24fps scene frame 1 and 24 will be timing how you gone reach from 1 to 24 is spacing you gonna fav the 1st frame or the last or you want slow in slow out or slow in fast out etc.

you will change the timing of the scene if you change the actual occurring of it say now the scene will end on 35th frame.And you will change the spacing of the scene when you will change the drawings in between for eg in bouncing ball your drawings are closer to each other at the top when its going from bottom to top you change that and it will give a diff result though its hitting the ground at the same time.

Both these things are pretty much the whole sole of the scene a lot of people say animation is all about timing and spacing.

Tuesday, March 4, 2008

Cartoon walk cycle

This is one of the first walk cycles made by me


video

Sunday, March 2, 2008

When to use ik n when to use fk ?

One of the most commonly asked question is is ik better or fk.And the ans is both :). It depends from situation to situation. Most people like to use fk in walk cycles and actions the reasone for it that fk gives us an automatic arc and saves us time and give more realism but if the scene includes character to put his hand or pick an object its best to use ik though you have to add more keys to make it move in arc's but it will still save you time bcoz in fk you got to keep giving keys manually where the object is moving and trust me you will go crazy in order to make it look smooth couz there will be so many keys and graph to clean so in those cases it will be better to use ik.

Friday, February 15, 2008

12. Appeal

Appeal in a cartoon character corresponds to what would be called charisma in an actor.A character who is appealing is not necessarily sympathetic — villains or monsters can also be appealing — the important thing is that the viewer feels the character is real and interesting.There are several tricks for making a character connect better with the audience, for likable characters a symmetrical or particularly baby-like face tends to be effective.

11. Solid Drawing

The principle of solid — or good — drawing, really means that the same principles apply to an animator as to an academic artist.The drawer has to understand the basics of anatomy, composition, weight, balance, light and shadow etc.

computer animators in theory do not need to draw at all, yet their work can still benefit greatly from a basic understanding of these principles.

10. Exaggeration

Exaggeration is an effect especially useful for animation, as perfect imitation of reality can look static and dull in cartoons.The level of exaggeration depends on whether one seeks realism or comedy.The classical definition of exaggeration, employed by Disney, was to remain true to reality, just presenting it in a wilder, more extreme form.

9. Timing

Timing in reality refers to two different concepts: physical timing and theatrical timing.It is essential both to the physical realism, as well as to the storytelling of the animation, that the timing is right. On a purely physical level, correct timing makes objects appear to abide to the laws of physics; for instance, an object's weight decides how it reacts to an impetus, like a push.Theatrical timing is of a less technical nature, and is developed mostly through experience.It can be pure comic timing, or it can be used to convey deep emotions. It can also be a device to communicate aspects of a character's personality.

8. Secondary Action

Adding secondary actions to the main action gives a scene more life, and can help to support the main action. A person walking can simultaneously swing his arms or keep them in his pockets, he can speak or whistle, or he can express emotions through facial expressions.The important thing about secondary actions is that they emphasize, rather than take attention away from the main action. If the latter is the case, those actions are better left out.In the case of facial expressions, during a dramatic movement these will often go unnoticed. In these cases it is better to include them at the beginning and the end of the movement, rather than during.

7. Arcs

Most human and animal actions occur along an arched trajectory , and animation should reproduce these movements for greater realism. This can apply to a limb moving by rotating a joint, or a thrown object moving along a parabolic trajectory. The exception is mechanical movement, which typically moves in straight lines.

In computer animation fk mostly give you an automatic arc While in ik you have to manually add keys to make it move in arc this because ik just calculates the shortest distance from point a to b and covers it.

Sunday, February 10, 2008

6. Slow In and Slow Out

The movement of the human body, and most other objects, needs time to accelerate and slow down. For this reason, an animation looks more realistic if it has more frames near the beginning and end of a movement, and fewer in the middle.This principle goes for characters moving between two extreme poses, such as sitting down and standing up, but also for inanimate, moving objects and bouncing ball.

Bouncing ball and pendulum might be the best eg for explaining this principle.When the ball is going up its got more energy so its going up with speed but soon it starts losing its energy and it starts to slow down because earth's gravity is pulling it down finally it loses all its energy starts to fall slowly then starts to increase its speed downwards till it hit the ground again.

Wednesday, February 6, 2008

5. Follow Through and Overlapping Action

These closely related techniques help render movement more realistic, and give the impression that characters follow the laws of physics. "Follow through" means that separate parts of a body will continue moving after the character has stopped. "Overlapping action" is when a character changes direction, and parts of the body continue in the direction he was previously going. A third technique is "drag", where a character starts to move and parts of him take a few frames to catch up.Exaggerated use of the technique can produce a comical effect, while more realistic animation must time the actions exactly, to produce a convincing result.

Check out this eg some one gave me this test in order to understand this principle.


video

Monday, February 4, 2008

4. Straight Ahead Action and Pose to Pose

"Straight ahead action" means drawing out a scene frame by frame from beginning to end, while "pose to pose" involves starting with drawing a few, key frames, and then filling in the intervals later.By drawings we mean making a pose here(for people who are not familiar with 2D animation)

"Straight ahead action" creates a more fluid, dynamic illusion of movement, and is better for producing realistic action sequences. On the other hand, it is hard to maintain proportions, and to create exact, convincing poses along the way. "Pose to pose" works better for dramatic or emotional scenes, where composition and relation to the surroundings are of greater importance.

Computer animation removes the problems of proportion related to "straight ahead action" drawing; however, "pose to pose" is still used for computer animation, because of the advantages it brings in composition.

Me personally feel more comfortable with pose to pose that just a personal choice that doesn't mean its better than other its just that me end up making crap with straight ahead method :p.

3. Staging

This principle is akin to staging as it is known in theater and film. Its purpose is to direct the audience's attention, and make it clear what is of greatest importance in a scene; what is happening, and what is about to happen, whether that idea is an action, a personality, an expression or a mood.This can be done by various means, such as the placement of a character in the frame, the use of light and shadow, and the angle and position of the camera.The essence of this principle is keeping focus on what is relevant, and avoiding unnecessary detail.

For eg. a lot of time you might have seen that when a important character enters a scene the camera moves from his feet upward to his face that tells us how important that character is we want to show a impact with him.So by making him take maximum amount of screen presence we let the audience have their focus on him.



Saturday, February 2, 2008

2. Anticipation

Anticipation is used to prepare the audience for an action, and to make the action appear more realistic. A dancer jumping off the floor has to bend his knees first; a golfer making a swing has to swing the club back first. The technique can also be used for less physical actions, such as a character looking off-screen to anticipate someone's arrival, or attention focusing on an object that a character is about to pick up.

Lets say a character is getting ready to punch he anticipates look fig 1. The audience becomes ready that some thing is going to happen or else the scene will come and go and the audience will be ooh what just happen because they were not ready for it.Then he punches fig 2 or may be he falls down(cartoon style :D) either way people are ready for it.



Monday, January 28, 2008

1. SQUASH AND STRETCH

The most important principle is "squash and stretch", the purpose of which is to give a sense of weight and flexibility to drawn objects. It can be applied to simple objects, like a bouncing ball, or more complex constructions,like the musculature of a human face. Taken to an extreme point, a figure stretched or squashed to an exaggerated degree can have a comical effect. In realistic animation, however, the most important aspect of this principle is the fact that an object's volume does not change when squashed or stretched. If the length of a ball is stretched vertically, its width (in three dimensions, also its depth) needs to contract correspondingly horizontally.

Click Here

Tuesday, January 22, 2008

THE 12 BASIC PRINCIPLES OF ANIMATION

Its best to get hold of Disney's The Illusion of Life.I will be taking help from wikipedia cuz me not very good with definitions though i will be adding my lines, para's and pics too.

1. Squash and stretch

2. Anticipation

3. Staging

4. Straight Ahead Action and Pose to Pose

5. Follow Through and Overlapping Action

6. Slow In and Slow Out

7. Arcs

8. Secondary Action

9. Timing

10. Exaggeration

11. Solid Drawing

12. Appeal

Monday, January 21, 2008

The most important animation of all

8This animation thought me allot about animation i thing a allot of people with agree with me on this that this is one of the most imported animation. The bouncing ball animation covers almost all the basic principles of animation like timing, spacing ,overlapping ,fast in n out, slow in n out an lot more.



bouncing ball from sumit on Vimeo.

The new beginning

I had this blog from quite some time now but i never posted anything on it.Finally now i have decided to take it seriously will update it regularly.