Well hello again fellow interneters. It's been over two weeks since my last post, so I think it's time for a good old fashioned progress update (and maybe a cheeky plug).
First of all, the major project! It's going well, as of today I only have 6 more shots to animate. So by the end of next week (fingers crossed) I should be done with my shots and ready to set my computer rendering. Talking of rendering we have nearly finalised our characters. We just need to tweak a few displacements maps and turn down the glossyness of the Doctor's gloves. But here you are, two rendered tudor London gentlemen.
And here is a quick turntable with a bit of animation to show the blend shapes of the sick man in action.
I obviously can't take credit for all of the hard work that's gone into these characters. So if you're interested about who did what:
Jenesta Smith - Modelling, Blend shapes, Displacement & Specular Maps.
Agatha Gomes - Character Design & Texture Maps.
Lewis Haley - Hair, Sub Surface Shader & Render set-up.
and Myself - Rigging & Pose/Animation.
...(Cheeky plug coming up)
In other news it's getting close to the end of my time at university and the reality of job hunting is looming over my head. So with my new show reel up and running I've started to apply for various internships out there. One of which is the CGSA awards, you can check out my entry here. I'd be very grateful if you could check it out, and if you like it please vote and share it with others. Thanks!
Finally, since putting my show reel together I've been mulling over what kind of animation I'd really like to hone and focus my skills in, creature animation or more performance based character animation. I know they share a lot of similarities, and I love doing both. But I really feel like I need to have a better grasp of one in order to focus my job applications. I might go more into this in another post, but I'm still going over it in my head and I don't want to waffle too long.
So that's it for another blog post, hope you liked what you saw/read.
Take care,
Stu
Thursday, 12 April 2012
Saturday, 24 March 2012
three down, one to go...
Hello internet goers. I've finished three projects now and that only leaves the major project to go. We've still got 5ish weeks working on that, but we've got to get cracking with it, other projects have taken priority over the past month or so.
The latest project I've done is the animation assignment for our AAT unit. Our brief (simply put) was to pick a 10 second clip from any film and then reinterpret that performance in an animation. Once we had picked a clip we had to analyse the performance based on what Ed Hooks taught us, highlighting the objective/action/obstacle and the conflicts within the clip. With this information we could then go ahead and reinterpret the performance.
So I chose to do a clip from the first Harry Potter film, where the sorting hat is sorting Harry into a house. I chose to reinterpret the performance of the hat for two reasons. Firstly, the hat goes through a lot of thoughts during this clip, and as Ed teaches, thoughts lead to conclusions which lead to actions. With this in mind I knew I would have a variety of options in regards to acting choices. Secondly the hat is... well, a hat, so my view of how the clip could be acted would not be tainted by any live action acting choices. I don't want to say too much about my analysis of the clip, but my main aim was to make the situation seem a little more sinister than it is in the film. I wanted the character to be like a clever villain playing devil’s advocate as he tests the hero's worth. One last thing I must say is that the reason there is no detailed facial animation is because we are not marked on it, we are only marked on the body performance.
And without further ado, my animation:
Now that the animation project is done it is all hands to the pump on the major project. I've done half of my shots on the animation so far, which is great, but I've got some pretty tricky/important shots left to do which will take some time. It is going well though, and overall we have a third of the piece animated now. Below is another sneak peak of some of the W.I.P animation I'm doing. (The last shot is still in blocking).
That's it for now, I might go a bit quiet for the next few weeks as we work flat our on the major project, but I'll try and keep everyone posted on progress when I can.
Stu
The latest project I've done is the animation assignment for our AAT unit. Our brief (simply put) was to pick a 10 second clip from any film and then reinterpret that performance in an animation. Once we had picked a clip we had to analyse the performance based on what Ed Hooks taught us, highlighting the objective/action/obstacle and the conflicts within the clip. With this information we could then go ahead and reinterpret the performance.
So I chose to do a clip from the first Harry Potter film, where the sorting hat is sorting Harry into a house. I chose to reinterpret the performance of the hat for two reasons. Firstly, the hat goes through a lot of thoughts during this clip, and as Ed teaches, thoughts lead to conclusions which lead to actions. With this in mind I knew I would have a variety of options in regards to acting choices. Secondly the hat is... well, a hat, so my view of how the clip could be acted would not be tainted by any live action acting choices. I don't want to say too much about my analysis of the clip, but my main aim was to make the situation seem a little more sinister than it is in the film. I wanted the character to be like a clever villain playing devil’s advocate as he tests the hero's worth. One last thing I must say is that the reason there is no detailed facial animation is because we are not marked on it, we are only marked on the body performance.
And without further ado, my animation:
Now that the animation project is done it is all hands to the pump on the major project. I've done half of my shots on the animation so far, which is great, but I've got some pretty tricky/important shots left to do which will take some time. It is going well though, and overall we have a third of the piece animated now. Below is another sneak peak of some of the W.I.P animation I'm doing. (The last shot is still in blocking).
That's it for now, I might go a bit quiet for the next few weeks as we work flat our on the major project, but I'll try and keep everyone posted on progress when I can.
Stu
Saturday, 3 March 2012
while the going is good...
Hi again people. Just thought I'd write a little post while everything is going good to show you what I've been up to.
First off, the innovations project is due in soon, so I've finished that. It's about the process of fantasy creature animation, and how a company would build a creature document to ensure continuity of movement when a creature is animated by more than one animator. The main point of my project was the report, but the bit i can show you is my final bit of creature animation. The model and rig are not my own work.
Here you go, short and sweet.
Moving onto the major project. I've been putting off starting animation on this because of other projects, but now I'm fully into animating my shots on the major project. I've been starting with some of the smaller shots, just to get used to the rigs again. It's going quite well at the moment though. We have a sick man in our animation who coughs a lot. I've been dreading animating coughs, but so far with a lot of reference it's not been too hard. All of the coughs for the sick man have been provided by one of our group mate's dad - Phil Smith. We also have a good few sound effects for our animation, and people working on the music. So overall it's going very well. Below is a sneak peek at one shot I've animated.
In other news, we've now been given out AAT2 animation project. It is basically to take a 10 second film clip, analyse the performance based on what Ed Hooks taught us, then reinterpret the performance in an animation of the same length using the film audio. I've found a nice clip I am going to use and I'm looking forward to getting my teeth into some nice physical animation. I say physical because we're only marked on the body animation, not any facial stuff.
So that's it for now, good progress everywhere, just got to keep at it.
Stu
First off, the innovations project is due in soon, so I've finished that. It's about the process of fantasy creature animation, and how a company would build a creature document to ensure continuity of movement when a creature is animated by more than one animator. The main point of my project was the report, but the bit i can show you is my final bit of creature animation. The model and rig are not my own work.
Here you go, short and sweet.
Moving onto the major project. I've been putting off starting animation on this because of other projects, but now I'm fully into animating my shots on the major project. I've been starting with some of the smaller shots, just to get used to the rigs again. It's going quite well at the moment though. We have a sick man in our animation who coughs a lot. I've been dreading animating coughs, but so far with a lot of reference it's not been too hard. All of the coughs for the sick man have been provided by one of our group mate's dad - Phil Smith. We also have a good few sound effects for our animation, and people working on the music. So overall it's going very well. Below is a sneak peek at one shot I've animated.
In other news, we've now been given out AAT2 animation project. It is basically to take a 10 second film clip, analyse the performance based on what Ed Hooks taught us, then reinterpret the performance in an animation of the same length using the film audio. I've found a nice clip I am going to use and I'm looking forward to getting my teeth into some nice physical animation. I say physical because we're only marked on the body animation, not any facial stuff.
So that's it for now, good progress everywhere, just got to keep at it.
Stu
Wednesday, 22 February 2012
animators are actors?
As you may have seen in one of my previous posts, in the last week and a bit we have had Ed Hooks lecturing us at Bournemouth Uni. Now his lecture series has come to a close I'd thought I would share with you some of my thoughts about his theories, and expand a little bit more my previous post and the question are animators actors?
Psychological Stuff
First of all I'll talk about the last of his lectures. We started looking at psychological stuff, more specifically status transactions and negotiations. Ed Hooks says that status transitions happen all the time through 'negotiation'.
A conversation is a perfect example of status transition. For example students give a lecturer high status by listening to them, then when a student asks a question the status is transferred to the student as people are listening to them now. A good example of a negotiation is eye contact, we do this all the time, when people catch you looking at them and you look away quickly. You are 'negotiating' at this point, if you hold their gaze you're engaging them in some way, whether it be showing you're listening or challenging them. When you look away you are saying 'fine you caught me I don't want anything to happen'.
He went on to talk about how as humans we see 80% and hear 20%, therefore what you show the audience carries more power than what is being said. This is where 'psychological gestures' come into a performance. This is when an actor makes a gesture that contrasts what is being said, and by doing so adding some more depth to a performance.
For me personally this is a really fascinating way of seeing our social interactions, it's really interesting how quick negotiations can be and how our body language can contrast what we're saying, it definitely puts a new perspective on things when I'm people watching. As Ed says, if you're an animator, you have a licence to stare!
Animators & Actors
There was some more stuff Ed talked about regarding heroes and villains, human emotions and micro expressions, but I'll save that for another day. I am now going to delve into the are animators actors debate once again.
I said in my previous post that I believed animators were actors. I wrote this post after coming out of the lecture, and I had my stubborn head on. After posting I had a discussion with a course mate about the issue and it really got me thinking.
My course mate (who isn't an animator) agreed with Ed on the issue of the present moment vs the illusion of the present moment, whereas I've always gone with the whole 'animators are actors with a pencil' argument. The case I was making was that Hooks' argument lies solely on one point, a big point, but still just one part of a larger process, and if the process is almost identical then I don't believe the two areas can be so definitively separated. Hooks' argument essentially boils down to spontaneity and that animators cannot really achieve this as an actor would. Anyway this debate left me thinking for a few days about my stand point on the whole issue.
So some time went by and i had another discussion with an animator this time. We discussed some more things Ed talked about, in particular delving deeper into the present moment argument. I mentioned Ed made a point about eyebrows. That an actor is not concentrating on his eyebrows during a scene, but as an animator we think about them for every frame and what they're doing and when exactly, emphasising his theory of the present moment again. He believes the characters are the actors, which is fine, they are technically the ones 'on stage'. But surely just as a live action actor would get into the character, an animator does as well. It just happens to be for a significantly longer period of time.
My animator friend then came back and said that an acting choice is an acting choice no matter how long it takes to arrive at that decision and if you're not a performer you'll never "get" the character enough to convince people. This is exactly what I agree with, to create a convincing performance you have to 'get' the character, regardless of the medium you are using to create the performance.
It was nice to hear that someone shared my original views of Ed Hooks' theory, and after some more time deliberating I've decided I am going to disagree with Ed Hooks, and I'm going to stick with my original belief that animators are actors. But it is nice to now have a deeper understanding of why I believe this.
Well that was a long post, I hope people out there find this stuff as interesting as I do, it's nice to get into discussions about these things, it gets you thinking. If you made it to the end congratulations. :)
Stu
Tuesday, 14 February 2012
acting for animators...
Hello again! It's been a while since I last posted, but I've been quite the busy bee with my innovations project. Its coming along nicely, but this post is not about that. This is about the very interesting lectures we've had so far this week from Ed Hooks. (Brace yourselves, this might be a long post).
Ed Hooks is the author of 'Acting for Animators' and has taught all over the world in all of the major film and games studios. He is obviously teaching us about the art of acting, and in particular acting from the point of an animator.
One of the first points Ed made was that animators are NOT actors. I do believe that animators ARE actors, however Ed makes some interesting points against that. Mainly that the animator has 'no present moment', they just have '24-frames-make-a-second, or the illusion of a present moment'. This makes sense, although I still believe that as animators we prepare in the same way as actors, and although our 'present moment' might be different we go through a very similar process from start to finish. This includes researching the role through to taking directors notes and changing the performance accordingly.
Throughout the few lectures we've had so far I have learnt an awful lot about acting, Ed has clearly spent time crafting his teaching of animators and has given us some very useful concepts to think about. Something which should stand me in good stead before tackling some of more important major project performances. Ed defines the role of an actor/animator as having to create empathy within the character they portray. I've always understood that, but have never been completely clear on how to achieve that empathy. We empathise with emotions, but how do we show emotions? Ed's formula is that 'thinking tends to lead to conclusions, conclusions tend to lead to emotions, and emotions lead to actions'. We have emotional responses to the conclusions we make, if we think someone looks threatening, we might come to the conclusion they will attack us, which leads to fear.This was a revelation moment for me, I now understand in a practical way to approach the thinking of my characters, and in turn, their emotions.
The second major point Ed made was that at any given point in any film any character should be 'playing an action in pursuit of an objective whilst overcoming an obstacle'. This really made me think about the animations I have done in the past and how I could improve them. As Ed said the reason characters become compelling is because they aren't just moving, they have a brain, they are thinking, and acting based upon their thoughts.
The most impactful point I've taken away from the lectures, is that you should animate the thought, not the word. He said it was a classic new animator mistake, and one I have fallen into. I've done several lip sync exercises purely thinking about the words, and not looking deeper into the thoughts behind those words, and the reason the character is saying them.
I'm sure that's quite enough of waffle for one post. As you can see, I've learnt a lot, and my animations will certainly be better for it in the future.
I promise my next post will have more moving stuff and maybe even a flashy image!
Stu
Ed Hooks is the author of 'Acting for Animators' and has taught all over the world in all of the major film and games studios. He is obviously teaching us about the art of acting, and in particular acting from the point of an animator.
One of the first points Ed made was that animators are NOT actors. I do believe that animators ARE actors, however Ed makes some interesting points against that. Mainly that the animator has 'no present moment', they just have '24-frames-make-a-second, or the illusion of a present moment'. This makes sense, although I still believe that as animators we prepare in the same way as actors, and although our 'present moment' might be different we go through a very similar process from start to finish. This includes researching the role through to taking directors notes and changing the performance accordingly.
Throughout the few lectures we've had so far I have learnt an awful lot about acting, Ed has clearly spent time crafting his teaching of animators and has given us some very useful concepts to think about. Something which should stand me in good stead before tackling some of more important major project performances. Ed defines the role of an actor/animator as having to create empathy within the character they portray. I've always understood that, but have never been completely clear on how to achieve that empathy. We empathise with emotions, but how do we show emotions? Ed's formula is that 'thinking tends to lead to conclusions, conclusions tend to lead to emotions, and emotions lead to actions'. We have emotional responses to the conclusions we make, if we think someone looks threatening, we might come to the conclusion they will attack us, which leads to fear.This was a revelation moment for me, I now understand in a practical way to approach the thinking of my characters, and in turn, their emotions.
The second major point Ed made was that at any given point in any film any character should be 'playing an action in pursuit of an objective whilst overcoming an obstacle'. This really made me think about the animations I have done in the past and how I could improve them. As Ed said the reason characters become compelling is because they aren't just moving, they have a brain, they are thinking, and acting based upon their thoughts.
The most impactful point I've taken away from the lectures, is that you should animate the thought, not the word. He said it was a classic new animator mistake, and one I have fallen into. I've done several lip sync exercises purely thinking about the words, and not looking deeper into the thoughts behind those words, and the reason the character is saying them.
I'm sure that's quite enough of waffle for one post. As you can see, I've learnt a lot, and my animations will certainly be better for it in the future.
I promise my next post will have more moving stuff and maybe even a flashy image!
Stu
Thursday, 2 February 2012
One man, four animations...
IT'S DONE! I've finished all four of my master class animations, and handed them in. It's nice to chill for a bit before getting back to the grind tomorrow.
Overall it's been a pretty good learning experience. I purposefully went for a more cartoony style of animation because I've never tried that before and it was nice to get away from realistic stuff. I've had a lot of good feedback from Kevan Shorey who has helped me out a lot throughout the process. Talking to him and getting notes has definitely opened my eyes to my work process and how to improve it. A general note he gave me in all of the animations was that I needed 'more'. I need to push poses and keep the audience interested. I improved my animations a bit on this front, but not as much as I'd like. It'll certainly be at the forefront of my mind in the future.
So, here they are, hope you like them:
The Clone Trooper Sting
The Sneaky Guy
The Angry Guy
The Depressed Guy
I think on the whole I was too timid from the start. I had some good ideas but was afraid to try them because I wasn't sure I'd have time to finish them, so my blocking passes were a bit dull. I think in future I'll follow the advice of Kevan - 'If a shot is daunting, pick the single most important moment/pose and begin to visualise around it. Pretty soon you'll have a shot!'. I think I would've had a lot more success if I'd have chosen the moments where the character interacts with the gate and worked around that. Having said all that, I am actually quite happy with the animations, they're by no means perfect, but I feel the perfectionist in me would make being 100% pleased with it impossible. There is always something I'd like to do better.
Happy animating!
Stu
Overall it's been a pretty good learning experience. I purposefully went for a more cartoony style of animation because I've never tried that before and it was nice to get away from realistic stuff. I've had a lot of good feedback from Kevan Shorey who has helped me out a lot throughout the process. Talking to him and getting notes has definitely opened my eyes to my work process and how to improve it. A general note he gave me in all of the animations was that I needed 'more'. I need to push poses and keep the audience interested. I improved my animations a bit on this front, but not as much as I'd like. It'll certainly be at the forefront of my mind in the future.
So, here they are, hope you like them:
The Clone Trooper Sting
The Sneaky Guy
The Angry Guy
The Depressed Guy
I think on the whole I was too timid from the start. I had some good ideas but was afraid to try them because I wasn't sure I'd have time to finish them, so my blocking passes were a bit dull. I think in future I'll follow the advice of Kevan - 'If a shot is daunting, pick the single most important moment/pose and begin to visualise around it. Pretty soon you'll have a shot!'. I think I would've had a lot more success if I'd have chosen the moments where the character interacts with the gate and worked around that. Having said all that, I am actually quite happy with the animations, they're by no means perfect, but I feel the perfectionist in me would make being 100% pleased with it impossible. There is always something I'd like to do better.
Happy animating!
Stu
Thursday, 26 January 2012
A lot of animation...
It has been a while since I last posted. I've been working flat out on my master class animations, and as much as I am enjoying doing it, it's a lot of work. I need to get it done asap as well because I have innovations and the major to be working on. Also soon we'll be given the yet unknown AAT2 animation project. Hectic times and late nights ahead I feel.
I was pretty happy with this and would have been happy to hand it in. However it was of course still worth getting feedback. So I asked some people and sent it off to Kevan at Dreamworks for some notes and critique. He was very helpful and gave me some good notes (as well as a telling off for not including frame numbers, haha). His main points were that the beats in the animation felt a bit separate from each other. I tend to agree with this, looking back I think it was my response to my animations being too 'floaty' in the past. So I made a concious decision to add pauses to the animation. Secondly he suggested that I look into making the piece more energetic, particularly after he does his tip toe run, as the animation slowed down after that and I risked losing the audience's interest. Finally he suggested I remove some of the fence so people can see more of the animation. Which I did.
So, after that feedback, this is my re-worked version (with frame numbers):
Hope you enjoy!
Stu
Anyhow, I posted my blocking passes for the master class animations a while ago, unfortunately those videos are no longer on line, however I do have one of the animations nearly finished. Here was the first pass of splined animation I did - The Sneaky Man.
I was pretty happy with this and would have been happy to hand it in. However it was of course still worth getting feedback. So I asked some people and sent it off to Kevan at Dreamworks for some notes and critique. He was very helpful and gave me some good notes (as well as a telling off for not including frame numbers, haha). His main points were that the beats in the animation felt a bit separate from each other. I tend to agree with this, looking back I think it was my response to my animations being too 'floaty' in the past. So I made a concious decision to add pauses to the animation. Secondly he suggested that I look into making the piece more energetic, particularly after he does his tip toe run, as the animation slowed down after that and I risked losing the audience's interest. Finally he suggested I remove some of the fence so people can see more of the animation. Which I did.
So, after that feedback, this is my re-worked version (with frame numbers):
Hope you enjoy!
Stu
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