QUT: 3D2 Journal Entries - Anh Nguyen

Last level of detailed animation to help support the emotional ideas trying to be conveyed. Make something loose feel looser. Something tense, tenser. Micro-movement Facial Polish Eyes and Blinks Brows Mouth Push poses further Make it convey the essence  For the 4th pass. I decided to make the hands feel a bit more loose and pushing it back further in some areas. The jaw I wanted to make a bit more loose and move with the motion of the head. I also added more micro movement such as some minor follow through with the ears. Other things were further animated such as the nose and the lips were pushed a bit further for the "fs" and "ms". Showed more teeth on the consonants and also animated the cheeks and tongue to squash and stretch accordingly. There are two versions which I thought about: one where the character's eyes turn white to suggest that he has some kind of supernatural power, but then I thought the eyes were a bit strange and people couldn

Forces/Environments acting on the character and environments reacting because of the character.  Making the character feel organic.  Making all the parts work together strengthening the ideas of weight Designing a movement. Understanding where the energy comes from. Physicality Start with the root Polish Mass and Inertia Polish Torso Hips Check & Adjust arcs Finish Overlap & Follow through Fingers/Toes Arms and Other Limbs Successive breaking of joints Finish Eye animation Foot shuffles For my third pass I continued animating the character with the graph editor. I tried breaking the joints in the fingers and added more breakdowns to the eyes. For the mass and Inertia I tried applying some ease in and outs for some of the controls. 

Maximum of 4 frames between poses Spacing Breakdown Poses Offset Suggest overlap & Follow Through For my second pass I wanted to make sure that the poses were better and also paid more attention to the timing of when the character stays still and when the changes should happen. The breakdowns I did roughly around 3 between each pose, judging with the animation principles of anticipation and follow through.

Get Ideas Up Story Telling Poses Use Minimum Controls Keep it clean Flesh out important ideas Action and Gesture Framing the Action Main Poses Step key transitions Timing of the Action For Dialogue Rough Eye Animation Rough Mouth Poses For the first pass I concentrated on the story telling poses and work with tangent settings=  input: flat   output: stepped I was acting it out as I animated, which helped a lot.  For this, I wanted to make sure that if the poses were silhouetted it would still be somewhat readable for viewers and make some kind of sense because 90% (well a high percentage last I remember) of how we can tell how a person feels is through body language rather than the dialogue. The face should just be the icing on the cake or exclamation mark.     Most of the timing is already laid out for me with the audio and was pretty easy to block out once the audio was imported onto the time slider in Maya.  For my first pass, I chose not to animate r

Line: "You come from a family of thieves and now like all guilty men, you try to rewrite your own history"  Scene Analysis = At first glance and listening to the voice, you know it's a male voice and sounds like a gangster talking to somebody else. (For me, I had to go beyond the obvious and try to see how we could relate to the dialogue)   Layout = Decided to frame the scene using:  2x over the shoulder, slightly low angle medium-close-up shots Empathy Value (You must have atleast 5 out of 9 for the audience to connect - Eric Edson The Story Solution - 23 Actions All Great Heroes Must Take (Book includes story analysis of Pixar's film UP) Scale of 1 to 5 (1 being no empathy. 5 being more chance of empathy)  (Dialogue on its own)   "You come from a family of thieves and now like all guilty men, you try to rewrite your own history"  Empathy Analysis 1. Courage= 3 (it might take a bit of courage to say something like th