Category: 3D Computer Animation Fundamental

Previous Blocking Animation Issues

(1) Fingers should be animated

Initially, I did not realize that animating the fingers was essential for creating curves similar to those depicted in the yellow illustrations of the animation above. At first, I focused solely on animating the arms. However, this approach lacked the necessary detail. I soon realized that to achieve a more refined and comprehensive animation, I would need to incorporate greater detail and push my skills further by animating the fingers as well.

(2) Shape changing of the body

While animating, I overlooked the rotation of the body, which resulted in the animation lacking smoothness. To improve this, I will need to incorporate these rotational changes into the blocking animation and refine the movement further during the spline phase.

(3) Anticipation before standing up

Anticipation serves to provide the audience with cues regarding upcoming actions. For a more detailed explanation, please refer to the final section of the Blog from Week 2. Therefore, it would be beneficial to incorporate an anticipatory movement before the character stands.

(4) More Clearer Poses

For this frame, I should clarify the pose by reducing the twist of the shoulder in relation to the camera, while maintaining the triangular shape between the arms and the body. Additionally, I must ensure that the left hand makes contact with the leg.

(5) Extension of the Hands

It appears that the hands are missing keyframes. Instead of only keyframing the character’s position before and after standing, I should include additional in-betweens. For more information on keyframes and in-betweens, please refer to the Blog from Week 1. By incorporating more in-betweens, the animation will have greater extensions, resulting in smoother motion.

Outcome of Changes and Spline Animation

Previous planning for Body Mechanics

After reflecting on the planning process for body mechanics last week, I identified several key aspects that require careful attention. Additionally, considering the complexity of the animation and the need for thorough testing, I have decided to focus on animating a body mechanics sequence involving a character yawning and transitioning to a standing position.

(1) Final Frame: Standing Upright

Ensure that the final frame of the animation depicts the character standing upright, with a balanced posture. Avoid any forward lean that might suggest the character is about to lose balance and fall. Additionally, incorporate a visible weight shift to convey the upward transfer of the body’s mass during the transition to a standing position.

(2) Use the Perspective View

The perspective view refers to the angle between the front and side views, providing a more dynamic representation of the object. Below is an example showcasing different views of the helicopter model.

_{Fig 1. Front view from Maya Help website}

_{Fig 2. Side view from Maya Help website}

_{Fig 3. Perspective view from Polycount website}

In the image above, both the front and side views of the model are visible simultaneously, providing a 45-degree angle of the model. This view is referred to as the perspective view.

_{Fig 4. Perspective view from Maya Help website}

The image above is one of the tests I conducted last week. Although it is in perspective view, the side view of the model is barely visible. To improve this, it would be better to rotate the camera slightly to the left to achieve a more optimal perspective view.

This yawning stand-up animation serves as a better example of the perspective view.

(3) If the Arms Are Too Difficult to Animate, Hide the Arms and Focus on the Body

Animating in detail can be quite challenging, as the complexity increases with each additional body part involved. Therefore, I will focus on animating the body and legs of the model first. If time allows, I will also animate the character’s arms.

(4) Change the Starting Pose for a Smoother Animation

At the beginning of the animation, the reference shows different starting poses. While the first pose may be more visually appealing, animating the transition from the hand below the chin to placing it on the lap could be quite challenging. Therefore, starting the animation with both hands resting on the lap might be a more practical and effective option.

Blocking Animation of My Yawning Stand-Up Animation

Body Mechanics

This week’s lesson focuses on Body Mechanics, which refers to the study of how the body moves. Below are some examples:

Although different characters exhibit unique movements, they must all adhere to certain principles to ensure the animation appears smooth and logical. These principles are collectively referred to as mechanics. Effective mechanics ensure that a character’s weight shifts, poses, positions, pacing, and timing are executed appropriately and cohesively.

Referencing

In today’s lesson, we also discussed the concept of Referencing. Although I had previously filmed references of myself for the Weight Shift homework, I am still not entirely familiar with how it works in practice. During the lesson, we received valuable tips from a video, which emphasized the importance of maintaining the same camera angle for both the reference footage and the animation. This consistency allows for more effective utilization of the reference when creating the animation.

For example, in the 2D blocking animation I created (shown on the right), the animation uses the exact same angle as the reference on the left—specifically, a perspective view positioned between a front and side view. This alignment ensures that I can accurately reference each pose step by step, without needing to imagine poses that might otherwise be obscured.

In other words, if I were to use a side-view reference for my animation, I would need to visualize certain poses that are not clearly visible. For instance, I would have to imagine the exact placement of the character’s hands when she stretches them.

In addition to the reference mentioned above, I conducted further testing with references, assisted by Technician Roos.

Front and Side views of Standing Up from a Chair

Perspective View of Standing Sp from a Chair

Front and Side Views of Jumping Over Obstacles

2D Blocking animation and Testing

I began by sketching the key poses from the reference to create the blocking for the 2D animation. Then, I used a polygon to roughly animate the character’s body in Maya. I plan to further refine this by incorporating the character into the polygonal body and using it as a reference for the timing and pacing when I begin my actual 3D animation.

Previous Walk Cycle

Based on the feedback received for my previous walk cycle assignment, I must incorporate the following adjustments.

Issues and Explanation

(Front View)

For the front view, it is essential to ensure that the body of the “Walker” model follows a motion resembling the shape of the number eight to maintain a proper Arc.

Arcs

As outlined in Week 1’s blog, Arcs are a fundamental aspect of most animations.

Figure-1: I Want to be…an Animator Website

from the movement of the hands to the table,

Figure-2: I Want to be…an Animator Website

or the movement of the legs from the center to the right,

Figure-3: I Want to be…an Animator Website

or even the swinging motion of an arm, these movements often follow arcs. Animating along arcs results in smoother and more realistic motion. The image above illustrates arm movement forming a shape similar to the number eight, which I aim to replicate in my animation.

I attempted to reference this woman’s hand movement to observe whether a “figure-eight” arc is achieved.

Figure-4: I Want to be…an Animator Website

Furthermore, the nature of arcs also varies depending on the amount of force applied to the movement.

(Side View)

I also need to address the issue of the heel not maintaining the same position as in the previous frame. If left uncorrected, this could give the impression that the model’s foot is sliding, potentially making it appear as though the model is about to trip.

Additionally, there was an issue with Knee Popping in my animation.

Knee Popping

Video-1: Alexander Williams(How to Fix Knee Pops in a Walk Cycle)

This occurs when the knee bends in one frame and then abruptly straightens and extends in the next, creating a jarring, unnatural effect in the animation. To resolve this, it is important to ensure that the knee maintains a slight bend throughout the animation, preventing any sudden or harsh transitions.

Another issue with my animation is that the foot lifts off the floor too quickly. In a natural walk, the foot remains in contact with the ground for a bit longer before lifting, with the toe staying in contact longer than the heel. Therefore, the foot in this segment of the animation should be positioned as indicated by the blue line.

Further Polish Result

In the revised version, I resolved the previously identified issues and incorporated additional refinements to enhance the animation’s fluidity. For instance, when the heel makes contact with the ground, the entire foot does not touch the surface simultaneously in the subsequent frame. Instead, the heel contacts first, followed by the toes, creating a subtle flipping motion that adds a slightly exaggerated, cartoon-like effect to the walk.

Nevertheless, some instances of knee popping remain problematic. For example, as the foot touches the ground, the knee transitions abruptly from a straight position to a bent one. I am uncertain whether this appears unnatural and intend to seek clarification from my tutor.

Walk Cycle(Blocking)

After receiving feedback on my previous walk cycle assignment, I need to implement the following changes.

Fig-1: Animator’s Survival Kit P.108

Before addressing the necessary adjustments, it is essential to review the content covered in last week’s blog. Specifically, we examined the different poses that constitute a walk cycle, including:

1. Contact
2. Down
3. Pass Pos
4. Up
5. Contact

In an effective walk cycle, it is essential to maintain a well-defined curve.

Fig-1: Animator’s Survival Kit P.103

As illustrated in this screenshot from the book, curves are visible above the model’s head and at the feet. This imaginary curve should remain consistent throughout the walk cycle to ensure smooth and natural motion.

In my previously submitted assignment, the Contact Poses and Down Poses did not descend sufficiently to maintain a consistent curve. Additionally, the poses were not adequately spaced, resulting in a lack of clarity. Addressing these two issues will be my primary focus for improvement.

Contact Poses

Down Poses

Another issue with my blocking animation is that the feet are either not fully in contact with the floor or are sinking below it, which creates an unnatural appearance. To resolve this, I adjusted the foot positioning to ensure proper contact with the ground.

Walk Cycle(Spline)

After addressing the issues mentioned above, I made additional refinements, such as ensuring the feet remained stable and did not move in unintended directions. The result of these adjustments is as follows.