Animation Notes - Revision history

Bassam at 21:21, 10 August 2012

2012-08-10T21:21:56Z

Bassam at 17:58, 12 July 2012

2012-07-12T17:58:44Z

Bassam: /* About the Main character */

2012-06-06T20:06:43Z

About the Main character

Bassam: /* Character Motion */

2012-06-06T20:02:48Z

Character Motion

Bassam: /* During Act I */

2012-06-06T19:56:32Z

During Act I

Bassam: /* Rig Documentation */

2011-09-01T02:40:14Z

Rig Documentation

Bassam: /* Animation Needs */

2011-09-01T02:38:58Z

Animation Needs

Bassam: Created page with "Currently Most of this page is cribbed from an online meeting with some of the animators. ==Animation Needs== ===About the Main character=== ====Prehistory==== Gilgamesh sh..."

2011-06-01T23:24:41Z

Created page with "Currently Most of this page is cribbed from an online meeting with some of the animators. ==Animation Needs== ===About the Main character=== ====Prehistory==== Gilgamesh sh..."

New page

Currently Most of this page is cribbed from an online meeting with some of the animators.

==Animation Needs==

===About the Main character===

====Prehistory====

Gilgamesh should be thought of as in her later 20's or early 30's.
She's been in the army, and fought on the more dominant side. Her
attitude is narcissistic, arrogant and entitled- she takes her privilege
and dominance for granted. Before the film starts, she has lost a friend
(presumably in combat) and has a few small scars herself. This grief has
turned into a fear of death (previously she didn't really consider that
she can die) and she is desperately seeking the secret to eternal life.
She believes she has found this in a piece of paper that is located in a
strange subway station.

====During Act I====

her progression in Act-1 goes from an extreme confidence that she will
attain eternal life (due to her arrogance she believes in herself
'deserving' this) but is beset by a series of setbacks.. that lead first
to mounting frustration, and then to a bitter resignation - at which
point she actually finds the paper:
Entry: finds paper (a1s01 and a1s03) believes she will get it
Initial loss: (a1s03, a1s11 she loses it, reacts with anger, but still
is confident that she can get it back
Mounting frustration: most of the act until a1s45/46, she's losing, than
searching in a sea of papers for the right one.
resignation: a1s38

===Character Motion===

We have to avoid 'realistic' human motion, to avoid the uncanny valley,
and to give style and animated acting of G's emotional state in the
absence of dialog. At the same time, I'd like to avoid cartoony 'take-y'
bouncy, squash and stretchy motion with excessive arcs. We also need to
emphasize the character's strength. Some pointers:

* use straight lines, fast motions, or very subtle arcs for most motions,
especially 'directed' ones, i.e. gil looks at the paper: rapid head
turn- gil snatches a paper: rapid, straight pounce, almost like throwing
a punch.

* use arcs for motions where gil is expressing desire (touching the
paper) or self-love (whenever she absent-mindedly touches herself, in
any secondary action of scratching, thinking, etc.)

* use believable antic for motions that require strength (i.e. jumping,
hitting)

* use minimal antic for motions that don't require strength, i.e. instead
of a bouncy take before a look, she should just have a moving hold. To
express tension, she can shake a little (and we may add controls into
the rig for this.) so instead of a reversal-take pattern as we see in
many e.g. animation mentor reels, go for a tension-release pattern
(hold-straight fast motion, slightly faster than human normal).

* slightly insect like, spooky motion and poses.

* Neck: don't do 'pigeon'-y excessive head/neck motion. Use the neck very
physically believably, and to effect reversals in head posture in a
limited way (i.e. her typcial attitude would probably look down on
things from an uptilted head, but you can sometimes reverse this and use
her neck to crane towards them).

* athletic: self assured running, moving, doesn't stumble easily.

* secondary action: since she's vain, she might tend to touch her
face/neck/body while in repose, without even thinking of it, or while
she is thinking of things.

← Older revision		Revision as of 21:21, 10 August 2012
Line 106:		Line 106:
	face/neck/body while in repose, without even thinking of it, or while		face/neck/body while in repose, without even thinking of it, or while
	she is thinking of things.		she is thinking of things.
		+	== WalkCycles ===
		+	Beginning and seasoned animators who are doing walkcycles for the crowd scenes, check out the page on [[walkcycles]].

← Older revision		Revision as of 17:58, 12 July 2012
Line 1:		Line 1:
−	~~Currently Most~~ of ~~this page~~ is ~~cribbed from an online meeting with some~~ of the ~~animators~~.	+	==Animation Workflow==
		+	Mainly character animation will follow these steps:
		+	# Assign a shot to an animator in Helga
		+	# Animator gets the shot files via sparkleshare or SVN
		+	# We create reference and post it to Helga in the shot, and save a higher quality file in keg in /helga/tube/work/reference/scenes/act_n/shot/
		+	# Animator starts by blocking in Constant keyframes
		+	# Animator posts progress via [[boomsmash]] (tubese for playblast/openGL preview) in helga.
		+	# feedback happens via skype, google hangout, helga comments, or other method. We prefer voice/video over text due to complexity and ease of understanding. On Friday meetings we have dailies where other animators/rest of the team can chime in.
		+	# shot goes from blocking to splined, to refinement until it is finalled.
		+	# we can recieve files via sparkleshare, or committing to SVN.
		+
		+	Important: do not save files 'out of tree' they should stay in the same folder in SVN or sparkleshare, so that the relative paths (linked libraries/ file references) remain the same.
		+

	==Animation Needs==		==Animation Needs==

← Older revision		Revision as of 20:06, 6 June 2012
Line 37:		Line 37:

	defiant, triumphant in the last part of act I		defiant, triumphant in the last part of act I
		+
		+	====During Act II====
		+
		+	there are two gilgameshes during act II!!!:
		+	1- gilgamesh in the station: starts out completely mangled and injured, slow moving and in pain. when she heals she should be almost neautral, trapped in an observer position, until the very end when she surrenders the paper. after letting go of the paper she is a bit scared.
		+	2- gilgamesh in the train, is sad/mourning in the first shot, reacts with typical emotions on seeing her mangled self: dismay/not sure of what she sees, before receeding out of the shot in a more 'observer' mode.
		+
		+	====During Act III====
		+	Gilgamesh is a calmer, milder, happier person, who's re-integrated into society. She's contemplative and optimistic.

	===Character Motion===		===Character Motion===

@@ Line 6: / Line 6: @@
 ====Rig Documentation====
-head over here:
+head over here: [[Gilgamesh Rig]]
 ====Prehistory====

← Older revision		Revision as of 02:38, 1 September 2011
Line 4:		Line 4:

	===About the Main character===		===About the Main character===
		+
		+	====Rig Documentation====
		+	head over here:

	====Prehistory====		====Prehistory====

@@ Line 39: / Line 39: @@
 ===Character Motion===
   We have to avoid 'realistic' human motion, to avoid the uncanny valley,
@@ Line 65: / Line 72: @@
 (hold-straight fast motion, slightly faster than human normal).
-* slightly insect like, spooky motion and poses.
+* very, very slightly insect like, spooky motion and poses.
 * Neck: don't do 'pigeon'-y excessive head/neck motion. Use the neck very

@@ Line 22: / Line 22: @@
 ====During Act I====
-  her progression in Act-1 goes from an extreme confidence that she will
+  her progression in Act-1 goes from an extreme confidence that she will attain eternal life (due to her arrogance she believes in herself 'deserving' this) but is beset by a series of setbacks.. that lead first to mounting frustration, and then to a bitter resignation - at which point she actually finds the paper:
 attain eternal life (due to her arrogance she believes in herself
 Entry: finds paper (a1s01 and a1s03) believes she will get it
 Initial loss: (a1s03, a1s11 she loses it, reacts with anger, but still
 is confident that she can get it back
 Mounting frustration: most of the act until a1s45/46, she's losing, than
 searching in a sea of papers for the right one.
 resignation: a1s38
 ===Character Motion===