Pose to Pose w / Layers-Adam Burke uses Pose to Pose with layers to animate
作者： Adam Burke点击： Release Date: 2017-12-05 Author: Adam Burke hits:
Ever since Andrew pulled me to join the team of other Pixar animators who taught at the academy and later taught at Spline Doctors, the question that I have been asked most often by students is advice on working methods. Now I'm a 2D guy. Excluding a shot I made in IRON GIANT, Incredibles is the first time I have made a 3D movie. It can be said that I am the most dull technically among the creators of this blog (and I am probably the dumbest of the people I work with in this regard). I last posted about performing and answering some of your 3D working methods Problem, but I think it's time to face some of my fears, break through these existing ones, and engage in new ideas. I know that someone is more qualified than me to answer these questions, but I think if a method works for me, it should work for anyone.
A question in the recent comment is, "How can I use the Pose to Pose method, and also use the layered animation method?" I didn't say I know the answer, but I can share with you some Works well. First, I need to know the direction I want to take before I start to do it. I will draw thumbnails for each scene in my hand, so I have a signpost for pose, beat, attitude, etc., and I know where I am going. Then I will pose some poses in the sketch in the camera. And remember that some of these poses are to become action breakdowns, which are the subdivided poses of other main poses. These subdivided poses help me to formulate the motion conversion between poses. The biggest mistake I've seen students make when using the Pose to pose method in 3D is not to consider real motion. They are lost in the pose and forget the animation itself. Then I will use a series of hold actions to calculate the time, which is not different from the 2D pose test in the old school.
When I feel that the overall timing and pose are relatively smooth, I will immediately enter the spline curve mode to fine-tune the main movements in the lens, starting from the root, and gradually expanding to the outer layer. I will first hide the parts that may be distracting (such as arms, legs, etc.) and transfer the controller that defines the main movement of the lens into the curve editor to start fine-tuning. It may be the center of gravity of the body, or it may be the chest, neck, and head. It might be just one arm and hand. Everything is fine. I work from the inside out, and I never fine-tune more than three or four controllers at the same time in the curve editor. Then I would fine-tune my animation and often do screencast preview playblasting. Even if you work on a computer, animation is still a very organic process. Make your shots until you feel you're on the right track. Don't let the computer decide what you want to accept. If the animation doesn't look right, keep doing it until you get it right. If you still don't see the result you want (and don't know how to achieve it), find someone who knows more about technology than you. If he / she can guide you, which controller do you need To achieve the effect you want, don't reject this answer.
Once things went in the direction I expected in my head, I started to show hidden geometry and started fine-tuning the outer objects. Keep in mind, though, that this method only works if you have really thought through your lens. The imagination in your head will evolve along this path, but if you don't have a clear idea of what you want to do, this trick will not work. Because, whether it is 2D or 3D, you should never start to do it before you figure out what to do. Good luck and hope that helps.
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