reference

This is the first time to make a talking animation. Many mouth shapes are not very good, and the rhythm is not well grasped. At the beginning, the whole rhythm was not correct. After I repeatedly compared and referred to it, it improved greatly.

This is the effect after finishing

Reference

Final work

This week we learned how to use the 3DEqualizer to track a shot and calculate the trail of the camera.

[Ctrl+Left Click] to create the tracker point. Select the [Marker] mode in the [Attribute Editor] in the [Trackingmode] on the right. Click on the [Gouge Marker] at least four times, and then click on [Track].

Tracking point: We should choose a point with high contrast and clarity in the image, not the edge of the wall. As the camera moves, the foreground and background will change inconsistently. This causes the tracking point to rotate, which ultimately produces incorrect results. Therefore, we must select points on the same plane.

Brightness and Contrast: During the tracking process, we can adjust the brightness and contrast of the picture. However, it should be noted that the brightness adjustment here has no effect on the result, just to facilitate us to choose the appropriate tracking point. However, if the contrast is high, it may have some effects.

Foreground, middle and background: try to select more tracking points to get better results. It is important to note that the points on the background are likely to be occluded and should be tracked several times. Although troublesome, we must do this to get better results.

Deviation: It is very important to be as close to 0 as possible but not equal to 0. In addition, not all tracking points have to be calculated, and some will increase the deviation.

Visual Culture

Mise-en-scène Scene Scheduling (French pronunciation: [miz.ɑ̃.sɛn][miz.ɑ̃.sɛn] “Stage layout” is an expression used to describe the design of drama or movie production. Refers to “visual themes” or “storytelling”, through the visual art techniques of filming, film photography and stage design, and expressed in a poetic way through the director. It is also often used to refer to multiple single scenes in a movie to express the movie. The “grand undefined vocabulary” called film criticism.

1. Scene design An important element of “scene layout” is the layout of the scene and the setting of objects (props) in the scene. The set design can be used to amplify the emotions or dominant emotions of the characters, including the physical, social, psychological, emotional, economic and cultural significance of the movie. One of the most important decisions made by the art director and director is whether to shoot on location or on set. The main difference between the two is that the scenery and props must be considered when shooting on set. However, shooting on set is more commonly used than shooting on location due to its cost-effectiveness.

2. Film Photography The intensity, direction and quality of the light will affect the audience’s understanding of characters, actions, themes and emotions. Light (and yin) can emphasize texture, shape, distance, mood, time of day or night, season, charm; it affects the way colors are presented in tone or depth, and can make viewers focus on the specific composition Element. For example, highlights can arouse people’s attention to shapes and textures, while shadows often hide things, creating a sense of mystery or fear. Therefore, the lighting must be thoroughly planned in advance to ensure its expected effect on the audience. It is an important part of this process because of its coordination of cameras and lights.

3. Space The expression of space affects the reading of movies. The depth, proximity, size and proportion of the scenes and objects in the movie can be controlled by the placement of the camera and the design of the lens, lighting, and scenery to effectively determine the mood or relationship of the elements in the story world.

4. Visual arts The organization of objects, roles and spaces within the framework. One of the most important concepts about film composition is to maintain a symmetrical balance. This refers to the uniform distribution of light, colors, objects and/or graphics in a lens. Unbalanced composition can be used to emphasize certain elements of the film that the director wishes to pay special attention to. The reason why this tool is effective is that the audience is more inclined to pay attention to some unbalanced things, because these things look very unusual. The position of the role assigned by the director will also vary depending on the importance of the role.

Visual metaphor

Visual metaphor is an image used to replace or combine with another image, to suggest analogies between images or use them to express. In Western culture, metaphor is usually considered verbal. In other cultures, where tradition is spoken rather than written, metaphors may be mainly visual and interpreted in different ways. Even in Western culture, people have begun to realize that metaphor can extend from language to the visual realm. Both linguistic metaphor and visual metaphor are a way of organizing knowledge and understanding, which can be used to express ideas. Native Americans often use non-verbal metaphors to communicate and teach young people. Defined as a rhetorical device, using words or words to express a thought Phrases instead of another to express one thought or analogy.

Aesthetics

I think the film aesthetics is that creators have a magical ability called self-knowledge. What is this self-knowledge? Be able to objectively evaluate your own work. Therefore, during shooting, they can accurately judge whether the shot is good or bad (that is, after the director shouts cut, keep one, this one is not, or is it over.) and always keep rational about their own work during editing and long post-production. Look. Therefore, many directors will eventually say: What is bad in my film, insufficient, not done well, etc. Then everyone gathered together and said: Movies are regrettable art.

Color composition

A good movie, beautiful pictures and colors touch the soul, the choice of every color is an expression of mood. The colors in the movie convey emotions by temperature.

Against the blue and purple background in 《La La Land》, the heroine is wearing a bright yellow dress, using contrasting colors to enhance the visual sense, and the contrast of colors creates a dreamy atmosphere for the film.

Rhythm

Wherever the film is interrupted, wherever it needs to be connected, the factor of rhythm must be taken into consideration. Rhythm is a powerful and reliable means of producing effects. Pudovkin said. Dialogue and action are linked by rhythm, which captures the audience and guides them along with the plot. Rhythm gives the film breath and life. It is the force that unites the various departments in the comprehensive art of film. Bergman said. Whether it is a “powerful and reliable means of producing effects” or the force that unites the various departments, the two masters have clearly stated the importance of “rhythm” to movies.

La La Land was originally a song and dance film. The main role of the music in it is to promote the narrative rhythm. There are two phone ringtones in the film. The first time was when she met a female celebrity buying coffee in Mia Cafe, she looked glamorous The beautiful idol walked out of the coffee shop and could see the gods. At this moment, the short reminder sound pulled her back from her imagination to reality: she was going to audition. A simple comparison tells Mia’s state very well: a young girl with a dream of being a star, working part-time in a coffee shop to make ends meet, and auditioning in her spare time.

In the past week, I have produced a Stylised Walk.

This reference is very good. It allows me to clearly see the position of the limbs and the head swing, and the center of gravity leans forward. However, the robot walks stiffly and cannot behave like a human. His knees and arms will not bend too much. Before starting the animation, I chose a robot model and compared it with the walk cycle I learned before. When doing it, do it one by one for each key frame, and use the graphics editor to adjust it to make the overall work more coherent.

When I watching the reference video, I found that the character’s body was leaning forward, the palms were straight, and the four fingers were brought together.

Walking is a basic human behavior, and walking is also the most common form of motion in animation. How to express the fun of walking in animation will test an animation creator’s basic motion modeling ability. It not only contains the animation rules in its walking, but also contains rich sports aesthetic connotations. Different characters will show all kinds of walking gestures without knowing how to create animation designers. It is particularly important to study the character, mood, body shape, age and other breaths that animated characters bring to us in the design of animation. Mastering the rules and techniques of human walking motion is the basis of the characters in the animation movement.

Footsteps play a basic role in the process of walking. Human footsteps move with the movement of retreat, so the fulcrum of the whole body’s center of gravity is that it cannot be called. In animation language, it is a follow-up movement. The transition in the up and down movement of the foot changes with the flexion and extension of the leg, and the heel maintains an arc in the movement trajectory. The heel plays a role in guiding an action throughout the movement of the foot step. It first accepts the weight of the body. The foot is second, it moves with the heel.

During normal walking, the center of gravity often shifts from one foot to the other. Each time you lift your foot, this foot will carry the weight of your body forward and shift the center of gravity to the side of the other foot. The shoulders also always move in the opposite direction to the hips and legs.

This time I completed each movement manually. The teacher asked us to bind a parent-child relationship. I chose a mobile phone. In the process of doing it, I also encountered problems. I used the rotation to adjust the toes before, recording The key frame is also pressed “S”. Later, I found that there will be a lot of problems. You can adjust it directly with Roll on your toes. Record the required key frame separately, which will reduce a lot of errors.

Summary

Through this whole-body walking cycle, I learned to manually record key frames and the balance of some parts of the body. I developed a good habit, which can reduce many mistakes afterwards. I still have much to learn.

Walking is the most common takeaway. This is an action that we watch and do countless times every day, but we don’t necessarily observe and analyze this action. Once we walk on paper or on a computer, it is not easy.

In the animation production clock, we are used to setting a heel off the ground to touch the ground again as one step. Take one step alternately with both feet as a cycle. Normally, the distance between the two steps should be the same, and the stride error of each step will not exceed 1 cm.

This diagram from John McMurrough clearly shows the trajectory of a character’s movement（1 step=24 frames=1 second）. Thanks to the abundant teaching resources on the Internet, animation learning would be extremely difficult without these reliable materials

At first, I did a loop directly, and forgot what the teacher said in the class that I had to do one action one by one, which resulted in poor results.

Summary

With the reference given by the teacher, it is not difficult to do it, but it takes time and patience to do each movement well, instead of being lazy and relying on loops, I will seriously do each key movement afterwards.

Through the study of the course, I learned that the tail must be moved once during the jump. The body of the fox jumps for about one second (24 frames) at a time, and the movement of the tail ends in 36 frames.

reaches the top (frame 12), the tail is at the bottom of the whole process. When the fox touches the second cube (at frame 24), due to the influence of inertia, his tail is at the top of the whole process, and then slowly swing for a little bit while.

This is my reference. Although there are still many problems with what I do, I will continue to work hard.

Summary

Through this week’s study, I have a preliminary understanding of the rules of the tail bounce, but to make a complete and smooth animation, more practice and a deeper understanding are needed.

12 principles of animation

These principles form the basis of all animation work and are relevant for a number of different fields. The most obvious use is for animating a character , these rules are also an invaluable guide in other areas

Bouncing ball

In the first class. We learned to make a simple ball bouncing animation

I did not add deformation or squeeze during the fall, because I am not very familiar with the Maya , too much operation may affect the work.

Bouncing ball maze

This is a simple device to reflect the trajectory of the ball. Create several polygons in Maya, adjust the position, and then let the ball move along the prescribed route.

Because the scene is not saved, some process diagrams cannot be added. Generally speaking, 3D computer animation is a new challenge for me. I need to explore a whole new field. It may be difficult for me, but it is still very interesting.