Rais
loosen up hands at beginning
firmer foot plant on front of wall
Hands plant solidly on wall
more arm overlap/unwind on landing position
final step at end could be smoother, esp. Y tran of root.
jackie
re-block entrance up to get on chair.
make strong run to stop transition.
final pose of entrance needs to feel more natural, lower the pelvis
Fix stool getup - no sliding feet
overlap in wave motion
make stool get down quicker
hold first smile pose for 1 extra second
Fix run at end - one axis for exit
Taki
First stance - more arm swing side to side.
Punch needs to be sharper and more snappy. Look at SF3. Big anticipation, quick, sharp powerful snap.
120 - 140, more character in front hand pose?
160-170 punch anticipation pose, more overlap on punch arm
260-> subtle body pose change during shake fist.
335 - even out weight a bit - too far over back leg.
260-> work on arm pose during punch shake, maybe curl upwards? get hand into the gesture too.
Paul
soften end of 1st swing
1st shuffle/turn - balance is a bit off
smooth out beginning of 2nd swing
more follow thru in 2nd swing, find a rising arc into next pose.
Stick throw - more follow thru in body and hands. Pick up back leg? More overlap and settle
After stick throw: confused pose - tighten up gestures and head movement + animate fingers - keep them alive
Fix final pose so it's different from previous. Maybe show hurt/injured?
Jesse
Fix foot sliding overall
transition to first ballerina pose could be smoother
head swims around in 1st Ballerina pose
1st flip landing - more bounce and settle after
more delicate pose when gripping bulb? bulb should point upward from hand?
Anticipate final lightbulb catch with more outstretched arm
280 - 350: loosen limbs, find nice overlap
2nd Ballerina pose landing: fix foot roll, make springy
Yalda -
reblock 300-390, speed up this section to get story moving
All run sequences - strong footsteps, faster movement, stronger/longer stops/turn poses at each end
reblock 500 - 550
550 - 600 - needs to be sharper, faster and more direct
smooth out pops and flat curves on character
Thursday, October 28, 2010
Homework for Week 5
An idea for an animation that shows change from one emotion to the next over the course of several seconds. Use whatever setting/prop you need.
20 takes of video reference of yourself acting out the skit.
3 pages of strong thumbnails inspired by some of the better actions in your video.
Blocking pass in Maya
Inspiration
Emotions
Boredom
Exhaustion
Procrastination
Anger
Frustration
Pain
Joy
Anxiety
Depression
Confused
Baffled
Love
Fear
Devious/sneaky
Hysterical
Hungry
Helpless
Disbelief
Lazy
Snobby
Wonder
Smug
Gloating
Cocky
Sick
Disgust
Lust
Drunk
Settings
Couch
Peeping Tom/snoop
wedding
boss' office
funeral
coffee shop
library
elevator
bus
escalator
museum
classroom
doctor's office
on stage
bathroom
interrogation room
prison
circus
poker game
car, stuck in traffic
liferaft
airport - security or baggage claim
waiting room
bar
roof
balcony
award ceremony
20 takes of video reference of yourself acting out the skit.
3 pages of strong thumbnails inspired by some of the better actions in your video.
Blocking pass in Maya
Inspiration
Emotions
Boredom
Exhaustion
Procrastination
Anger
Frustration
Pain
Joy
Anxiety
Depression
Confused
Baffled
Love
Fear
Devious/sneaky
Hysterical
Hungry
Helpless
Disbelief
Lazy
Snobby
Wonder
Smug
Gloating
Cocky
Sick
Disgust
Lust
Drunk
Settings
Couch
Peeping Tom/snoop
wedding
boss' office
funeral
coffee shop
library
elevator
bus
escalator
museum
classroom
doctor's office
on stage
bathroom
interrogation room
prison
circus
poker game
car, stuck in traffic
liferaft
airport - security or baggage claim
waiting room
bar
roof
balcony
award ceremony
Physical Acting: Final Polish Checklist
Open up your Maya file and look through the following checklist to ensure your animation is where it needs to be. Take 20 minutes to address any needed fixes.
http://www.keithlango.com/tutorials/old/popThru/polish.html
http://www.keithlango.com/tutorials/old/popThru/polish.html
Acting/Emotional Animation
For the second assignment, we are going to create an animation where the primary motivator is emotional rather than physical. Audio is not required for this piece, but facial animation is.
Think of a simple situation you can animate where emotion is the key factor. Think of how you can show a character's emotion changing. Love, fear, anger, etc are all good drivers for this piece. Props may be used as needed.
Check out the link below on acting choices, and think of how you can implement the ideas discussed into your piece.
http://splinedoctors.com/2010/02/acting-ideas/
Think of a simple situation you can animate where emotion is the key factor. Think of how you can show a character's emotion changing. Love, fear, anger, etc are all good drivers for this piece. Props may be used as needed.
Check out the link below on acting choices, and think of how you can implement the ideas discussed into your piece.
http://splinedoctors.com/2010/02/acting-ideas/
Thursday, October 21, 2010
1st Pass review
Great work guys! Feel free to email me during the week for feedback:
greg.lemon@gmail.com
Jesse
some type of pause(s) in first "rodeo"? break up timing better
look @ diminishing tosro flail motion
anticipation for stool launch
first reach - slow out more
check eye line - don't break 4th wall
Jesse Round 2
1st off balance pose - smoother entry into pose, more overlap in limbs.
Transition into Stool Grip pose - check trans and rot curves on root, smooth out more, avoid locking rotations.
Flip landing - tighten up timing.
Keep root curves subtlely alive during stool squat.
Jesse Round 3
First pose still floaty, esp. feet and hips. Diminish foot roll?
1st balarina pose - use arms more for balance. Left arm pose not working.
Taki
1st part - weight shift, break up motion,
break up arm twins, arms need motion.
1st part - shift hips back and forth, rotate on Y, let arms overlap a bit, etc.
Punch Anticip Pose - more "stretch" in/slow in, hold pose longer.
Punch End Pose - more linear/lower strike with arm, maybe add curve in spine to help
Punch needs to be faster + more snappier
Foot moves - pick up feet.
Taki Round 2
1st part - find figure 8 in root. Let that motion inform polish choices on upper body.
transition to first "fighting stance" - sharper, more direct, flourish, etc. Act it out. :)
Transition to "punch ready" pose - maybe a breakdown or two? Look @ "cat stance" on google?
general footwork cleanup on anticipation and punch.
Punch - no shake at first - stretch pose slightly, and then ease in fist shake.
Find nice arcs in the root movement.
Taki Round 3
Keep punch alive - stretch it! 123455666777788888999999999999999
Use whole body in punch stretch. Feel it out.
Clavicle higher on back hand during punch pose.
Fix knees on punch, find solid line of action.
Yalda-camera closer
1st position hold longer (3x?). Build up tension in eyes, face, then explode into first reaction pose.
Run swat pose - more guarded with close arm, more lean away in spine? Front foot, break up flat line. More thrust fwd in torso.
Rais
A little more anticipation + secondary @ beginning, loosen body/limbs.
Slow out from first pose more into run
Lose root translate pause on first run pose
Tag platform with hands on way up
Make climb faster (2x)
Slow out from standing, drop into squat quicker
Loosen Root translate/rotate during squat - too still.
Clean up flip - smoother
Landing - more weight, more limb overlap, more "bounce"
Rais Round 2
Loosed up anticipation @ beginning a bit
Root - ease out into run, esp. on Z trans
Left Foot/last step of run, rock back on heel for impact; @ frame 36, pull foot back just a bit
Root - Y trans before squat @ top - smooth out and spline/unify curve
speed up flip (2x ?)
work on landing - more overlap/too harsh
Rais Round 3
Bounces at start - begin slower, build up as it gets closer to dash
Smooth out rotation curves on root
Root curves in general - make more organic/no straight holds.
Top of block - foot L has pop.
More follow thru in landing, even in root.
Looked for "locked" keys and break them up. Only footsteps are totally still.
greg.lemon@gmail.com
Jesse
some type of pause(s) in first "rodeo"? break up timing better
look @ diminishing tosro flail motion
anticipation for stool launch
first reach - slow out more
check eye line - don't break 4th wall
Jesse Round 2
1st off balance pose - smoother entry into pose, more overlap in limbs.
Transition into Stool Grip pose - check trans and rot curves on root, smooth out more, avoid locking rotations.
Flip landing - tighten up timing.
Keep root curves subtlely alive during stool squat.
Jesse Round 3
First pose still floaty, esp. feet and hips. Diminish foot roll?
1st balarina pose - use arms more for balance. Left arm pose not working.
Taki
1st part - weight shift, break up motion,
break up arm twins, arms need motion.
1st part - shift hips back and forth, rotate on Y, let arms overlap a bit, etc.
Punch Anticip Pose - more "stretch" in/slow in, hold pose longer.
Punch End Pose - more linear/lower strike with arm, maybe add curve in spine to help
Punch needs to be faster + more snappier
Foot moves - pick up feet.
Taki Round 2
1st part - find figure 8 in root. Let that motion inform polish choices on upper body.
transition to first "fighting stance" - sharper, more direct, flourish, etc. Act it out. :)
Transition to "punch ready" pose - maybe a breakdown or two? Look @ "cat stance" on google?
general footwork cleanup on anticipation and punch.
Punch - no shake at first - stretch pose slightly, and then ease in fist shake.
Find nice arcs in the root movement.
Taki Round 3
Keep punch alive - stretch it! 123455666777788888999999999999999
Use whole body in punch stretch. Feel it out.
Clavicle higher on back hand during punch pose.
Fix knees on punch, find solid line of action.
Yalda-camera closer
1st position hold longer (3x?). Build up tension in eyes, face, then explode into first reaction pose.
Run swat pose - more guarded with close arm, more lean away in spine? Front foot, break up flat line. More thrust fwd in torso.
Rais
A little more anticipation + secondary @ beginning, loosen body/limbs.
Slow out from first pose more into run
Lose root translate pause on first run pose
Tag platform with hands on way up
Make climb faster (2x)
Slow out from standing, drop into squat quicker
Loosen Root translate/rotate during squat - too still.
Clean up flip - smoother
Landing - more weight, more limb overlap, more "bounce"
Rais Round 2
Loosed up anticipation @ beginning a bit
Root - ease out into run, esp. on Z trans
Left Foot/last step of run, rock back on heel for impact; @ frame 36, pull foot back just a bit
Root - Y trans before squat @ top - smooth out and spline/unify curve
speed up flip (2x ?)
work on landing - more overlap/too harsh
Rais Round 3
Bounces at start - begin slower, build up as it gets closer to dash
Smooth out rotation curves on root
Root curves in general - make more organic/no straight holds.
Top of block - foot L has pop.
More follow thru in landing, even in root.
Looked for "locked" keys and break them up. Only footsteps are totally still.
Week 3 links
Check out the link "Traits of a Successful Animator." Then, take a look at your work and consider the 5 points of the article. Take a few minutes to see if you can push your work any further.
Traits of a successful animator
Below is a link to Keith Lango's Pose to Pose tutorial. It's long, but very much worth the read. In specific, his approach to breaking down curves is worth looking at. Also check out Victor Navone's Spline/Graph Editor Tutorial if you need a refresher.
Keith Lango Pop-through tutorial
Navone's Spline Turorial Part 1
Part 2
Traits of a successful animator
Below is a link to Keith Lango's Pose to Pose tutorial. It's long, but very much worth the read. In specific, his approach to breaking down curves is worth looking at. Also check out Victor Navone's Spline/Graph Editor Tutorial if you need a refresher.
Keith Lango Pop-through tutorial
Navone's Spline Turorial Part 1
Part 2
Thursday, October 14, 2010
Blocking/Planning Feedback
Rais
- opening pose, more ready, more athletic
- 2nd pose needs to be more sprinty/show forward
force
- 4th pose - torso more "into" the rotation, keep the head up, more twist in arms, bends in elbows - foot roll on this position
- 5th pose - more lean back on squat
- 6th pose - landing - better line of action
- last pose - more athletic, like 1st
Paul
1st pose - fix weight, lessen spine curve, fix hands/loosed wrist pose, head more straight forward
2nd pose - weight more on back leg, more twist throughout whole body, find a good line of action - reverse "C" curve - start low, swing
high
3rd pose - broken into 2 - stick release (atheltic/clumsy) - opps, where's my stick pose?
Yalda -
1st pose- fix arms, head up/down?
2nd pose - more lean/directional intent
3rd pose - more direction intent
4th pose - more lean fwd, stretch out arms/pose
5th pose - heel back? break up twins on feet, try aligning fwd axis of char to one channel, think line of action
Jesse -
1st pose - body more "safe" and turned towards bulb/ less pinky bend, compensate by curling other fingers in more.
2nd pose - more reach "up", horizontal reach is unbalanced.
3rd pose (first stool spin) - keep model on balance and see how you can push the pose more
4th pose (crouch) - off balance, less curve in upper spine, feet out to side more (rot Y), rotate root more into pose
5th pose - lose hang on, more of a surprise
6th pose - needs to be different from other landing pose
Ballerina pose - body more fwd/down, we should be able to read his face
falling pose - needs spine curve reversal before hand. Push this pose more.
Tak-
1st Pose - a little ball roll, slight torso angle forward, subtle changes to arms/hands - see how you can "help" the pose/line of action more.
2nd pose - suggest front foot drag, keep front hand more up/guarded
3rd pose - needs to look more powerful/better line of action, weight on back leg, make pose stronger
4th - get character on balance, more twist/motion through whole pose/spine, look @ Akuma pose more, see what he is doing
- opening pose, more ready, more athletic
- 2nd pose needs to be more sprinty/show forward
force
- 4th pose - torso more "into" the rotation, keep the head up, more twist in arms, bends in elbows - foot roll on this position
- 5th pose - more lean back on squat
- 6th pose - landing - better line of action
- last pose - more athletic, like 1st
Paul
1st pose - fix weight, lessen spine curve, fix hands/loosed wrist pose, head more straight forward
2nd pose - weight more on back leg, more twist throughout whole body, find a good line of action - reverse "C" curve - start low, swing
high
3rd pose - broken into 2 - stick release (atheltic/clumsy) - opps, where's my stick pose?
Yalda -
1st pose- fix arms, head up/down?
2nd pose - more lean/directional intent
3rd pose - more direction intent
4th pose - more lean fwd, stretch out arms/pose
5th pose - heel back? break up twins on feet, try aligning fwd axis of char to one channel, think line of action
Jesse -
1st pose - body more "safe" and turned towards bulb/ less pinky bend, compensate by curling other fingers in more.
2nd pose - more reach "up", horizontal reach is unbalanced.
3rd pose (first stool spin) - keep model on balance and see how you can push the pose more
4th pose (crouch) - off balance, less curve in upper spine, feet out to side more (rot Y), rotate root more into pose
5th pose - lose hang on, more of a surprise
6th pose - needs to be different from other landing pose
Ballerina pose - body more fwd/down, we should be able to read his face
falling pose - needs spine curve reversal before hand. Push this pose more.
Tak-
1st Pose - a little ball roll, slight torso angle forward, subtle changes to arms/hands - see how you can "help" the pose/line of action more.
2nd pose - suggest front foot drag, keep front hand more up/guarded
3rd pose - needs to look more powerful/better line of action, weight on back leg, make pose stronger
4th - get character on balance, more twist/motion through whole pose/spine, look @ Akuma pose more, see what he is doing
Navone on planning
Shapes and Lines
Check out these two discussions about finding shapes and lines in our 3d animation work. Then, take a moment to go into your maya scene for assignment 1 and reevaulate the poses you have blocked. Consider the shapes and lines you have created so far and see if there are any ways you could make them stronger.
Carlos Baena - Shapes and Lines
Victor Navone - Posing
Carlos Baena - Shapes and Lines
Victor Navone - Posing
Thursday, October 7, 2010
My Demo Reel!
Some of the various projects I've worked on, including X Men 2, Star Trek Online, and various Medal of Honor games, along with some personal projects.
Greg Lemon - Demo Reel from Greg Lemon on Vimeo.
The wisdom of John Lasseter
Published back in 1994, this Siggraph paper is an invaluable guide for bringing characters to life in 3d. Read it, live it!
http://www.siggraph.org/education/materials/HyperGraph/animation/character_animation/principles/lasseter_s94.htm
http://www.siggraph.org/education/materials/HyperGraph/animation/character_animation/principles/lasseter_s94.htm
Course Syllabus
The Art Institute of California – San Francisco
Course Syllabus
Course Number: MA4423 Section A
Course Title: Advanced Character Animation
Class Meetings: Thursday 6pm – 10pm
Session/Year: Spring 2010
Instructor Name: Greg Lemon
Email Address: glemon@edmc.edu
Phone: please use email
Instructor Availability Outside of Class: By appointment.
Advanced Character Animation
Course Description:
Student applies techniques learned in previous character modeling and animation courses to create character animations with purpose and personality. Topics to be covered are effective use of camera, multiple characters with interaction for a film or video game sequence, use of low-polygon character models, realistic texture mapping of low polygon models and cycling of animation for video games/ film.
Course Length: 11 Weeks
Contact Hours: 44 Hours
Lecture: 22 Hours
Lab: 22 Hours
Credit Values: 3 Credits
COURSE OBJECTIVES: The student will create traditional character animation.
Develop a plan and time line for the animation of a character.
Create a longer piece of animation and understand the proper use of cutting, camera angles, etc.
Work two characters in harmony and interaction.
Use the combined motion of character and camera effectively.
Use textures and mapping to conceal low polygon count.
Pose characters for best effort.
Mimic weight and balance.
Create walks, runs, and other motion cycles.
Use animation hierarchy effectively.
Use effective lighting and rendering.
Course Prerequisite(s): MA3324 Character Animation
Text(s):
Suggested text :
Character Animation: 2D Skills for Better 3D (Steve Roberts, 2nd edition, 2007, Focal Press, ISBN 9780240520544). Available in the bookstore in the basement of the Main Building, or from any online bookstore.
The Illusion of Life by Frank Thomas and Ollie Johnson; Disney Editions (1995) ISBN:0786860707
Animator’s Survival Kit by Richard Williams; Farber & Farber (2002) ISBN 0-571-20228-4
Cartoon Animation (The Collector's Series) by Preston Blair; Walter Foster (1994) ISBN: 1560100842
Jason Ryan Webinars and Animation Tutorials:
http://www.jasonryananimation.com/main.html
Promo code for a 15% discount off the tutorials: am663363
http://www.jrawebinar.com/
Materials and Supplies: Notebook, writing and drawing supplies as needed. Hard drive for transporting and storing digital files.
Estimated Homework Hours: 16 hours per week
Technology Needed: PC or Mac Lab, Maya
Grading Scale:
All assignments must have clear criteria and objectives to meet. All students shall be treated equitably. It will be that student’s right to know his/her grade at any reasonable point that information is requested by that student. The criteria for determining a student’s grade shall be as follows (on a percentage of total points basis):
A 100-93
A- 92-90
B+ 89-87
B 86-83
B- 82-80
C+ 79-77
C 76-73
C- 72-70
D+ 69-67
D 66-65
F 64 or below
Process for Evaluation:
Attendance and Participation 25%
Assignments and Exercises 75%
Assignment #1 25% - Due Week 4
Assignment #2 25% - Due Week 7
Assignment #3 25% - Due Week 11
Student Evaluation/Grading Policies:
Class time will be spent in a productive manner.
Grading will be done on a point system.
Points for individual activities will be announced.
All work must be received by the set deadlines.
Late work receives a grade of zero!!!
On-time projects may be redone with instructor approval.
ABSOLUTELY NO WORK WILL BE ACCEPTED AFTER THE FINAL CLASS MEETS WEEK 11.
Classroom Policy:
No food allowed in class or lab at any time. Drinks in recloseable bottles allowed in classroom.
Edible items brought to class or lab must be thrown out.
If student elects to eat/drink outside class or lab door, missed time is recorded as absent.
Attendance is taken hourly. Tardiness or absence is recorded in 15-minute increments.
Break times are scheduled by the instructor at appropriate intervals.
No private software is to be brought to lab or loaded onto school computers.
No software games or social networking sites are allowed in lab (unless in course curriculum).
Headphones are required if listening to music during lab. No headphones are allowed in lecture.
Any student who has special needs that may affect his or her performance in this class is asked to identify his/her needs to the instructor in private by the end of the first day of class. Any resulting class performance problems that may arise for those who do not identify their needs will not receive any special grading considerations.
Disability Policy Statement:
It is our policy not to discriminate against qualified students with documented disabilities in its educational programs, activities, or services. If you have a disability-related need for adjustments or other accommodations in this class, contact the Disabilities Services Coordinator at 415-276-1060.
Academic Honesty Policy:
Students are expected to maintain the highest standards of academic honesty while pursuing their studies at AiCA-SF. Academic dishonesty includes but is not limited to: plagiarism and cheating; misuse of academic resources or facilities; and misuse of computer software, data, equipment or networks.
Student work that appears to violate AiCA-SF's standards of academic honesty will be reviewed by the Committee on Academic Honesty. If the work is judged to have violated standards of academic honesty, appropriate sanctions will be given. Sanctions include but are not limited to course failure and academic termination.
Project Descriptions and submission dates.
Project 1 – Full Body Physical Acting scene – 4 – 6 seconds
Due: Week 4, beginning of class
Create a polished animation of a character performing an action in a scene that is primarily physical or athletic in nature. Ideas include, but are not limited to:
avoiding an obstacle
performing a specific athletic motion
interacting with a prop
Animations should be polished to final quality and submitted as playblasted quicktimes.
Project 2 – Full Body Emotional Acting scene – 4 – 6 seconds
Due: Week 7, beginning of class
Create a polished animation of a character performing an action in a scene that is primarily emotional in nature. Ideas include, but are not limited to:
waking up/trying to stay awake
acting bored
talking on a phone (no lipsynch)
waiting for something/someone
displaying an emotion – fear, happiness, etc.
Animations should be polished to final quality and submitted as playblasted quicktimes.
Project 3 – YOUR CHOICE:
Walk and Run cycle ... OR ... 5- second full-body dialogue animation with lipsynch.
Due: Week 11, beginning of class
Create either:
Two polished animations of a character performing a walk and run in a cyclical, repeating fashion.
OR
One 5- second full body dialogue animation with lipsynch.
Animations should be filled with personality and have solid entertainment value and recognizable intent. Animations should be polished to final quality and submitted as playblasted quicktimes.
Weekly Course Outline
Week 1:
Lecture: Introduction to the course. Review syllabus and the 3 course assignments.
Lecture on the professional animation process. Start work on the first assignment.
Lab: Begin working on Assignment #1: Physical Full-body Acting Scene, 4-6 seconds.
Discuss your ideas with the instructor and other students in the class. Find one example of an
existing animated scene showing a very entertaining 4-6 second full-body physical acting shot.
Homework: Project 1 - Video reference and thumbnail storyboards + initial blocking
Reading:
http://www.carlosbaena.com/resource/anim_DemoReels.html
http://www.carlosbaena.com/resource/resource_tips_planning.html
http://www.navone.org/blogger/2007/11/more-on-planning.html
http://www.navone.org/blogger/2007/11/my-one-shot-on-ratatouille.html#links
http://www.navone.org/blogger/2008/07/posing.html
http://www.shaunfreeman.com/animating_tips/live_action.htm
http://frankanollie.com/PhysicalAnimation.html
http://www.siggraph.org/education/materials/HyperGraph/animation/character_animation/princip
les/lasseter_s94.htm
Week 2:
Due: Project 1 - Video reference and thumbnail storyboards + initial blocking.
Lecture: Review and critique examples scenes brought in by students. Discuss each student’s
scenes and look at the storyboards, sketches, video reference and blocking. Discuss stages of
animation: blocking to precede animation. Lecture on using the dope sheet and graph editor.
Lab: Complete blocking on Assignment #1.
Homework: Complete 1st pass for Assignment #1
Reading:
http://splinedoctors.com/2009/12/successful-traits-of-an-animator/
http://www.keithlango.com/tutorials/old/popThru/popThru.html
http://www.keithlango.com/tutorials/old/popThru/polish.html
http://www.keithlango.com/tutorials/old/arcs/arcs.htm
http://www.keithlango.com/tutorials/overlap/overlap.html
Week 3:
Due: Project 1 – 1st pass.
Lecture: Discuss readings and how they relate to the student’s animations. Review each
student’s completed blocking. Lecture on using the graph editor for the animation stage.
Lecture on the final stages of animation polish.
Lab: Continue working on Assignment #1.
Homework: Complete Animation for Project 1.
Reading:
http://www.navone.org/HTML/Tutorial_Splines1.htm
http://www.navone.org/HTML/Tutorial_Splines2.htm
http://tysonibele.com/Main/Tutorials/Secondary/secondary.htm
http://www.keithlango.com/tutorials/old/toonSnap/toonSnap.htm
Week 4:
DUE: PROJECT 1 – FINISHED ANIMATON
Lecture: Review and critique submitted projects. Lecture on Assignment #2 – Emotional Full
body Acting Scene, 3-6 seconds, due Week 7. Props or a simple environment are allowed if
needed to convey your idea. Lecture on developing a character’s inner dialogue.
Creating emotional animation and working with dialogue, beginning with body language,
including the face.
Lab: Begin working on Assignment #2: Emotional Full-body Acting Scene, 4-6 seconds.
Discuss your ideas with the instructor and other students in the class. Find one example of an
existing animated scene showing a very entertaining 4-6 second full-body emotional acting shot.
Homework: Project 2 - Video reference and thumbnail storyboards + initial blocking.
Reading:
http://www.keithlango.com/tutorials/old/LeadFollow/leadFollow.htm
http://www.navone.org/blogger/2007/12/ergonomics.html
Week 5:
Due: Project 2 - Video reference and thumbnail storyboards + initial blocking.
Lecture: Discuss readings and how they relate to the student’s animations. Lecture on animating
eyes and facial expressions. Discuss each student’s scene and look at the storyboards, video
reference and blocking.
Lab: Complete blocking for Assignment #2.
Homework – Project 2 – 1st pass
http://www.navone.org/HTML/Tutorial_DashTake.htm
http://splinedoctors.com/blog/wp-content/uploads/2010/03/bird_traits.m4a
http://splinedoctors.com/2010/02/acting-ideas/
http://www.keithlango.com/tutorials/old/powerCenter/powerCenter.htm
http://www.keithlango.com/tutorials/old/lipSync.htm
http://www.shaunfreeman.com/animating_tips/planning_out_a_shot.htm
Week 6:
Due: Project 2 – 1st pass.
Lecture: Discuss readings and how they relate to the student’s animations. Review and critique
examples scenes brought in by students.
Lab: Continue working Assignment #2.
Homework: Complete Animation for Assignment #2
Reading:
http://fliponline.blogspot.com/2008/05/watch-eyes.html
Week 7:
DUE: PROJECT 2 – FINISHED ANIMATON
Lecture: Review and critique submitted projects. Lecture on Assignment #3 – Walk/Run cycle
OR 5 second full body dialogue animation – DUE Week 11. Creating smooth cycles. Dialogue
animation.
Lab: Begin working on Assignment #3. Discuss your ideas with the instructor and other students
in the class. Find one example of existing animated references.
Homework: Project 3 - Video reference and thumbnail storyboards + initial blocking.
Reading: http://fliponline.blogspot.com/2007/02/quick-trick-moving-holds.html
Week 8: No Class / Thanksgiving Holiday
Week 9:
Due: Project 3 - Video reference and thumbnail storyboards + initial blocking.
Lecture: Review and critique examples brought in by students. Discuss readings and how they
relate to the student’s animations. Review any resubmissions of Assignment #2. Discuss each
student’s cycle idea and look at the storyboards, video reference and blocking.
Lab: Complete blocking for Project 3.
Homework: Project 3 – 1st pass
Reading:
http://www.navone.org/Media/AnimationThumbs/index.htm
http://www.navone.org/blogger/2007/08/exaggeration.html
http://fliponline.blogspot.com/2007/04/quick-trick-gimbal-lock-just-ignore-it.html
http://splinedoctors.com/2009/10/a-gesture-here-a-gesture-there/
Week 10:
Lecture: Discuss readings and how they relate to the student’s animations. Review each
student’s 1 st pass.
Lab: Finish working on Assignment #3.
Homework: Complete animation on Assignment #3 DUE NEXT WEEK!!!
Reading: http://www.keithlango.com/tutorials/favorTute/DoMeAFavor.html
Week 11:
Lecture: Review of finished Assignment #3. Feedback on next steps for continuing to develop
as an animator.
Lab: Archiving work for portfolio.
Course Syllabus
Course Number: MA4423 Section A
Course Title: Advanced Character Animation
Class Meetings: Thursday 6pm – 10pm
Session/Year: Spring 2010
Instructor Name: Greg Lemon
Email Address: glemon@edmc.edu
Phone: please use email
Instructor Availability Outside of Class: By appointment.
Advanced Character Animation
Course Description:
Student applies techniques learned in previous character modeling and animation courses to create character animations with purpose and personality. Topics to be covered are effective use of camera, multiple characters with interaction for a film or video game sequence, use of low-polygon character models, realistic texture mapping of low polygon models and cycling of animation for video games/ film.
Course Length: 11 Weeks
Contact Hours: 44 Hours
Lecture: 22 Hours
Lab: 22 Hours
Credit Values: 3 Credits
COURSE OBJECTIVES: The student will create traditional character animation.
Develop a plan and time line for the animation of a character.
Create a longer piece of animation and understand the proper use of cutting, camera angles, etc.
Work two characters in harmony and interaction.
Use the combined motion of character and camera effectively.
Use textures and mapping to conceal low polygon count.
Pose characters for best effort.
Mimic weight and balance.
Create walks, runs, and other motion cycles.
Use animation hierarchy effectively.
Use effective lighting and rendering.
Course Prerequisite(s): MA3324 Character Animation
Text(s):
Suggested text :
Character Animation: 2D Skills for Better 3D (Steve Roberts, 2nd edition, 2007, Focal Press, ISBN 9780240520544). Available in the bookstore in the basement of the Main Building, or from any online bookstore.
The Illusion of Life by Frank Thomas and Ollie Johnson; Disney Editions (1995) ISBN:0786860707
Animator’s Survival Kit by Richard Williams; Farber & Farber (2002) ISBN 0-571-20228-4
Cartoon Animation (The Collector's Series) by Preston Blair; Walter Foster (1994) ISBN: 1560100842
Jason Ryan Webinars and Animation Tutorials:
http://www.jasonryananimation.com/main.html
Promo code for a 15% discount off the tutorials: am663363
http://www.jrawebinar.com/
Materials and Supplies: Notebook, writing and drawing supplies as needed. Hard drive for transporting and storing digital files.
Estimated Homework Hours: 16 hours per week
Technology Needed: PC or Mac Lab, Maya
Grading Scale:
All assignments must have clear criteria and objectives to meet. All students shall be treated equitably. It will be that student’s right to know his/her grade at any reasonable point that information is requested by that student. The criteria for determining a student’s grade shall be as follows (on a percentage of total points basis):
A 100-93
A- 92-90
B+ 89-87
B 86-83
B- 82-80
C+ 79-77
C 76-73
C- 72-70
D+ 69-67
D 66-65
F 64 or below
Process for Evaluation:
Attendance and Participation 25%
Assignments and Exercises 75%
Assignment #1 25% - Due Week 4
Assignment #2 25% - Due Week 7
Assignment #3 25% - Due Week 11
Student Evaluation/Grading Policies:
Class time will be spent in a productive manner.
Grading will be done on a point system.
Points for individual activities will be announced.
All work must be received by the set deadlines.
Late work receives a grade of zero!!!
On-time projects may be redone with instructor approval.
ABSOLUTELY NO WORK WILL BE ACCEPTED AFTER THE FINAL CLASS MEETS WEEK 11.
Classroom Policy:
No food allowed in class or lab at any time. Drinks in recloseable bottles allowed in classroom.
Edible items brought to class or lab must be thrown out.
If student elects to eat/drink outside class or lab door, missed time is recorded as absent.
Attendance is taken hourly. Tardiness or absence is recorded in 15-minute increments.
Break times are scheduled by the instructor at appropriate intervals.
No private software is to be brought to lab or loaded onto school computers.
No software games or social networking sites are allowed in lab (unless in course curriculum).
Headphones are required if listening to music during lab. No headphones are allowed in lecture.
Any student who has special needs that may affect his or her performance in this class is asked to identify his/her needs to the instructor in private by the end of the first day of class. Any resulting class performance problems that may arise for those who do not identify their needs will not receive any special grading considerations.
Disability Policy Statement:
It is our policy not to discriminate against qualified students with documented disabilities in its educational programs, activities, or services. If you have a disability-related need for adjustments or other accommodations in this class, contact the Disabilities Services Coordinator at 415-276-1060.
Academic Honesty Policy:
Students are expected to maintain the highest standards of academic honesty while pursuing their studies at AiCA-SF. Academic dishonesty includes but is not limited to: plagiarism and cheating; misuse of academic resources or facilities; and misuse of computer software, data, equipment or networks.
Student work that appears to violate AiCA-SF's standards of academic honesty will be reviewed by the Committee on Academic Honesty. If the work is judged to have violated standards of academic honesty, appropriate sanctions will be given. Sanctions include but are not limited to course failure and academic termination.
Project Descriptions and submission dates.
Project 1 – Full Body Physical Acting scene – 4 – 6 seconds
Due: Week 4, beginning of class
Create a polished animation of a character performing an action in a scene that is primarily physical or athletic in nature. Ideas include, but are not limited to:
avoiding an obstacle
performing a specific athletic motion
interacting with a prop
Animations should be polished to final quality and submitted as playblasted quicktimes.
Project 2 – Full Body Emotional Acting scene – 4 – 6 seconds
Due: Week 7, beginning of class
Create a polished animation of a character performing an action in a scene that is primarily emotional in nature. Ideas include, but are not limited to:
waking up/trying to stay awake
acting bored
talking on a phone (no lipsynch)
waiting for something/someone
displaying an emotion – fear, happiness, etc.
Animations should be polished to final quality and submitted as playblasted quicktimes.
Project 3 – YOUR CHOICE:
Walk and Run cycle ... OR ... 5- second full-body dialogue animation with lipsynch.
Due: Week 11, beginning of class
Create either:
Two polished animations of a character performing a walk and run in a cyclical, repeating fashion.
OR
One 5- second full body dialogue animation with lipsynch.
Animations should be filled with personality and have solid entertainment value and recognizable intent. Animations should be polished to final quality and submitted as playblasted quicktimes.
Weekly Course Outline
Week 1:
Lecture: Introduction to the course. Review syllabus and the 3 course assignments.
Lecture on the professional animation process. Start work on the first assignment.
Lab: Begin working on Assignment #1: Physical Full-body Acting Scene, 4-6 seconds.
Discuss your ideas with the instructor and other students in the class. Find one example of an
existing animated scene showing a very entertaining 4-6 second full-body physical acting shot.
Homework: Project 1 - Video reference and thumbnail storyboards + initial blocking
Reading:
http://www.carlosbaena.com/resource/anim_DemoReels.html
http://www.carlosbaena.com/resource/resource_tips_planning.html
http://www.navone.org/blogger/2007/11/more-on-planning.html
http://www.navone.org/blogger/2007/11/my-one-shot-on-ratatouille.html#links
http://www.navone.org/blogger/2008/07/posing.html
http://www.shaunfreeman.com/animating_tips/live_action.htm
http://frankanollie.com/PhysicalAnimation.html
http://www.siggraph.org/education/materials/HyperGraph/animation/character_animation/princip
les/lasseter_s94.htm
Week 2:
Due: Project 1 - Video reference and thumbnail storyboards + initial blocking.
Lecture: Review and critique examples scenes brought in by students. Discuss each student’s
scenes and look at the storyboards, sketches, video reference and blocking. Discuss stages of
animation: blocking to precede animation. Lecture on using the dope sheet and graph editor.
Lab: Complete blocking on Assignment #1.
Homework: Complete 1st pass for Assignment #1
Reading:
http://splinedoctors.com/2009/12/successful-traits-of-an-animator/
http://www.keithlango.com/tutorials/old/popThru/popThru.html
http://www.keithlango.com/tutorials/old/popThru/polish.html
http://www.keithlango.com/tutorials/old/arcs/arcs.htm
http://www.keithlango.com/tutorials/overlap/overlap.html
Week 3:
Due: Project 1 – 1st pass.
Lecture: Discuss readings and how they relate to the student’s animations. Review each
student’s completed blocking. Lecture on using the graph editor for the animation stage.
Lecture on the final stages of animation polish.
Lab: Continue working on Assignment #1.
Homework: Complete Animation for Project 1.
Reading:
http://www.navone.org/HTML/Tutorial_Splines1.htm
http://www.navone.org/HTML/Tutorial_Splines2.htm
http://tysonibele.com/Main/Tutorials/Secondary/secondary.htm
http://www.keithlango.com/tutorials/old/toonSnap/toonSnap.htm
Week 4:
DUE: PROJECT 1 – FINISHED ANIMATON
Lecture: Review and critique submitted projects. Lecture on Assignment #2 – Emotional Full
body Acting Scene, 3-6 seconds, due Week 7. Props or a simple environment are allowed if
needed to convey your idea. Lecture on developing a character’s inner dialogue.
Creating emotional animation and working with dialogue, beginning with body language,
including the face.
Lab: Begin working on Assignment #2: Emotional Full-body Acting Scene, 4-6 seconds.
Discuss your ideas with the instructor and other students in the class. Find one example of an
existing animated scene showing a very entertaining 4-6 second full-body emotional acting shot.
Homework: Project 2 - Video reference and thumbnail storyboards + initial blocking.
Reading:
http://www.keithlango.com/tutorials/old/LeadFollow/leadFollow.htm
http://www.navone.org/blogger/2007/12/ergonomics.html
Week 5:
Due: Project 2 - Video reference and thumbnail storyboards + initial blocking.
Lecture: Discuss readings and how they relate to the student’s animations. Lecture on animating
eyes and facial expressions. Discuss each student’s scene and look at the storyboards, video
reference and blocking.
Lab: Complete blocking for Assignment #2.
Homework – Project 2 – 1st pass
http://www.navone.org/HTML/Tutorial_DashTake.htm
http://splinedoctors.com/blog/wp-content/uploads/2010/03/bird_traits.m4a
http://splinedoctors.com/2010/02/acting-ideas/
http://www.keithlango.com/tutorials/old/powerCenter/powerCenter.htm
http://www.keithlango.com/tutorials/old/lipSync.htm
http://www.shaunfreeman.com/animating_tips/planning_out_a_shot.htm
Week 6:
Due: Project 2 – 1st pass.
Lecture: Discuss readings and how they relate to the student’s animations. Review and critique
examples scenes brought in by students.
Lab: Continue working Assignment #2.
Homework: Complete Animation for Assignment #2
Reading:
http://fliponline.blogspot.com/2008/05/watch-eyes.html
Week 7:
DUE: PROJECT 2 – FINISHED ANIMATON
Lecture: Review and critique submitted projects. Lecture on Assignment #3 – Walk/Run cycle
OR 5 second full body dialogue animation – DUE Week 11. Creating smooth cycles. Dialogue
animation.
Lab: Begin working on Assignment #3. Discuss your ideas with the instructor and other students
in the class. Find one example of existing animated references.
Homework: Project 3 - Video reference and thumbnail storyboards + initial blocking.
Reading: http://fliponline.blogspot.com/2007/02/quick-trick-moving-holds.html
Week 8: No Class / Thanksgiving Holiday
Week 9:
Due: Project 3 - Video reference and thumbnail storyboards + initial blocking.
Lecture: Review and critique examples brought in by students. Discuss readings and how they
relate to the student’s animations. Review any resubmissions of Assignment #2. Discuss each
student’s cycle idea and look at the storyboards, video reference and blocking.
Lab: Complete blocking for Project 3.
Homework: Project 3 – 1st pass
Reading:
http://www.navone.org/Media/AnimationThumbs/index.htm
http://www.navone.org/blogger/2007/08/exaggeration.html
http://fliponline.blogspot.com/2007/04/quick-trick-gimbal-lock-just-ignore-it.html
http://splinedoctors.com/2009/10/a-gesture-here-a-gesture-there/
Week 10:
Lecture: Discuss readings and how they relate to the student’s animations. Review each
student’s 1 st pass.
Lab: Finish working on Assignment #3.
Homework: Complete animation on Assignment #3 DUE NEXT WEEK!!!
Reading: http://www.keithlango.com/tutorials/favorTute/DoMeAFavor.html
Week 11:
Lecture: Review of finished Assignment #3. Feedback on next steps for continuing to develop
as an animator.
Lab: Archiving work for portfolio.
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