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Mike Walling的动画流程  

2008-10-22 14:45:40|  分类: CG news |  标签: |举报 |字号 订阅

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Mike Walling的动画流程

原文:

This is the simple process I use to break down a shot from concept to finished piece. It is based on the step curve method of animation and is in my opinion the closest to 2d you can get in 3d.

1. The kickoff.- Getting direction and thinking about continuity.

- The kickoff is where the director discusses the sequence to all of the animators and covers the content of each shot. This is your chance to see your shot in continuity and ask the director any questions you may have about your shot or the sequence.

2. Preparation.

a. listen to the audio track about a hundred times listening for the beats and inflections in the voice. I like to write out the dialog on paper or a dope sheet and then draw little arrows to get a visual of what the voice is doing.

Mike Walling的动画流程 - Marsnow - snowImage

b. Thumbnail out some story telling poses or shoot reference. I have found that for complex acting or action shots reference is the only way to go. Without it you will never get the dynamics of the action. Thunbnails are also a great way to start thinking about poses you might want to use. I was always taught that animation is 90% preparation and 10% execution; although I have to admit that most times for me it is about 40% prep and 60% execution out of fear of the ever looming deadline.

3. Time management.

- This is a pretty big one to me. As an animator at a major studio you have two major responsibilities. The first one is to produce quality animation. After all that is what you were hired to do right? The other is to get the work done on time. This is what I call "walking the line" or "pleasing administrative and creative". Animators that have a hard time with this don't usually last long in a feature production because they just can't adjust to the constant changes from the director and getting the work done on time with the quality that is expected from the supervising animators, not to mention that the team you work with is a competitive team and everybody wants the 'good shots". This leads me to..

4. Workflow

- What steps do you take to get your shot done? Well we have covered some of them already. We already talked about listening to the audio track and shooting reference footage and drawing thumbnails. Now what?

- Blocking! When I start blocking my shot I'm only concerned with the story telling poses. We will put all of the details in later. For now we are just interested in making the poses feel right when we run a playblast.

- Put everything you want in the acting. Don't hold back because you're not sure how to get from pose to pose. Just go for it!!

- Key the whole character! Why? Because later when you start splining you might miss stray keys and it's a pain to wrangle them when you could just lock everything down on each pose. It also makes it easy to shift timing around on the fly. One other reason is when it comes time to spline the shot it is easy for me to spline sections of the shot instead of the whole thing at once.

- Your blocking should include finger poses and good facial. Don't worry about lip sync; this should be done almost last!

Now that you have blocked out some poses it's time to flip your animation and see what you have. This is the time to adjust your timing since you have all of your poses on one frame each. Now that you are happy (hopefully) with your blocking it is time to start thinking about the transitional keys (breakdowns). Don't let the computer do too much of the work for you and have an idea of what the character will look like going from pose to pose. Remember we are still in step curve mode. No splining yet!

- Put breakdowns where needed. I usually put them in to describe a move between poses or an antic. I learned from my friend Mike Thurmeier to put in the anticipation key and the stretch key to make the move look more dynamic in the blocking. All your doing is showing how your going from point A to point B.

- Start thinking about your slo-in's and slo-out's. For example if my pose is on frame 120 and I want my pose change to take place over 8 frames then I'll key the whole body at 116 and at 124. Then I'll back off the pose on frame 120 which will cause a slow-in from frame 120 to 124.

Mike Walling的动画流程 - Marsnow - snowImage

- Splining! To me this is the hardest part because you have this nice neat tight package of poses and now you have to tear it all down into fluid motion. I think the key is to take things in small chunks and work through it.

- I think the best way to go is to spline the gross movement of the Character first. Usually the torso, neck and head. I like to make layers in Maya so I can hide the limbs. This way I can see only the parts that I'm animating. Once I feel like the torso is tight I will turn on the limbs and start working through them.

- Your animation might look a little strange now, with lots of holds and simple transitions but that's ok because now your going to go into more detail and start breaking things up big time.

- Start to drag spline curves of movers that you want to overlap.

- Insert more breakdown keys on individual movers (not on the whole body)

- Start to get the fluidity in the motion breading away from the pose to pose feel.

- This is a great time to start to add little moves and gestures that you didn't put into the blocking. We are moving past the story telling poses to fluid movement. You want you acting to feel natural and human so don't be afraid to tear down the old keys to make new ones.

- Listen for the littlest of inflections in the voice and add little accents and moves that will add to the performance. ( I'm still only working on the torso, neck and head.)

At this point you should step back, watch your playblast (movie file) over and over and ask your self these questions.

1. Is the timing feeling right?

2. Do I have good slow-in's and slow-out's?

3. Are there "dead zones" where I've gotten lazy and under-animated my character's nuances.

4. Is the animation stiff or fluid? If it is stiff, do I have the keys of the body all landing on the same frame too often? Is it floaty, is my timing too spread out?

Now it's time to do the same thing for the arms and legs.

- Follow the same procedure outlined previously. You will put more overlap in the arms and legs in general and make sure you beef up the arcs and transitions to make them look a little more interesting.

5. Facial animation.

- I follow pretty much the same principles for the face and lip sync as I do for the rest of the body.

- Since you have the face blocked in from earlier and is now simple splines you can easily go in and tweak the timing for your facial transitions. Of course the face will be much more subtle so you will have to be sensitive to the acting and emotion you are trying to convey, after all this is what it is all about right?

- As far as lip sync is concerned you will have to start at frame one and set a pose on all of the mouth movers for the shape you want. Work your way down shape by shape until you are done and then run a playblast. Now you can look at it a few times looking for problem areas you can tweak. I find this to be fairly easy but spend them most time tweaking. Over all if my shot is scheduled for 5 days I will try to spend at least one day or more on the face and lip sync.

My work flow doc.

以下是翻译文章

这是我通常所使用的一个镜头从草图到完成流程,它是基于Step的动画模式的,我觉得这是最能在三维中接近二维效果的方法。

1 得到指导和思考连续性
刚开始的时候正是导演和动画师们讨论整个序列和镜头的内容的时候,你有机会看到你的镜头的前因后果,并且可以向导演提出任何有关镜头和整个序列的问题。
2 准备工作
a 反复的听镜头的对白,聆听其中的节奏和音调,我喜欢在纸上或者dopsheet上写下这段对白,然后标以小箭头的升降来表示其中的韵律(见原文图)。
b 用缩略图表示出一些有叙事性的关键动作或者视频参考,我发现多余复杂的镜头或者表演,参考视频是唯一的途径,否则你无法得到真实的表演。缩略图也是你思考用什么姿势的很好的途径,我总是说动画就是90%的准备工作和10%的执行,但是我承认大部分时间但我离最终期限还很远的时候我只用了40%时间准备,60%时间执行。

3 时间管理
-这个对我来说是一个重要环节,作为一个主流工作室的动画师,我需要两个主要责任,第一是制作高质量的动画,这正是我被雇佣的原因,对吧?第二个就是按时完成工作。这就是我所说的“行走在线上”或者“取悦主管和创意”。动画师如果不适应这些,往往不能坚持下去,因为他们不能适应导演对内容的改动和按时制作出令主管满意的高质量的动画。更别提你所在的团队是一个充满竞争的团体,每一个人都在努力做出“好的镜头”,这就引出了……

4 工作流程
-你完成一个镜头的步骤是什么呢?我们已经说过了其中的一些,我们已经说过了聆听对白,拍摄参考视频素材以及绘制缩略图,下一步呢?
-Blocking!当我开始Blocking我的镜头时,我通常只关心那些叙事性的动作,之后再加上那些细节的动作,此时我们只需要保证在播放Playblast是感觉舒服就行了。
-将你所期待的所有效果放进这些姿势。不要留到后面,因为你不能确定如何在姿势与姿势之间得到这些效果。
-给整个身体打上关键帧!为什么?因为之后当你准备调整曲线的时候,你可能会漏掉一些偏离的帧,之后再来弥补这些帧是一件非常痛苦的事情,而且这样也方便你平移这些帧(调整节奏),另外一个原因是,再之后的曲线调节中也方便我分段来调整而不是一次整个时间线。
-你的blocking应该包括手指的姿态和好的面部表情,不用担心嘴型动画,那是做后来做的事情。

现在你已经Blocking出你的镜头,该播放一遍看看目前的情况了,因为你的关键帧都在同一帧上,也是时候来调整你的timing了。现在你应该(希望)对你的Blocking比较满意了,接下来就是思考你的其他帧,也就是break down的时候了。不要指望电脑做太多的工作,我们还不知道角色会在姿态与姿态之间会发生什么,因为我们还在step的模式下呢!

-在你需要的地方增加帧,我通常加在姿态之间表示运动或者古怪的地方,我从我的朋友Mike Thurmeier那里学到了使用先一个预备帧然后一个拉伸帧的方法。
-开始思考你的加减速,例如我的某一个姿态在第120帧我希望这个动作持续8帧我会在116帧和124帧处给全身打上关键帧,然后削弱第120帧,这样就会在120帧和124帧之间产生一个slow-in(见原文图)。
-调整曲线!对我来说这是最痛苦的时候,因为之前你有一套不错的整洁的动作,现在你要把它变成流线型的运动,我觉得关键就在于你要将东西分成一个个小块,一个接一个的做出来。
-我觉得最好的办法就是先调整角色的整体运动,通常是脊柱,脖子,头,我喜欢在Maya里建立Layer,因为我可以隐藏四肢而只看这些我在动画的部分,当我觉得躯干的运动整洁了之后,再显示出四肢来制作他们的动画。
-此时你的动画可能看上去有点奇怪,有不少的停顿和简单的运动,不用担心,这时候你就要开始增加细节了。
-开始拉动那些运动物体的曲线,增加Overlap。
-在个别的运动部位插入更多的帧(不是全身)。
-将姿态与姿态之间的“软绵绵的”运动分解掉。
-这时是增加一些你没有加近Blocking的小动作和手势的绝佳时刻,我们之前在尽量使那些帮助叙事的动作保持流畅,但是你希望你的表演能够更加自然和有活力,所以不要害怕抛弃一些老的帧来增加新的细节。
-聆听对白中一些非常细节的音调,在运动中加入一些“重音”(我仍然还在调节脊柱,脖子和头)。

现在是该回头反复看看你的playblast的时候了,试着问你自己这些问题:
1 节奏舒服吗?
2 我的加减速是不是对的?
3 有没有一些我懒惰的死角或者角色之间的细微差别?
4 动画是呆板的还是平铺直叙(此处原文可能是要用“floaty”)的?如果呆板,是否是我让身体的帧出现在同一时间太频繁?如果太平铺直叙了,是否是我的节奏太单一了?

接下来就是对手臂和腿做同样的事情了。
-跟着前面同样的步骤,你需要在手臂和腿脚上增加更多的Overlap,记得加强运动曲线来得到更有趣的运动。

转自neovfx

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