Post 21 - Initial character poses

I have started to look into posing the base character rig (known as Dee, by Manuel Sierra) in a variety of poses. The reasoning behind this exercise is to help me visualise what the character is capable of conveying and how dynamic / successful certain poses could be when animated. 

Below is a short clip of the poses.

 

 

Dee character link: http://manny-cgcharacterart.com/Rig.html

Post 20 - Update to scene making

 UPDATE FROM THE LAST POST:


I attempted to create a scene from the book as mentioned in the previous post. It became apparent that at this stage, it would be wise to focus on the animation rather than spend a significant amount of time on modeling. For this reason, I have found a pre-made 'snowy mountain' scene. I then sourced a couple of buildings, which I feel match the look of my scene. these were from the same source (artist-3d.com). As my scene will involve weapons, I then sourced a rifle model (by Mikael Bowellan from 3dtotal.com). I believe that I would be able to model this, but again, I want to focus on animation and polishing. The specific links are available below.

I feel that it is a shame that I have not been able at this stage to make much in the scene, but I feel that the up side to this is that I can concentrate on getting the animation right. It is my aim in the future to learn how to fully rig and model characters.  

Scene link - http://artist-3d.com/free_3d_models/06nature_design.php?s=28&srt=

Buildings link - http://artist-3d.com/free_3d_models/01architecture_design.php?s=140&srt=

Weapon link - http://www.3dtotal.com/

Post 19 - Task Three Resources

I have decided to develop what I have learned from Tasks one and two and create a 30-40 second action sequence involving several characters. I will take a lot of inspiration from the full length live action advertisement for the XBox 360 game Halo Reach. I will be using the same character which I used in my Task one. The reason for this is because I am now familiar with it and it has been proven to be quick and intuitive to use.

I will customise the 'Dee' characters by giving them individual appearances. There will be a scene and other elements such as aircraft, guns and buildings. At this stage, I will be using pre-made buildings and weapons, but it is my aim to develop and create the scene. This will be a 'Snowy wasteland', inspired by both the recent downpour of snow, plus a tutorial from the book 'Deconstructing the Elements with 3Ds Max' by Pete Draper.

More info when I update.

Halo Reach Trailer Link - http://www.youtube.com/watch?v=DKRlWLDWhGI

Post 18 - Task One Injury Animation & Evaluation

After a lot of research and working out the software, I have completed my Task One 'Main Animation'. This animation is 1000 frames long, which about 34 seconds in length. The sequence shows a walk cycle, which deteriorates into a limp and holding of the side. This then worsens with the other leg or knee becoming troublesome. This then finally ends with the character stumbling and falling. During the sequence, the character can also been seen to blink, and incorporates a level of facial expression, which adds to conveying distress, or injury.

In my opinion, I think that this is a success and fulfills the brief. It demonstrates a good understanding of what is involved in animating a full figure character and shows a brief knowledge of the effective use of a sweeping.rotating camera. However, as with any developmental work, there are some negative points. Firstly, in certain key frames the character's right hand (during the second phase of the walk cycle) appears to move away from the side of the body that it is suppose to be clenching. Although this was overcome by manipulating established key frames and adding additional  ones in, I personally still notice these little blips. Also, once I had a significant amount of key frames, I needed to extend the length of the time-line. However, when doing this the key frames were given a sort of 'squashed' look and made it much harder to separate frames which were close together. In addition, this animation technically only has four stages (walk, limp, severe limp, stumble/fall) I feel that it would of been more interesting to incorporate an additional stage (maybe a crawl cycle in between the third one and the stumble) Had I of had more time, this is what I would of looked into doing. Also, from looking into the 'Blade Runner' research, I feel that the character would of benefited from being injured s a reaction to something (i.e. shot or hit) This is something that I may develop in a later project.

To sum up, this process was a very intriguing one and allowed me to further my understanding of how to key frame a rigged model effectively. I picked up and built on knowledge about how to duplicate key frames and to manipulate facial and full figure motion. This task also helped me to understand the time line of 3Ds Max and how to gauge at what point to insert key frames. I have picked up a variety of methods for reducing the amount of time it takes to animate and was a very good insight into what considerations and planning are necessary; from acting out certain poses, to understanding the relationship and weight between a model's limbs and the situation they have been put into.

It is my hope that will learn from this task and continue to improve on my skills of this medium. I would also like to focus more attention to the motion capture and motion-builder route in the near future.

Post 17 - Injury Research_Blade Runner

Shifting from games to film, here is a clip from the 1982 sci fi cult film Blade Runner (I refer from 2:50 onwards of this clip) This sequence shows Rick Deckard pursuing Replicant Zorro. This ends with Deckard shooting and 'retiring' the Zorro character. This is shown in slow motion and was voted by many to be the best sequence of the film. It shows how the character being shot, through the movements of the body and the facial expression.

This clip intrigued me as it gave me an opportunity to look into the facial expressions used to show pain, caused by injuries. This also gives a good example of a loss of footing and can be viewed in great detail as it is in slow motion. In terms of negative points, the only issues I come up against is the fact that these changes in the Zorro character's state are caused by gun shots. As am not animating my character with specific injuries, but will be more of a showcase and increasing steps of severity, actions such as the stumbling may not be used or referenced in the final animation. However, this is a good sequence and is shot from a variety of angles.

Blade Runner sequence - http://www.youtube.com/watch?v=pPJuhGO_nD8

Blade Runner Image - http://westkarana.com/index.php/page/29/?entry=entry060306-152041

Post 15 - Injury Research_Resident Evil: Cde Veronica

This clip is a short cut-scene from the game Resident Evil: Code Veronica. (Please note that the source of reference should be viewed between 2:10-2:50) This cut scene shows one of the main opponents, during his last minutes as he has suffered a serious attack.

The clip shows good working knowledge of portraying injury. The character is slumped against the corridor wall, he is limping, clutching his side and ends with him at the foot of a section of steps. In terms of gaming sources, this one can be deemed a little dated as the game was made in the year 2000, but I feel that this particular game still provides some very interesting cut-scenes, this one included. It is my hope that I shall incorporate some of the key attributes into my piece. I am aware that a lot of the sources of reference are game based, so I aim to look into some other mediums.

Resident Evil: Code Veronica clip - http://www.youtube.com/watch?v=oMDGxW42J60&feature=related

Resident Evil: Code Veronica Image -http://hodonbangumi.blogspot.com/2009_03_01_archive.html

Post 15 - Injury Research_Resident Evil 5

From Halo Reach, I just looked into the game Resident Evil 5. The clip here demonstrates a mini game known as The Mercenaries, where the player can pick a character from the main game and have to fend of hordes of infected enemies. The character in the clip is Albert Wesker. The whole clip is just under 11 minutes long and is a good source in itself of motion and pace. However, particular attention should be paid from 7:30 onwards. Here, the character is hit by an enemy and suffers a form of injury. This is conveyed by the traditional holding of the side and leaning. 

This is another great visual reference. The only issue I have with this particular clip is that it is rather long and there are no severe injuries shown. In addition, this is similar to the previous 'Halo Reach' Clip, although it is good to see how different companies and game types deal with conveying damage. Resident Evil 5 does have a couple more stages of injury, such as 'critical' and this is where I shall look into next for more research.



Resident Evil 5 Clip - http://www.youtube.com/watch?v=WJXZycoSlxQ
Resident Evil 5 Image - http://media.photobucket.com/image/resident%20evil%205%20wesker%20wallpaper/toshiro56/re5wesker_wallpaper_1024.jpg

Post 14 - Inury Research_Halo Reach

The next few posts are being devoted to looking into a variety of clips, which depict a character in a state of injury. These will range from slight limping and holding of the side, much more extreme damage shown with dragging of the feet, rocking of the head and irregular pace. I initially have looked into a cut scene from the 2010 game Halo Reach. This clip transpires shortly after the main character landed on the surface of the Planet Reach and has injured his ankle. 

I think that this is a good example of a simple limp cycle and shows that one leg is unable to pivot and move to the proper orientation. Also, the damaged ankle moves more rapidly, showing that there is an attempt to reduce the amount of time any weight is put on it. Most of the clip is a slightly odd angle for analysis, but does provide the right information I need to start my animation/s.

Halo Reach Link - http://www.youtube.com/watch?v=TYVd3lvnL1k

Halo Reach Image -  http://noaddedsugar.ie/reviews/review-halo-reach/

Post 13 - Task One - Pose & Throw

In order to understand balance, position of the feet and reacting to an object in a scene, I developed this 'pose' animation, which began as a simple 'The Fonze' pose. This ended with the thinking pose. So i then added the second half, which sees the character notice a ball, reach for it and throw it out of the scene. This animation was another test to learn how to create full motion of the character and to gain more knowledge of the time-line and key framing.

As this clip is only four seconds long, it is a much more fast paced animation. I feel that this shows a good transition of my development and a good understanding of motion as well as subtle / secondary motion, with every part of the figure being manipulated at some point (including all of the fingers). However, it is very short and in retrospect would of been better for making the animation a little longer. However, this was a test and merely exists to test the figure's capabilities. I feel that know I have run a sequence of tests in animation, I am going to start researching a little more into where this project is leading to.

I am interested in looking into animating an array of 'injury animations' and show this as a transition; with differing levels. In games injury is very much visually portrayed and I will next be looking into some examples of this.

Post 12 - Task One: Zombie walk

As an alternative to the walk cycle, I then manipulated the up limbs and splines excessively, rolled the eyes back and tried to create a zombie style lunge, or walk. The lower limbs have remained unaltered from the walk cycle.

This test was to have a go at creating more movement in the upper part of the model. It is a good movement from the initial walk cycle and shows the full motion of the arms and head. However, as it is the same walk cycle, it is a little slow. In addition, as the character is supposedly a 'zombie', it would of been been more interesting to incorporate some stumbling and dragging of the feet and / or legs. It is food for thought for the future, but again there seems to be an issue with understanding the time line (25 frames per second)

Post 11 - Task One documentation

The next few posts will be concerned with recording the initial work and animation tests from the 3D Animation module. The following two videos are my first attempt at a walk cycle. This can be seen from both the side and front. The animation lasts for 7 seconds and ends with the character ending in a stationary position. I paid close attention to the motion of the feet in addition to the arms, hands, head and waist.

 

I feel that this was a great start to understanding what is involved in making good animation. I paid close attention to ensuring it looked correct and that certain limbs bent and moved as they would in the real world. This animation was directly influenced by looking at the first post of this blog. This is a great start, but there are several issues. Firstly, the animation is too slow. The character looks as if he is trying to be 'silent' with the 'tippy toe' motion associated with over gestured animation. So as the key frames are a little too spread out, a little bit of meaning or clarity has escaped the figure. This will be taken into account and more knowledge of the time-line should be adopted. As it is only 7 seconds long, it is difficult to analyse the clip in any more detail.

Please note that all videos uploaded are powered by YouTube, and can be viewed at full screen by using the expand icon.

Post 10 - Motion Capture

Motion, or performance capture is a relatively new technology and is used in a variety of mediums, as described on the MetaMotion website. This ranges from film and television to computer games and other forms of entertainment. There are a variety motion capture technologies, but essentially, they work by using a large amount of cameras pointing into a centre. These cameras would be calibrated to pick up 'markers'. These would be attached to pre-determined points on a one piece suit. This suit would usually be worn by an actor, who's motion and performance would be recorded.

One of the main system for motion capture is developed by the company known as Vicon. This system usually uses an optical system where by the cameras would pick up the markers, which in this instance would be coated in a reflective substance. This technology has already been used by companies such as EA games, Bungie Studios and Ubisoft. These are used in conjunction with other animating software such as Motionbuilder and 3D Studio Max.

This is a great way of recording real motion, with the recorded data available to be placed into software for any fine tuning and tweaks. It can be used in many packages and is certainly the way forward for animation as can also record facial / emotional expression. A good example of this is both the new Rockstar game L.A Noire and this clip from the production house 'House of Moves'

very interesting and is still developing on a yearly basis. However, like many other animating techniques, this technique can be at times cumbersome. Each marker that is picked up by the various cameras must be assigned to each point in the software, so that the software can interpret the data. It can be considered to a laborious task to set up and if the process of marker calibration goes wrong, a lot the data recorded would need a considerable amount of cleaning up. On top of this, as the markers work using a reflective surface, other highly reflective surfaces can confuse the system and could lead to marker confusion. During the calibration set up, every actor involved in the motion capture process would need to have a calibration file setting up for them. This file is unique to them and the session, so can not be used for any other participants. As this technology records at a high key frame speed, any errors would also result in a lengthy clean up job. But despite these issues, it is a very productive way of gaining animation data, which can then be placed onto a rig or character.

Vicon website - http://www.vicon.com/applications/animation.html 
Meta Motion - http://www.metamotion.com/motion-capture/motion-capture-who-1.htm 
L A Noire - http://www.gizmodo.com.au/2010/11/the-motion-capture-in-the-l-a-noire-trailer-is-amazing/   
The House of Moves - http://www.youtube.com/watch?v=s1dsgAejEGI 
Digital Content Producer - http://digitalcontentproducer.com/dcc/revfeat/video_vicon_vicon_iq/

Post 09 - Motion Builder

Autodesk's Motion Builder is a motion / animation specific software application and as such, focuses on several techniques in order to create realistic and fluid motion. This interesting development seems to bridge the gap between key frame animation and the ultimate alternative, motion capture. Motionbuilder uses a variety of controls which allow for real time editing of an animation sequence, so that alterations and changes can instantly be seen. An example of this is the rag doll and pose controls, which enable for manipulation of the scenes physics. This in turn has an affect on the object or motion which has been key framed. This clip entitled 'Autodesk MotionBuilder 2010 New Features, Animation with Ragdoll' demonstrates this function. The clip shows that with an initial key framed animation, the use of advanced dynamics and physics control  such as 'rigid body' and 'match force' can be applied. This acts as a kind of animation mixing system and utilities layers on differing influence. Rigid body allows for objects to be given values and act as solid mass. This can overcome problems in other animation packages such as 3D Studio Max, which allow for objects to pass through one another and seems to be a lot more intuitive. This package make transitions between states more accurately and reduces the time spent key framing. In the article on the 'Develop Online' magazine, they mention that:

“Its non-linear animation features and range of parametric controls means that you don’t have to be a technical animator to get great results either, which would be the case if you were animating with Maya or Max.”

This indicates where some production companies are going in terms of production software and is notably more viable, given the media's consistent demand for realism and engaging content.  

One good example, which utilises motionbuilder's full potential is the Ubisoft's Assassins Creed 2. This clip shows the software being used in collaboration with Motion capture technology. In this, you can see in the background the motionbuilder showing the actor's movement in almost real time. This is a very attractive way of working for games developers and fits very well in many hectic and fast paced pipelines.

One downside to this method can be that although it is mentioned that 'you don't have to be a technical animator', the software for a beginner is extremely complex and has a significant learning curve. The mention of scripting and dynamics can be daunting to some. On top of this, a core understanding of the fundamentals of animation and animating software is essential before attempting to use it, as it is based on previous animating systems. However, this is a very interesting way to create animation and allows for further study into movement and conveying believable animations.

Motionbuilder clip - http://www.youtube.com/watch?v=mH6-szX1xFk&feature=channel

Ubisoft's Assassin's Creed 2 clip - http://www.youtube.com/watch?v=IxJrhnynlN8

Motionbuilder article - http://www.develop-online.net/features/355/TOOL-FOCUS-MotionBuilder-2009

Post 08 - Autodesk - Computerised key frame technology

Following on from stop start animation, I have been recently looking into several sources from Autodesk. Autodesk is a major software publishing company and have a large array of packages, from 3D Studio Max (which can be used to model, animate, composite and edit) to more task specific applications such as Motion Builder (more advanced motion and animation software) and Mudbox (digital sculpting software). Although there are many companies which provide animation and modelling technology, Autodesk seem to have a dominance in the industry, due to there ties with games developers such as Bungie (Maya), Ubisoft (Motion Builder) and Bioware (3D Studio Max). In addition, they provide excellent benefits to students as they supply most of their products for free, with a three year license.

3Ds Max is a favorite amongst many institutions as it offers several features mentioned above. From my personal experience of it so far, it seems to be very good and utilities what is known as key frame animation. This involves altering an object or model's position/state in a scene along a time-line. When a significant movement has been made, a key frame would be applied. The software would then calculate the movement in between the key frames to create a transition. This could be a character waving its arm, or a walk cycle.

I find that this is a very logical way of creating motion and it is one which has been in existence for a considerable amount of time. It is a direct descendant of 'stop start animation'. There are many benefits of key framing over stop start animation. Computerised key frame animation can be edited and finely tweaked at any point during the animating process. This reduces the amount of pre-production planning and as it uses virtual objects / models in a scene there are fewer complications which could occur with physical, real world objects. Key frame animation does reduce the amount of time it take to animate a scene. Stop start animation requires every scene to be created, but a great advantage of computerised key frame technology is that, as mentioned above the software calculates motion from each active key frame, allowing the animator to focus on the motion, rather than each and every frame.

In addition, many software packages, such as 3D Studio Max can be used to create an animation project from start to finish as they can offer modelling, animation and editing. This eliminates the need to use external technology such as cameras, and additional editing software.


However, with any form of key frame animation is the notion of keying in each and every frame. This way of working by nature is time consuming as a lot of animation packages, 3D Studio Max included, merely process the commands and is unaware of what could be regarded as incorrect. Not enough key frames in a scene could result in limbs of a character going through one another and not acting like a solid mass. This is quite a big issue as this behaviour would not happen in the real world, which is the only point of comparison the viewer has. A way around this is to add additional key frames so that objects do not pass through each other. Key frame animation packages such as 3D Studio Max are much more efficient to animate, compared to stop start animation, but still can be subject to software issues, as well as time and key frame concerns. However as it allows for editing retroactively, this method is much more suitable for demanding projects and industries as the industry is now almost completely digital.

Maya / Bungie interview: http://blog.nwjobs.com/careercenter/roberta_browne_lead_animator_bungie_studios.html 
Ubisoft / Motion Builder: http://usa.autodesk.com/adsk/servlet/item?siteID=123112&id=10243279 
Bioware/ 3Ds Max: http://usa.autodesk.com/adsk/servlet/item?siteID=123112&id=13611306 
Key Frame information: http://www.cadtutor.net/dd/bryce/anim/anim.html

Post 07 - Key frame / 'stop start' animaiton

Key Frame animation is a term that can be used to describe several methods of animation. Usually referring to the notion of movement 'frame by frame' which can be connected to Eadweard Muybridge's 'a horse in motion' study as mentioned in one of the first posts in this blog. Frames for the best part of the 20th century would be thought of as a frame of a televised, or visual product. approximately 25 frames of motion would be needed to create one second of a scene. This can be applied to cartoons as well as other hand drawn animations. This method also incorporates a technique known as 'stop, start animation', which usually involves manipulating objects in a scene and taking a still, or frame of footage. This also requires about 25 frames to create one second of viewable footage. The most popular examples of this technique are the Wallace & Gromit series, and the more recent Robot Chicken. The Rolf Harris Cartoon Club, when aired once featured the creators of 'Stop it & Tidy Up' and 'Trap Door'. This explained the techniques and demonstrated the practice. Its interesting to note that although there is about a 20 year gap between Stop It and Tidy Up and Robot Chicken, this technique has remained almost the same.

 

Most recently, stop start animation has developed into many artistic and thought provoking projects, most of which are independent. One such example is the painted stop start animations of the artist, or brand known as blu. An image is painted and captured on either a camera, or as a frame of footage. The artist would then paint an additional frame of motion and continue to capture it. This process would be repeated until the desired animation was complete. The example given below entitled 'Muto, a wall painted animation' is about 7 minutes long (420 seconds), so would of taken approximately over 10500 frames of motion. This is an approximation and upon closer inspection, it is more like 15-20 different frames per second. but this does demonstrate a few keys points. Firstly, that the stop start animation method is extremely versatile and very appealing to artists, as well as animators and film makers. Their is very little actual technology involved and can be made using anything which captures frames, or images as well as editing software on a computer. But it is worth pointing out the before computers, the frames would of simple recorded onto film or transferred to a similar viewable format. The technique is still around and widely used today, with cell based cartoons and other mediums.

However, the main issues which I believe this technique have are as follows. The very nature of key frame, or stop start animation is extremely time consuming. A project could take years for it to reach a significant length and would require a large amount of planning and devotion. In a lot of instances, as the animator is recording the frames, this practical, hands on technique makes it very difficult to review what has already been recorded until the editing process. An exceptional level of skill and knowledge in timing and motion must also be used when creating such products as a result of not being able to review initial work. The other main issue is that as it is a very much hands on method, for example the plasticine workings of morph, multiple body parts and face variants would have to be swapped over and repaired during the recording process. In the past this can be seen in the animations, with other issues such as finger prints, different shades of parts and son on. This same issue can be seen in drawn animation, such as continuity errors and animations irregularities.

Wallace & Gromit Clip - http://www.youtube.com/watch?v=5jvOTsi3i64
Robot Chicken clip - http://www.youtube.com/watch?v=MZfXir5dBIs&feature=related
Rolf Harris Art show - http://www.youtube.com/watch?v=sZdRS_yvpJ4
Blu - Muto painted animation: http://vimeo.com/993998

Post 06 - d3d website

By searching for 'latest animation technology', I have stumbled upon the d3d website. It seems to be a mixture of blog / forum and has a variety of categories. It promotes (to an extent) online degrees in the industry as well as 3D technology, but also has a lot of up to date development articles. 

The articles which took my interest included the discussion of 3D TV technology being adopted by computer games, a discussion on careers in anatomical animation and one entitled 'Basic skills required in 3D graphics and animation work?' This last one essentially was a check list of what makes for a good animator, and what this industry involves. Examples include:

"the ability to have to detail and creativity in building design and character focus."

http://www.d3d.info/2009/07/28/basic-skills-required-in-3d-graphics-and-animation-work/#more-41 (2009)

It is an interesting source of information, but in the case of 3D Animation, it perhaps is not so relevant. What is interesting about this website however, is that even though it is aimed at the entertainment industry, almost every article featured either hints at animation, or includes it in some way. I feel that this shows just how important and established and vast animation technology has become. From film, interactivity, to games and the medical practice, animation can be used for entertainment, engagement as well as being a benefit to science and as a study aid. 

D3d web link - http://www.d3d.info/category/animation/

Post 05 - Additional Research

I have recently been looking into some other areas which involve animation and sources of relevance. Here is a link to a PDF on the making of Toy Story.

In it, there are sections which give information about the modelling and animation of the film. It describes the way in which each department tackles the work and who it would then be inherited by for the next stage.

Here are a couple of quotes from the article: 

"Animation on computer is completed through a series of refinements. The rough motion inherited from Layout at the start is refined and adjusted to include broad gestures necessary to convey the intended message. 

"Proceedings of the COMPCON Spring '96 - 41st IEEE International Computer Conference 1063-6390/96 (1996 IEEE, 465)

 The intended 'message' they speak of refers to the subtle and secondary motions. This way of working was briefly discussed in one of the 3D Animation sessions and included the notion that the audience needs to be told what to interrupt and understand from the scene (essentially conveying a clear notion).

"Another benefit of working on a computer is that the animators need not concern themselves with consistently drawing styles and proportions. At any point in time, an animator can see and hear their shot running in real time."

Proceedings of the COMPCON Spring '96 - 41st IEEE International Computer Conference 1063-6390/96 (1996 IEEE, 466)

This shows one of the benefits of using computer animation and that the need to be able to work in this manner goes back over the last couple of decades.

PDF link: http://people.uncw.edu/ricanekk/teaching/spring09/csc100/lectures/pattersone/TheMakingOfToyStory.pdf

This is an interesting source of information as it concludes by stating that it was feasible at the time (1996) to produce a full length motion picture completely from computers. I think that it is valid as it looks at the history of the first ever full length computer animated film and is still Pixar's most famous product. It shows the considerations animators must look at and the steps needed to complete a project such as Toy Story.

Next, I plan to look at more historical research, as well as some modern day developments, projects and examples.

Post 4 - Halo Reach

Halo Reach

The 2010 Xbox 360 game Halo Reach is a great source of reference and research when looking at realistic figure movements. Being the first Halo game to use motion capture technology, game developers Bungie have created a variety of characters, which possess true to life movements and showcase a great understanding of motion. One of the unique possibilities, offered by Halo Reach is what is known as Theater mode. This option allows players to view any recent games played (whether they are from the campaign or multiplayer) and watch them from any angle, at any point in time. This can be sped up, slowed down, and recorded through images and video. This source of information is a collection of several images taken from 3 different angles of a walk cycle. I then, drew on a simple skeletal structure in order to provide an extra layer of information (FIG 04).

FIG 04

Evaluation

This is a good up to date source and shows the results that can be achieved through motion capture. However, the issues which arise from this particular source is that it is the design of the game for the character, or characters to always carry a gun. The movements are very realistic and smooth, but the sacrifice is that one foot is slightly bent out to create the illusion of weight distribution. So for a regular walk cycle, this is not accurate. However as an example of weight distribution and counter balance, this is a good point of reference. In addition to this, as the character carries a gun, no observations can be made into how the arms react to weight and movement. Other than this, the use of stick drawings, or frame diagrams are a good way of allowing us to look and compare several different sources in the same way.

It is worth pointing out also that the Theater feature, which this game provides is an interesting way of being able to view past games, with complete freedom. I believe this feature can be tied in with the initial historical research and provides a modern equivalent to the concept of capturing motion, using modern techniques and possibilities.    

Post 3 - YouTube Cycle

The next form of research I have looked into was a YouTubeTM clip entitled: Normal Walking Cycle (FIG 03)



FIG 03



The clip is of a simple walk cycle, animated in Autodesk Maya software. The limbs, which are animated are:

Head, right arm, left arm, left leg, and right leg. Note that the hands and feet also move, but as a result of a swaying motion in response to the weight and activity of the arms and legs. The motion of the character can be split up into a series of descriptions, which are as follows:


 

Leg movement

1) Left thigh raised as left shin extends.

2) Forward motion applied by right foot pivoting/pushing.

3) Left leg becomes in contact with floor, whilst leg straightens.

4) Right thigh raised as right shin extends.

5) Forward motion applied by left foot pivoting/pushing.

6) Right leg becomes in contact with floor, whilst leg straightens.

Arm movement (extended motion attributes)

1) Left arm swings backward, as left leg propels forward, whilst simultaneously, right arm swings forwards, as left leg remains behind.

2) Right arm swings backward, as right leg propels forward, whilst simultaneously, left arm swings forwards, as right leg remains behind.

(Note that description 1 for the arms occurs during the first 3 steps of the legs.)

Evaluation

The clip demonstrates an understanding of character animation and is a good example of the ability to observe how each limb acts and reacts. The clip shows the figure in motion from 3 different angles, supplying a good depth of visual reference. This is a good start to looking at individual examples of walk cycles, as well as being a point of reference when looking at additional sources of information.

YouTube Clip - http://www.youtube.com/watch?v=occFkFbl3ms&NR=1

Post 2 - Beginning of Motion Capture

Since my Last post, I have looked into the history of motion - The Beginning of Motion Capture

British Photographer, Eadweard Muybridge (1830-1904) was the first person to capture motion. in 1872, he captured a horse being ridden using many cameras, taking pictures as it galloped past. Then, by invented the zoopraxiscope, it was possible for many images to be shown in quick succession, thus displaying the illusion of motion. (FIG 02)

FIG 02

This allowed for the accurate recording and study of motion as an alternative to real time observations. This succession of images could be sped up or slowed down, with a single image effectively freezing time. Inspired by this, one of the many early applications came from Étienne-Jules Marey (1830-1904), who invented various instruments for capturing motion, namely the photographic gun (the modern equivalent being a burst frame mode of a digital camera) His research and findings were predominately in the field of nature, animals and physiology.

I believe that this is extremely vital in the study and understanding of motion as it allows for motion to be slowed down and disseminated. When applying early studies and recordings of motion to modern day computer based animation, it is instantly obvious why these early recordings are so important. Motion is all around us and at an early age, we become accustom to the rules of nature, namely physics. For an animation to include any form of motion, it is important that it makes some attempt to reproduce such physics in order for it to become believable. For some forms of animation, for example abstract or animations addressing an unknown subject matter; it may be possible to get away with following the rules of physics so closely. However, anything involving human, mammal, or real world replications have to be precise, otherwise they will ‘not look right’ It other words, they have failed to closely follow the laws of physics, namely real world movement, or human joint restrictions.  

We as a species know how far our joints can bend, at what point when walking to switch from one leg to the other, so we naturally become a critic of animation as it is a representation of the real world, such as the physics of motion and time.

Evaluation

There is no doubt that these initial references of motion were a turning point for technological development and thinking, and with this in mind, they are of great importance in the development of current animation technologies. However, as modern research into motion is inspired by such early observations, they utilise modern day technology. So in this respect the physical, early images and equipment is of little use any more. I think that it is wise to reflect on this source of historical information by suggesting that it is the actual concept and ideals behind capturing motion in a recorded format which is of the greatest importance, since an idea and concept has the potential to inspire and remain fresh.

Muybridge - http://americanhistory.si.edu/muybridge/htm/htm_sec1/sec1.htm

Marey - http://easyweb.easynet.co.uk/~s-herbert/marey.htm

FIG 02 - http://commons.wikimedia.org/wiki/File:The_Horse_in_Motion.jpg

Post 1 - My First Blog

I am a Masters student studying an MSc in Computer Animation Technology. This is the first of many Blogs (my first ever), that I shall be posting in order for anyone to follow my research and development of my 3D Animation Module.

My first task is to conduct research into the motion, or the act of walking. Sounds simple enough, but there are many issues to take into account, such as weight, momentum, balance and a basic understanding of observational physics. I have started this research by simply sketching out a walk and run cycle, with a brief description of each movement. I have tried to not clutter the dissemination too much and merely highlight the motion of the major limbs and joints. Feet, hands, pelvis and head are elements, which at this time I have not taken into account.  This has been done with no observation, other than from memory (FIG 01).



FIG 01

 This research will be implemented at next week’s session (13th Oct 2010) where I shall be animating a pre-constructed rig. Along side this research, I have also been briefly looking into the history of Motion Capture; with You Tube TM clips of Edweard Muybridge's 'A Horse in Motion' and Étienne-Jules Marey early motion archive. This will be followed up with research from other sources plus critical evaluation.

In the up coming weeks, I shall be adding to this and several other blogs as it is my intention to combine my final animation product with my 3D Computer Technology module. At this stage my plan is to construct a couple of full figured characters in one module, then animate them in another. This is subject to Tutor approval, but so far I believe that there is scope in this idea.

You Tube Clip 1: http://www.youtube.com/watch?v=UrRUDS1xbNs&feature=related
You Tube Clip 2: http://www.youtube.com/watch?v=11lKItGNuiY