For this Animation Strategies Module, I have to create two animation sequences. The first animation sequence I have to do is a weight-lifting sequence where I animate my character lifting a heavy object. For the second animation, I have to do a lip-sync sequence where my character has to lip-sync to my chosen audio. While expressing emotions and physical expressions.
Research Blog
In week 7 of Animation Strategies, I mainly focused on gaining reference videos of people lifting objects and other weightlifting animations to get a good understanding of the way we as humans lift objects and to also see what exact movement I am looking for.
These are the videos I used for inspiration.
Link – https://youtu.be/DUHRAf7YEOs
These are my three inspirations for my weightlifting animation. I specifically aimed for the first one, as I wanted my layout to be straightforward with my character lifting a simple object like a box. For expressions, I used the video I created, using the stance and movements for my upcoming weight-lifting animation sequence.
I mainly focused on the expressions; for example, the animation made by Martin Leaurs showcases their character lifting a big, heavy sphere. Before the character lifts the sphere, he scratches his head. Making more of a performance before he lifts the object. This drags the viewer’s attention and gives more dialogue to the scene. As the character lifts the object, however, he curves his back, showing his struggle.
For this reference, I mainly looked upon the weightlifter’s expressions when he lifts a big heavyweight, which he shows throughout his posture and facial expressions.
Animation Body Mechanics and Weight Lifting
Posing/Spacing
Throughout my research into animation mechanics and performance in weightlifting, I found that I should first start with my blocked-out character touching the following object, working backwards and then forward. This helps to find out where your character’s body movements are going to be.
I also found out that the weight of the object can affect the timing and spacing of the scene. For example, little, light objects would be easy to handle; therefore, there is less effort in picking the object up. Making the time and spacing shorter than heavy-weighted objects. Heavy objects would take time to carry due to their weight; therefore, the time and spacing would expand.
Controls and Rotations
When studying 3D Animation Controls, I learnt that when you move your model, you have to move their IK arms and body control at the same time whilst using Global Mode. This helps to move the controls in the same direction. After you then change back to the local model for a nuanced control in local rotations and translations.
You also have to use the pelvis rotation when the character crouches or bends.
Shoulder rotations are very essential in lifting and interacting with other objects, as our shoulders would move according to the weight or height of an object.
What I also learnt is that when you block your character, you have to work on your timing while you select all your controls. Make sure the keyframes aren’t out of sync on different controls when doing your timing.
When you have a rigged model on Blender, you can press ‘a’ in pose mode. This helps to select all visible controls. If your rigged character/object has constraints or keyframes on them, make sure to press shift and left-click the mouse to select those on the dope sheet or timeline.
Body Mechanics 2
In week 8 of Animation Strategies, we focused on body mechanics. Body mechanics is about how the body moves accurately in animation. It is important to keep an eye on the weight, force, balance, and movements of the character’s motion.
What we learnt in class is how to use an action editor. An action editor is a tool used by Blender that is useful as it can help keep your files and animations in place effectively in one scene. It’s essential to have a name for your actions and to delete any unnecessary actions to maintain an organised and clean file.
If animations are out of place in multiple scenes. The append tool would help to gather all your animations into one file.
How to achieve a well-balanced mechanic
For me to achieve a well-balanced mechanic, I must understand how my character’s weight shifts with each step they take or the movement they follow.
I also must figure out how gravity affects the character’s balance and stance. To add realism through secondary movements, like how clothing moves through the wind. This prepares the viewer for a big action like a jump by using small movements. The arcs of motion give natural pathways that each movement follows, like a swinging bat.
Line of Action
Line of action is all about creating dynamic lines of movement for dynamic storytelling. Even subtle lines can have an appealing result. Having a chain of expressive action lines can create an appealing animation.
After this, I did my research into different lip sync sequences, and the main one I used was a clip from a movie called 13 Going on 30, which showcases the character confessing her feelings and regrets about her past life. Trying to get back with the person she so-called loved. I loved this sequence as it was very emotional, and I wanted to portray that in my lip sync animation.
Link – https://youtu.be/QHfGNY38R7E?si=_384iydW3X_NiEdn
Character Performance
In week 9 of Animation Strategies, we mainly focused on character performance. For character performance, we researched character performance references, key poses, facial animations, and the anatomy of expressions.
Acting
What we learnt in class is that good character performance will show many principles of animation, as effective acting can be broken down into beats. In-betweens, however, bridge the gap between the character’s key poses. For reference, we followed a Stan by Me animation that showcases a lot of animation acting strategies.
Importance of Blocking
There are 3 important aspects of blocking; one is communication intent, which establishes the character’s emotion and motivation. It also helps to visualise the narrative.
Number two would be the timing and spacing of the animation, which sets a tempo of actions as well as translations. It also identifies the beat in the performance.
Lastly, the foundation of refinement, which gives a blueprint of your final animation, gives room for in-between improvements and secondary motions.
The Workflow
In class, we also learnt how to create a perfect workflow. The first thing that you have to do is plan your performance by thumbnailing your sketches or video references. Focusing on the character’s emotions as well as the story. After, you have to think about how you pose your character by blocking the character in major poses whilst keying audio points.
Last but not least, you have to refine the timing by adjusting the timing and space before adding any in-betweens.
In Week 10 of Animation Strategies, we focused on facial animation, the anatomy of expression, and the emotional spectrum.
Facial Animation
Facial animation connects the audience’s emotions, and a subtle change can show realism and depth. Good facial performances would complement the character’s body language and dialogue. An example would be Carl from Up, who is shown to have a grumpy old man’s look, which gives off the expression of his character. His demeanour is rigid. This is portrayed by the character’s looks, concept design, as well as its pose.
For facial animation expressions, I used a video from a YouTuber called Skitty Animates, who demonstrates the 7 basic emotions. Giving multiple examples of what I used in the lip sync sequence.
Link – https://youtu.be/6aBCViHWxdA?si=CKjze4uXuB9aYupI
Anatomy of Expressions
When blocking out facial expressions, all facial expressions should successfully portray their output; for example, eyebrows should convey the intensity of emotion, eyes should direct a focus and intent, and the mouth should create flexible shapes that can create feelings and that can tell the story.
Emotional Spectrum
For the emotional spectrum, there are around six emotions: sadness, joy, anger, surprise, fear, and disgust. These emotions can be combined depending on the circumstances; for example, when a person is sad and angry, it means they are frustrated. Their eyebrows and eyes will be narrow, their jaws will be tense, and their lips will be pinched.
Reflection Blog
3D Lip Sync Sequence
Realism and believability are essential for levelling characters in the laws of physics. Especially in stylised animations. For the audience connection, I have to use realistic, motioned body movements to draw attention to my work.
The first thing I did was use my reference video for inspiration and copy the way the person says her words whilst examining her mouth movements. I also used other videos for inspiration, such as the most emotional movies from animated family movies by a YouTuber called Ms. Movies by Films is Now.
Link – https://youtu.be/yKPIbzrLE7E
I then added expressions that show feelings of sadness by making fewer facial movements by only moving the eyebrows and less the mouth. I did by using a video of me re-acting the sequence for a guide. I also wanted her to have a frown look as if she was about to cry.
After this I added some movements to my body, especially some hand movements, to give a sense of expression and exaggeration. When my character moves, I want her hair to sway back and forth to give realism.
2D WeightLifting Sequence
When doing my 2D weightlifting sequence, I mainly focused on blocking my environment and my character, the layout design, as well as using reference videos for inspiration. I started by blocking the start of my animation, the middle of my animation, and the last. Whilst doing the blocking stage, I thought of different ways to sell the audience by adding exaggeration to the character’s body as she lifts the box. Making it as though it was really heavy. I also wanted my character’s legs to be flimsy, and I wanted my character to stomp her feet as her feet hit the ground. Creating a lining effect.
After doing the sketch stage, I focused on the character’s details by giving my character a skirt, top, and ponytail. When my character moved, I wanted her hair to move along with her body. I decided to add a sense of expression for when she lifted the box. I also thought it would be good to add sweat on her heart to show that she’s struggling to lift the heavy box.