so who wants to talk about animation because I like animation
That stuff you posted in the AC was really awesome. You were doing it the older, harder, much more respectable way that I am waaaay too lazy to even try.
so who wants to talk about animation because I like animation
me me me
talk animation to me Rank.
I'm doin' some straight frame by frame animation for my forum battle and goddamn this shit is hard
first thing to remember: plan what the fuck you are doing. Thoroughly. Work out your animation by thumbnailing it. Figure out your key poses. Then do your animation pose-to-pose by going from one key to the next.
Squash and stretch of shapes is your friend, but be sure to maintain volume.
Anticipate every action. By that, I mean nobody grabs something by just reaching for it. They look at it, they decide to grab it, they lift their arm, they move their body, then they reach for it. Nothing is done without anticipation action, and in animation it is doubly important, as it prepares the viewer to read the action. It is probably the single most important thing to remember when animating anything.
Walk cycles for bipeds are in four basic poses. The contact, where the heel of the front foot touches, the down, where the foot is flat and the back foot is leaving the ground, the pass, where the back foot/leg is passing the front foot, and the up, where the back foot is past the front foot and is preparing for the down. The contact is the only pose where the body is out of balance, and that is because you are in a controlled fall, where the body is being caught by the lead foot. The down is where you show the reaction to that fall, because the body is at the lowest point, having been caught and preparing for the rising action of the pass and the up.
so who wants to talk about animation because I like animation
me me me
talk animation to me Rank.
I'm doin' some straight frame by frame animation for my forum battle and goddamn this shit is hard
first thing to remember: plan what the fuck you are doing. Thoroughly. Work out your animation by thumbnailing it. Figure out your key poses. Then do your animation pose-to-pose by going from one key to the next.
Squash and stretch of shapes is your friend, but be sure to maintain volume.
Anticipate every action. By that, I mean nobody grabs something by just reaching for it. They look at it, they decide to grab it, they lift their arm, they move their body, then they reach for it. Nothing is done without anticipation action, and in animation it is doubly important, as it prepares the viewer to read the action. It is probably the single most important thing to remember when animating anything.
Walk cycles for bipeds are in four basic poses. The contact, where the heel of the front foot touches, the down, where the foot is flat and the back foot is leaving the ground, the pass, where the back foot/leg is passing the front foot, and the up, where the back foot is past the front foot and is preparing for the down. The contact is the only pose where the body is out of balance, and that is because you are in a controlled fall, where the body is being caught by the lead foot. The down is where you show the reaction to that fall, because the body is at the lowest point, having been caught and preparing for the rising action of the pass and the up.
well thus far it's fairly simple, and I'm kind of cheating using close-ups on motion to bypass doing complex animation
the part I'm coming up on is going to be a bitch though, I'll take those tips to heart
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RankenphilePassersby were amazedby the unusually large amounts of blood.Registered User, Moderatormod
edited May 2009
the reason you do pose-to-pose instead of straight ahead animation is because without doing your keys first, it is really, really, really easy to draw yourself into a corner and get yourself in a lot of trouble.
you lose a little bit of the life and spontaneity, but you make up for it in efficiency and clarity. And as long as you're just doing the key poses like that and doing the in-betweens straight ahead, you can make up for a lot of the mechanical feeling.
Raneadospolice apologistyou shouldn't have been there, obviouslyRegistered Userregular
edited May 2009
my latest
isn't it pretty
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RankenphilePassersby were amazedby the unusually large amounts of blood.Registered User, Moderatormod
edited May 2009
right now I need to make a robotic arm that can contract and extend using only links, not an actual rig, then I need to animate it and give it a personality. In 3dsmax.
I think I'll do it all tonight.
Who else knows how to work in 3dsmax? We should have an all night animate-off.
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RobchamThe Rabbit Kingof your pantsRegistered Userregular
Posts
I love this the most. Out of anything. Every single time I see it, I smile like a big dumb homo.
animate my BALLS mother FUCKER
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That stuff you posted in the AC was really awesome. You were doing it the older, harder, much more respectable way that I am waaaay too lazy to even try.
Got any more?
http://www.youtube.com/watch?v=fbeeKIW-rJ4
this is a group project animation my buddy and I did for our final for 2d animation last semester. Took us a whole weekend.
http://www.youtube.com/watch?v=oDUqSyF3Jfw
my first dialog test ever
http://www.youtube.com/watch?v=2NNpNGfZcvQ
a groovy basic walk cycle
http://www.youtube.com/watch?v=wtkf8S3mggo
a modified walk
http://www.youtube.com/watch?v=sx__JcEHdcI
me me me
talk animation to me Rank.
I'm doin' some straight frame by frame animation for my forum battle and goddamn this shit is hard
Can you do this?
careful there realy big dont break your computer 8-)
Tumblr blargh
Squash and stretch of shapes is your friend, but be sure to maintain volume.
Anticipate every action. By that, I mean nobody grabs something by just reaching for it. They look at it, they decide to grab it, they lift their arm, they move their body, then they reach for it. Nothing is done without anticipation action, and in animation it is doubly important, as it prepares the viewer to read the action. It is probably the single most important thing to remember when animating anything.
Walk cycles for bipeds are in four basic poses. The contact, where the heel of the front foot touches, the down, where the foot is flat and the back foot is leaving the ground, the pass, where the back foot/leg is passing the front foot, and the up, where the back foot is past the front foot and is preparing for the down. The contact is the only pose where the body is out of balance, and that is because you are in a controlled fall, where the body is being caught by the lead foot. The down is where you show the reaction to that fall, because the body is at the lowest point, having been caught and preparing for the rising action of the pass and the up.
Sort of like this.
more info here: http://www.idleworm.com/how/anm/02w/walk1.shtml
:?
as in "it is so owny"
you are the whitest motherfucker, jesus christ
I just really enjoy that clip
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well thus far it's fairly simple, and I'm kind of cheating using close-ups on motion to bypass doing complex animation
the part I'm coming up on is going to be a bitch though, I'll take those tips to heart
you lose a little bit of the life and spontaneity, but you make up for it in efficiency and clarity. And as long as you're just doing the key poses like that and doing the in-betweens straight ahead, you can make up for a lot of the mechanical feeling.
each key frame and pose
then go to work in photoshop and make the individual frames
even though it is super tedious when I'm putting it together I feel so great. wanna do this for liiiiiife
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laugh
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my latest
isn't it pretty
I think I'll do it all tonight.
Who else knows how to work in 3dsmax? We should have an all night animate-off.
Tumblr blargh
it's more contextual to post after pip posts
because it's pipthefair