In 2008 I did a test for the facial rig we would be using for Golden Axe. Time, lost files, and updated video codecs has left my original video without sound. I liked the animation a lot, so I decided to redo it this afternoon. Tyris Flare is the property of SEGA/Secret Level and was modeled by John Hayes. The auto rig for the face rig was designed by Rich Katz. I did the setup, poses, and skin weighting. I hope you enjoy.
I recently had the honor of attending a one day class hosted by Ed Hooks. If you don’t know, Ed is the author of Acting For Animators. Get more info on his work by visiting http://www.edhooks.com/
Ed presented a number of extremely informative insights into the art of acting, but tonight I want to focus on one observation that is sure to have a considerable impact on the way I rig and animate the human face. There is a theory going around that the human is at all times displaying two mental states. It has been observed that while watching someone speak, our eyes first go to the speakers right eye, then left, and finally the mouth. The eyes tend to continue in this fashion through out the duration of the conversation. In what is perhaps an evolutionary trait we developed to accommodate this eye movement, we generally display a different state of mind on both the left and right sides of our faces. On the right side we display our projected state of mind; on the left our true selves slip through. Ed introduced this theory by showing us a series of photos featuring some well known faces. The photos were folded in half so we could clearly observe this phenomenon. In similar fashion, I have prepared some images for you to browse through. Pay special attention to the face of Charles Manson. Keep in mind that Charlie was a sociopath. Notice the complete lack of presence on the left side of his face. I apologize if the images get out of order.
I am working on a shot that incorporates my elephant rig, new facial animation techniques, and some cloth sim. Yay! This is an initial test of the cloth curtain I will be using. Any suggestions are welcome.
Cloth Test 01 from ryan griffin on Vimeo.
This is an awesome idea. Frame by frame Tublr of some great animation sequences.
http://framexframe.tumblr.com/
This article adds a little geek to the art of animation. Check it out.
While you are at it, check out this article on cloth sim.
This is my blocking pass on the first stage of an epic robot battle.
I need some eyes on this. I am trying to jump back into the basics as a sort of refresher course.
I am always delighted when my interests intersect. I feel like I just received a two for one coupon, or I hit it big on the slot machine just when I decided to put in two quarters rather than one.
Tonight’s Kenpo Karate lesson cover the concepts of “harmonious motion” and “counter action”. To summarize, this means that the human body can generate more force during a strike by simultaneously performing a counter action or a complimentary action. For example, if I throw a right outward block I can compliment that action by allowing my left hand to follow the movement of the right hand. This in turn sets the entirety of my body into a harmonious motion that follows through my torso all the way into my hips. It is possible to compliment this harmonious motion with a counter action. By stepping back with my left foot at the same time I perform the harmonious blocking action, I am able to layer on additional force.
I hope this makes some sense. It is can be difficult to describe an action without showing some visual reference. If you want to get a better idea of this concept, try this exercise. Put both of your fists against your chest. No punch straight ahead with one arm while trying to leave the other arm firmly planted against your chest. Now stick one arm out as if you had just finished throwing a punch and keep the other fist against your chest. Now go ahead and quickly draw in the outstretched arm as you extend the fist that was lying against your chest. You should notice a significant increase in power.
I feel like my body has always known this lesson, yet I never had the appropriate words to quantify it until this evening. The real kicker is that this same lesson can apply to my animation. Think about a run cycle. We are taught that your right arm goes back as your left leg goes forward. Now consider this with the ideas of harmonious motion and counter action in play. Now you have a why behind the action. Conversely, this principle can be used to portray a physically week character. Just think about the punching exercise I described earlier. If you were to animate a boxer, you could make that character feel week by eliminating some of the harmonious and/or counter action that would be displayed when observing a stronger fighter.
If you have a cat or just love great animation , you are sure to enjoy this.
