Thursday, 19 September 2013

MA Summary

The presentations are over!

I ought to make an entry here about what I talked about in the presentation -

So my research topic was, 


"Enriching the narrative subtext by manipulation of storytelling pose and  secondary action in an animated film"

The main conclusions, the main topics that I have drawn out of my research are upon these headings:


  • Baseline and Enhancing Action
  • Action on a scale - Action Continuum
  • Meta -action/Mannerism
I'll go ahead and clarify these unfamiliar terms.

Baseline action is the bare minimum of the action in the scene. The action on which the emotional exchange is upon.

Enhancing action is a broad term that covers secondary action and mannerism together, and is responsible for developing context in the scene.

The Action Continuum refers to the diagram I posted a while back - here it is again:


It's labelled with the terms primary and secondary action. These terms are still useful but what you probably know to be secondary action, in reality should be more of a primary action. More of... this is why the Continuum model works. It's about relevance!

Primary action is what happens when you take your key poses, your thumbnail, and let the poses flow into one another.
The point is, depending on the story these can be relevant or totally irrelevant. So whilst it might be primary in the sense that you key it first, it's not necessarily primary in the sense that it's doing the lion's share of storytelling.
Sometimes that extra stuff you want to make your character do does a lot of storytelling.

That continuum model works also when you think about mannerism. Defined by Merriam-Webster as a peculiarity of action, I see it as enhancing action applied to baseline action (or sometimes to other enhancing actions). It's action-action. It's meta-action!

A key word in my MA topic is 'enrich'. This refers to upping the content. It refers to putting in that extra two scoops of hot chocolate powder in the mug. And those marshmallows. And that mint choc chip ice cream (try it.)

Secondary action as you know it - Enhancing action, to me, is that extra stuff. Your story can be a lot thicker by having extra action in there that tells us what the character's personality, back-story, all-round context is.

Andy mentioned a point in the presentation about action movies.
Take an action scene where a speeding car swerves round a corner, crashing into a couple of other cars.
Yeah, if the camera work in this shot is good it's exciting, but it will hit even harder if you show the faces of the poor victims who got crashed into.

It's not just an animating technique, then. It's a visual storytelling philosophy.

Tuesday, 17 September 2013

Living With Your Dog - Kitchen






This is the final product of my Master's Degree.

The post above this one is a write-up about my research topic.

I modelled, lit and textured the entirety of the video. I also recorded the voices and the background music myself!


Titled 'Living With Your Dog', I do have plans to expand on this theme and produce a few more episodes. I'd also like to give 2D animation a go, so the sequel may well be totally different!

Wednesday, 14 August 2013

Dog Rig Test

I've been using Anzovin for the Dog rig. It's very straight-forward setting up rigs using the drag-and-drop bodyparts.

It took me a few goes to get this far. This is for a couple of reasons. Face Machine is a humanoid character face rig, which means it's not perfectly suited to something with such a long face. I was lucky that I was able to seriously deform it to work.

I did need to edit the original mesh to get the tongue and eyelids to work properly. I needed to re-model to separate the tongue and close the eyes, and re-rig.
The back legs are likely to be problematic, with the middle bone not being very long. It can easily collapse there, so I need to be careful.
I also took a few goes to get what has had to be tail bones in the ears. The parenting is still off - the follow-through on the ears in the video is a feature of the rig, not my doing. I think I can work with that.

This clip is here just to demonstrate the character. I think it was about 10 minutes' work.





Edit:

Face Machine can be done on quadrupeds. I want to write this here so that anyone who might Google it looking for an answer will be drawn to here. Anzovin's Face Machine does work on dogs. It will probably work better on cats. You need to do a lot of re-weighting, particularly around the jaw. I think the longer your dog character's face, the more you will struggle - Anzovin mentions in the manual that it doesn't handle long-faced characters . It does try to deform the face like a human's. That's not a surprise but if you're thinking of making a dog character that talks, lip sync will be relatively easy.

Saturday, 10 August 2013

White dog


I'm happy to have this quick render to show you.

Here's a piece of advice which I stumbled upon - In extracting faces from objects to become separate objects, Maya can lose track of nodes attached to the objects. This can lead to problems in rendering which will crash the program.
You can force Maya to reapply lost nodes by exporting the problematic objects and importing them again.

This method solved the problem for me caused by negligent dissecting of my kitchen cabinet models.

Wednesday, 7 August 2013

Wood texture in Photoshop

Wood texture can easily be achieved in photoshop using the render fibre tool.


Colour in the layer a nice woody brown, and then fill your paints with a lighter and darker tone, and then render fibres and it will look a bit like this:


You could add knots to the wood with a suitable brush. I didn't go that far - it might look too obviously when repeated on many faces of an object.

Texturing preview


This is a quickly lit and rendered demonstration of the scene.



Soft shadows with raytrace in Maya


Here is a couple of links I've found. Posted more for my own benefit, but it might be some use to you.


A discussion of soft shadows

Shadow ray count and light angle settings can help towards getting those soft raytraced shadows. I had mixed results using different types of lights, though.



A tutorial for glass in Maya


Thursday, 18 July 2013

Suited and booted




Here's an update of the progress on the model for the man. I took extra care to make the model slightly asymmetrical. Twinning is something you want to avoid because it really kills the old suspension of disbelief, but you can help this by just tweaking your models a slight bit. It makes them more natural-looking.


Monday, 15 July 2013

Rerouting polygons on a three-fingered character's hand



I am very happy to say that I came up with a method to route the flow of polygons on the hand to I wasn't left with a triangle or 5-sider in there.

The picture above has highlighted edges to help you see what I was doing.

Characters with two or four fingers will have details in place that can be rerouted up the forearm or neutralised on the back of the hand.

What I managed to do is to feed the edge towards the thumb, also using an extra edge loop around the wrist which I think is justifiable.
It's important to avoid even those rhomboid polygons, because they can be problematic too. Ideally I wanted this extra detail to flow to the top of the hand and be neutralised there but this requires more details than I had available.

In terms of following the physiology of the body, the skin naturally stretches there across the thumb into the palm so it should deform properly.




Wednesday, 26 June 2013

Dog story outline


I decided to go for a more entertaining story - this new story involves a man and his dog.

It's meal time for the man. He's in his kitchen/dining room, with the dog asleep in the corner.
He opens the fridge, which awakens the dog. Getting out a steak, the dog goes over to the man and barks.

The man brings out a dog bowl and gets some dog food out of the fridge. The door hits the dog's head!
The man puts the dog's bowl over by the door and the dog has a sniff, but the dog doesn't want this boring old dog food, he wants the tasty steak! Making faces, the dog goes back to the man.

The man shoos the dog away and tells him to eat his own food. The dog goes back and tries to enjoy his food, taking a bite, but it's so bland the dog just drops the food back in the bowl.

The man has been cooking away and it's now time to serve the food.
The dog paws at the man again and gestures to the steak in a doggy manner. The man's annoyed and shows the dog to the door and tells him to sit. As the man goes back to his steak the dog follows him and goes under the table. The man puts his steak on the table and goes back to the fridge to get beer. The dog strikes,  jumping onto the low table and wolfing the steak down. The man turns back to find the dog on the table. He lunges for the dog, but the dog gives him the slip. The man chases, but steps into the dog bowl by the door, slipping and falling. The dog comes back, and licks the man - a peace offering? Nope, the dog picks up the man's beer and takes that too.



In terms of research, using a dog character is good because dogs almost exclusively use body language for communication and the tail is a means for what I termed enhancing action.
A human character has all the normal outlets for secondary action. Having been paired with an animal we clearly take the emphasis away from verbal dialogue and rely on body language.

Friday, 26 April 2013

Total Artefact Evaluation

This is an evaluation of all the artefacts I did so far.

- Don’t think, feel.

Always consider key poses. Consider them from the viewing angle.
Key poses are just that – key. Weak poses create a weak understanding of narrative.
Poorly acted source material doesn't make good reference material.


- John Borg.

Echoing something I learnt recently, that secondary action works best through free body parts, this research taught me that extremities cause leakage of emotions through fidgeting. This offers a psychological justification that can be extrapolated into animation.
I also learnt about some body language poses that could help with setting up key poses.


- Floor Thing.

I learnt that having a backstory for the characters helps when you're trying to emulate character personalities. This even applies to the shortest short piece of animation. This is something Ed Hooks talks about - why a character goes into a room and where they are going affects how they will do it.

Camera angles affect what is primary and secondary action. Later I would realise this is significant - if I bring something that might be secondary action into the focus of the scene, does it remain secondary action? What happens to primary action? Do the same definitions apply?

Types of secondary action - conscious, unconscious, mannerisms. This is also an early hint into the spectral model of primary-secondary action. Is a mannerism a secondary action? Normally you'd say yes, but if I follow up by saying 'how important is how a character performs an action in terms of story?' You'd have to say very - it is very important to convey what a character's personality is.

This animation worked to support storytelling pose. Using silhouetting helped me make this animation easier to read, which is something you need in order for any subtext to be clear.



- Captain Nemo.

Silhouetting strengthens poses which strengthen narrative readability. This is a valuable technique.

With this animation I began to learn to put through a personality of a character through a combination of primary and secondary action.



- Gravity Cube.

Demonstrating ability to represent weight and friction in a digital medium.
Not massively significant in itself but it did point me in them direction of weight.



- Mime.

There are many parallels to be drawn between mime and animation.
Both revolve around imagining things that aren't there.
This book taught me things I knew already - emotive, storytelling poses are important for the audience to grasp what you're trying to show them. Strong key poses are very effective.
It gave me some ideas for a couple of new artefacts, including Pot On Head.





Pot On Head.



This was an exercise on weight. The character carrying the weight was the point of the scene.
I learned that there is room for secondary action in any type of scene, even one that's relatively mundane like this.
Primary action alone can produce a realistic character but adding in some secondary action, which communicates personality (subtext) results in a more human performance.


- Goon Takes a Drink.

I intended to go all out with this project but it didn't get very far.
I learnt that constraints are a bastard.


- Pot on Head with trip.

Whilst this works, to appeal more to the audience I should try to make a larger performance. Also, I should be conscious of the illusion of weight, not to break it.

This lead me onto Atlas, which was more or less a scaled up version of Pot on Head.

The comparison between the two actually suggests that subtext is altered by action. I think if I hid the objects on both characters, whilst the action is similar, it is clear they are handling different things. This shows how important mannerism is, how even though it is something you would call secondary action it is integral to the story.


- Atlas.

Atlas is still essentially a weight exercise, but I was able to squeeze in some secondary action in there that does thicken the subtext somewhat.

Atlas taught me something that today I realised I read in different words in John Borg's book. Secondary action can be better applied to parts of the body not engaged in an action.

I've also learnt to think of action as being on a scale of relevance to the story line.
An ultimate truth about life that I recognise is that the key is in the detail.
Although I overlook this sometimes, it always comes back. Once again it applies, to this.
Straight up primary action is good, and you get a story from it but you only get a good, complete story when you start adding in details. These might be objects, subplots and backstories. In the case of the latter two, you need extra detail in the acting to convey these. Secondary action is a detail that can't be omitted.

So where is this research leading me?

I have learnt that it isn't accurate to handle primary and secondary action discretely. The purpose of the scene is more important.
In the case of Atlas, the walking and carrying is most important. However, swearing under his breath, whilst less important, is still necessary for the story - otherwise you can't understand the fact he is annoyed, which would also essentially be the purpose of the scene. The way he struggles between each step is important to show that he finds the job hard, and offers a source for the annoyment.
The point is that if you get a character to do it, it is always for a reason. Thus, there are narrative implications. Without it, it changes the narrative. If you need it, it is key.

What will I do next, then?

A good demonstration of this is to make a piece of animation that has back story, subtext that I can communicate.



Thursday, 18 April 2013

Atlas, with follow-up thoughts




Here is Atlas.

I've followed advice and upped the production value.


This piece of work has taught me a few things:

- Constraints work better when paired with a locator and parenting, but you still have to have everything dialled before you actually put in your constraint.

- You can't ask a character to struggle with a heavy weight and then expect him to do something extreme with it. Respect the weigh! Unless of course he's lying about it.

- Secondary action lends itself to free limbs. In this animation, all of his limbs are involved in lugging the world around so I couldn't do swatting a fly or something like that. Knees are free so I can wobble them for emphasis. The face is free so I can use this for secondary action.


Secondary action is very much a grey area. If you consider some actions as follow through (for example, flapping cloaks), you're left with what's basically mannerisms and small gestures.
As I think about this work I'm finding myself drawn to this question - 'If something you consider secondary action is in the script, does it stop being secondary action?'. My answer is no. I think it depends on narrative. It could be in the script but if it doesn't affect the story, it could be secondary action.
However going back to the last post where I talked about Superman and his cape,  I think this question needs to go along side 'Is it needed for the audience to understand the story?'.
In that example, even if the story is about Superman's cape, Superman still has to fly to make his cape flap around, so if the focus is on the cape, Superman flying is still primary action.

I'm finding that it lends itself to being described as a scale.




Perhaps you'd describe primary action here also as 'this action is the purpose of the scene'

Somewhere in the middle you would place things like an action that isn't directly relevant to the scene but will be revealed later on as being relevant. You might have things like mannerisms - these add depth to your characters, which aids storytelling but is neither relevant nor totally irrelevant.
An example of secondary action then could be kites or birds in the background. Perhaps then we'd open a new can of worms by saying that technically nothing is totally irrelevant, but it still stands that the significance of an action in terms of story can vary.


Monday, 15 April 2013

Atlas, and thoughts on secondary action



This Atlas animation is difficult.
In order to get him to spin the ball on his finger you have to break the illusion that it's heavy, which I don't want to do.

I'm finding that secondary action is a slippery topic. When it was defined as being any action that isn't the primary focus of the scene, this is true, but in a way it's true forward as it is backwards. That is to say, secondary action is those small things that you get a character to do on the side which don't really contribute to the narrative directly, but also, when getting your character to do these things, if you drive the focus onto them they become primary action.

You could sum it up as 'any action at any point can be changed from primary to secondary or vice versa, by directing attention to it narratively.'

Even the flapping about of superman's cape could go from secondary action to primary action if there's a cause for it in the story line.

-

Atlas's entire body is engaged in an action. This massively restricts the potential for secondary action to things like effort shudders or something similar. Secondary action is better expressed through free body parts or the face, if it isn't involved in an action.


Thursday, 21 March 2013

A reminder to myself



This is what I should make the pot on head character like.

I need to make my performances much bigger! Ok, so I will redo the pot on head, using my new constraint/parent skills so I'm not limited like in the last iteration. Let's see how over the top I can make it.

Monday, 18 March 2013

Pot on head






This version of the pot on head animation includes the character getting distracted and tripping up, as a secondary action.

I don't know whether this would come under primary action. Perhaps the distraction itself is primary action and the trip secondary? It would depend on the script.

I think I want to work with mannerisms next.

Thursday, 14 March 2013

Where I'm at now



Just mucking around adding this stumble into this animation as secondary action.

I've been a bit demotivated this week because of the constraints, and also a lack of specific direction.


This stumble isn't finished but the timing is looking alright.

Friday, 8 March 2013

Tutorial Follow-up


I showed everyone what I'd been up to these last two weeks. Good feedback.

One topic of note was regarding secondary action. I've been looking more towards secondary action applied as mannerisms. The secondary qualities of primary action perhaps, whereas the idea of straight up secondary action - a second thing going on in a scene - came up in this last tutorial.

I'm tempted to follow up on this. Sean suggested adding something to the pot-walking animation. Something else that goes on that distracts the kid as they're walking.

I'm going to give that a go.

Friday, 1 March 2013

Goon takes a drink - Round 1



This is the control/baseline form of my Goon takes a drink series of animations.

There's really nothing to it, it's just a canvas onto which I will paint more detail, so to speak.

I hid the constrains problem here by pasting the picking up keyframe to the putting down keyframe, so it's in the same place. The glass can't be rotated without causing problems once the constraint is set up so I'm stuck with the position his hand is in when he picks up the glass.

I'm thinking of ideas like a drunken guy swinging the glass up, a dirty guy taking a swig and burping, a wired guy necking a shot of espresso, things like that. By adding secondary action to this pose, and tweaking the timing and spacing, I change the character in the shot.

Tuesday, 26 February 2013

Secondary Action - Pot on head



It's about time I got round to secondary action!

I added in a little knee wobble that I noticed people do when supporting heavy weight on a bent leg.
There's the unsure step too.
The looking down and blinking was added. All in all, this is a more human performance than the last.

I'm not 100% sure on how the character takes the weight of the pot in the middle of the unsure step.

Friday, 22 February 2013

Pot On Head

In my last post, I wrote about a mime exercise with an imaginary pot on the head.

I've given it a go, and this is where I'm at now -



I couldn't hide the controls without making the eyeballs invisible too, weirdly.

There's a little bit to go yet but it's close.

I'm going to slide some secondary action in here too. Maybe a cautious pause or something, or some kind of small mistake, we'll see.

Wednesday, 20 February 2013

Mime. The theory and Practice of Expressive Gesture


I took this book out from Boots Library.

It's actually been quite informative. If I can find a copy to buy and keep for future reference, I will.

I can see the link between mime and animation. Both involve inventing some or all of a world and having to move and behave in accordance with it, with intangible things.

This book has some good pieces of advice such as, 'The audience must observe the artist seeing something to which he can react emotionally.'
This can be interpreted as 'every action has a purpose - make them clear to the audience'.

When the entire world your character is situated in is imaginary, everything that is put into that world has a reason for being there, even if it is simply to add depth to a story. This is particularly true for a character's movement. Every action a character is given has something to tell the audience. A character should make each action quite large and obvious to guarantee the audience sees it and comprehends it, unless perhaps its subtlety is saying something in itself.

This book also gives the advice that the head should lead motion - 'The head leads every movement in mine and dance'. I think this is true for emotion, but it stands to reason that the physicality of an action should be lead from the core of the body where the power of movement resides.
I think the head shouldn't lead movement, but it should be the first part of the body to express a reaction, which spreads from there outwards.

We are also reminded that the torso might seem to be very rigid but it does have some power of expression through the movement used in breath. Some expressions in a human are supported by the raising or deflating of the chest. This is something that shouldn't be forgotten in animation as it may add to the believability of the character's performance.

Another nice quote was 'the final thing that the artist must cultivate when working on the hands and fingers is a sense of touch.'
This is quite powerful in the animation context. As a mime artist you may have to convey the texture of some kind of cloth, for example, which you might not have with you on stage. Or perhaps you do have it on stage, but you will have to communicate your reaction on a larger scale so the audience understands it.
This even more of a point in animation, where you can't rely on any props in the real world to instigate a response.

This book has led me to a couple of artefacts - one being a character touching different textured things and responding as in the last paragraph, and the other being a character carrying a pot on its head, and how that character might walk, feeling the floor with their feet because they can't lower their head to see.
Both of these have potential for exploring secondary action too.

This book also has a guide, a glossary, on expressions which would be very useful for reference material.

Thursday, 14 February 2013

Today's Tutorial

Positive remarks for the Captain Nemo piece of animation.

I was advised to go in the direction of balance.
As far as secondary action, there is room to experiment with it doing any kind of character performance but I  don't feel as though I have, or am currently looking at secondary action closely. I will have to follow up on my intentions to produce some secondary action-heavy walk cycles and the drinking scene.

As for balance, it would be good practice for learning how to control extreme actions with characters. The idea to do a fly swatting cartoon is a good one but I'm tempted to try something else first. I had an idea to give a character a control that affects the direction of gravity.

In the bigger picture I was advised to look at mime, performance training and performances with larval masks. Creating an animated performance of these would be good practice in learning to pose a character in awkward poses with unusual centres of gravity.

Another piece of advice - experiment, see how far you can take things.

I made a small piece of animation trying out the effect of gravity. It's nothing ground-breaking, but it was a good experiment testing out curves in this situation.



Wednesday, 13 February 2013

Captain Nemo



This is the final rendered version of the Captain Nemo animation.

Tuesday, 12 February 2013

What's next after Captain Nemo?


Captain Nemo is finished. It just needs to be rendered - you can wait til tomorrow!

Andy showed me this:


Followed by their showreel:




He said one of the things that make this showreel strong is its heavy use of action, and as such, recommended I try to make an animation that's heavily action-based.
I've been turning some ideas over in my head - I thought about having a guy climb a tree to reach an egg, which soon became an apple - the branch it's on breaks and he falls! Of course the branch lands on his head!

Anyway, I drew it out and it's a good 18 thumbnails long, thereabouts, which means it might take a while. So, I think I'll strip this back. Short and simple is the theme.



You could describe it as practice-based research on primary action in the context of unbalancing characters.


Based on this, I drew a short story where a guy swats a fly, which swats him back!

Captain Nemo and the Lip Sync


Just finished doing the lip sync on this animation.




Maya is enjoying juggling my playblast settings around at the moment.

This is genuinely the first time I've done lip sync on a 3D character, second time over all. It doesn't seem hard at all.

I just need to tweak some of the expressions and there's a jerk on the arm at the end I don't like but otherwise, good.

Monday, 11 February 2013

Captain Nemo and the Wiggly Squid Fingers





A little note on the fingers, which now wiggle.

After checking out how my own fingers wiggle, it seems like it's more of a grasping motion with the little finger leading. I tried to implement this into the cartoon.

Also, now the fingers are finished, that on;y leaves expressions and lip sync and then this piece is done!

Puppetry



On friday we cracked out the training puppets. We worked with my Captain Nemo script. It was great to see how a puppet works, and to feel the physical resistance in the puppet, when turning the head. It's something that is missing from animation, you have to be able to use your intuition to know when it would happen and simulate it.

Looking forward to more puppetry sessions.

Thursday, 7 February 2013

Captain Nemo, Status Update

It's not done yet!



This next session was when it was meant to be done by. It's kind of close, but it's not ready yet.

I've had gimbal lock to deal with which has slowed me down a bit. I've never really come across it before, although perhaps it's a thing more for extreme rotations.

It's funny how you sort of time things out in the blocking pass and then realise that they need to be slower in a fluid pass.
The facial expressions haven't been done yet, they're still more or less blocked.
I think I'll be a fair bit closer to being done tomorrow. I can have this done this week.

Tuesday, 5 February 2013

Hand Wiggle Issue: Gimbal Lock


Just having a little problem working through this animation.
I'm going through the blocking pass phase, which more or less involves changing stepped curves into smooth curves and seeing what's up, and I'm presented with this issue. Prepare yourself for a lightning fast video:






Underneath is a screenshot of the curves. This is very weird because I expect the curves to be going crazy but they're quite well composed.

I suspect it's a case of the curves not being properly synchronised with each other. Either that or it's the typical thing where the controls have managed to go all the way around such that you can't tell.


Edit: further inspection proves that it is indeed the latter issue. These 3D programs do like to play their tricks.

Edit Edit: Actually, it's not gone away!

Edit Edit Edit: Ok, so what's going on is, usually when you rotate the axis are set at sensible, even distances from each other. Currently the Z axis is very close to what the X axis is moving at, meaning there is no side to side rotation available on its own. This causes this dumb issue. I think this is what's called gimbal lock.

Edit Edit Edit Edit:
The handy book called 'How to Cheat in Maya 2012' actually contains a solution to this problem. Rotation in 3D is handled in a particular order, and part of the result is that gimbal lock only occurs on the middle axis in this order. If you know which axes are going to rotate the most, you can change the order of rotation in Maya to shift the locking gimbal to the least rotated axis, which can help to shift the issue.

Friday, 1 February 2013

Captain Nemo, first feedback


Overall some good positive comments about this piece of work.
Everyone noted how much of an improvement this piece of work was over my Bruce Lee piece of work.

I should still work with silhouetting when I set up my storytelling poses. I worked closely with a viewport showing what the camera would see, but working more in the perspective view to select and manipulate things meant I overlooked the camera view a lot.

Wednesday, 30 January 2013

Captain Nemo, first look








I've produced a blocking pass for the current animation task.
This is my first real go with proper expressions, and it is, will be, my first real go with lip sync. Thankfully, I've had a bit of training in that department thanks to a book called 'Stop Staring'.


Also I found a blog entry that fixes the issue I've been having with skewed playblasts from Maya.
The trick is to set it to render a size with the correct pixel aspect ratio. 640x480 is a good starting point for playblasts.

http://markj3d.blogspot.co.uk is where I found this helpful tip. He's covered another couple of issues there, in case you've been getting other results.


Thursday, 24 January 2013

Captain Nemo and the Giant Squid







Andy showed us this in the tutorial today.
There's some really impressive stuff here. I particularly like the clip at 3:16, so much so I'm going to have a go at it myself.

I have a deadline of two weeks! As such, I've drawn up a storyboard today. A second challenge is to give my character better squid fingers than the one in this video.

Next up, modelling a bar for my character to sit at. Blocking, and then animating.

Tuesday, 22 January 2013

Body blocking



The body is completed.
I think it's pretty smooth. Typically, now I've had another look at the head I can see bits I want to smooth, but knowing the detail phase will come later I'll leave it be.

Character Modelling Tutorial

I think this has turned out quite well.
Looking forward to seeing how everyone else's looks too. Will it look like a family? Or a criminal lineup? Haha.

I feel like I've learned a lot, just from this tutorial. These are long, long tutorials that are even longer when you pause to go back and rewatch a missed bit or because you're working slower than demonstrated.

I'll post up when I get the next bit done.


Wednesday, 9 January 2013

The Floor Thing, Artefact 2.



This is it! Artefact 2.

It's taken a good while to get this done. I'm quite happy with it.

This is the vanilla performance. There are a few tweaks like the walk at the beginning and one or two other things that I want to do to it.
I intend to go back and add some secondary action in there later.

Must dash, I have work.