I animate but I don't animate

tracertong

Any crits/tips on getting this walk to be more realistic? Less shoulder movement?

Thanks.

http://www.youtube.com/embed/ZJne7n1eUbo

melting_doll

Please don't site whore, it's in the rules thread. Is there anyway you could embed the link? (I know it's youtube, but lots of people browse these forums at work too!)

Iruka

to embed on the forums, just use the normal youtube url.
http://www.youtube.com/watch?v=ZJne7n1eUbo&feature=player_embedded


Right now its very wooden. what are you using for reference? The movements should sorta flow together, but its as if hes stopping on each step.

Rankenphile

It looks like you're using the basic cat rig in 3dsMax, yeah? Can you post the walk cycle from a closer view?

Right now it looks like you're not transitioning out of the keys very smoothly, and the result is the character sticks in each pose or at the beginning and end of the cycle, so it ends up being really jerky. It looks like you're at least rotating the hips with the steps, but with this view it is really hard to tell much else.

tracertong

There are the keyframes from various angles. I'll try to move the bones forward some more while it goes forward but if I do that too much then i get sliding feet.

I think the problem might be that at each keyframe I select the entire mesh and key it then have it set to a Linear Interpolate between keys (no f-curves)....maybe changing it from linear to automatic or smooth could help? Or moving it forward some more in each of the keyed position.

Also, there are some errors in my keys like the part where he bends his knee he is actually higher than at heelstrike. Also in the first crossover positon the straight leg isnt straight enough and not at the right angle.

Yes, Im using the basic CAT rig in 3ds max.

For reference, Im using the book the Animators Survival Kit.


here is a new, longer version of it.

http://www.youtube.com/watch?v=6wugJVUf0G4

tracertong

Got it mostly right this time i think.

The secret was that I had to simultaneously rotate the chest and angle it down (bringing the shoulder down with it) going through the leading leg at heelstrike and knee bend.

also i switched my tangents from linear to smooth

http://www.youtube.com/watch?v=jJQP9tgM61o

Iruka

His forward foot on the contact is landing really close on and isn't doing much heel->toe action

(Thats from the Animators Survival Kit, an excellent book to have if you are going to pursue animation in any capacity)
It doesn't have to be that stretched out, but hes not really pulling himself forward if he only puts his foot ahead an inch.

tracertong

Iruka wrote: »

His forward foot on the contact is landing really close on and isn't doing much heel->toe action
(Thats from the Animators Survival Kit, an excellent book to have if you are going to pursue animation in any capacity)
It doesn't have to be that stretched out, but hes not really pulling himself forward if he only puts his foot ahead an inch.

Thanks. I found that this image works better for me with the 3rd drawing with the passing knee behind the leg instead of in front of it.



Anyway, im happy with what I've got here and now will work on more advanced things like turning the character and then running and then jumping and climbing and stuff.

http://www.youtube.com/watch?v=sIrIaLbLIE0

tracertong

A waaaay better walk at the end along with some lip sync and eye movement. I plan on making some comedy shorts.

Any tips on anything anyone sees here?


http://www.youtube.com/watch?v=hR4wwFN3Oz8

Aumni

Shoulders are bugging me, I think they're too rigid and far forward? And your character is still doing an awkward pause on each step.

tracertong

Aumni wrote: »

Shoulders are bugging me, I think they're too rigid and far forward? And your character is still doing an awkward pause on each step.

I see what you mean. However, I think that to keyframe a really convincing walk cycle is extremely difficult and beyond what im able to do convincingly. I think that studios do a lot of mo-cap now to make their things look good and I dont have that technology right now, lol. And I have read almost all of the major books on animation like the Survival Kit, 2d skills for better 3d, Illusion of Life, etc

Delphinidaes

tracertong wrote: »

Aumni wrote: »

Shoulders are bugging me, I think they're too rigid and far forward? And your character is still doing an awkward pause on each step.

I see what you mean. However, I think that to keyframe a really convincing walk cycle is extremely difficult and beyond what im able to do convincingly. I think that studios do a lot of mo-cap now to make their things look good and I dont have that technology right now, lol.

Professional studios perhaps, but a basic walk cycle is one of the staple things you learn in animation (both 2d and 3d)

Others have mentioned this but the big issue with your walk cycle currently is not so much the keyframes as it is the inbetweens. There is a lot of jerking motions which tells me you either have too many keyframes (IE: you are trying to keyframe every frame) or you need to adjust the transitions between your keyframes to smooth them out. You want the movement to be smooth and uninterrupted between each frame to make it look natural.

It's been awhile since I've used 3DSMax but I think I recall there being a graph editor of some sort that allows you to alter the transitions in and out of each keyframe. There is a chance i'm confusing this with Maya however. I think both programs have the graph editor in some form though.

Iruka

There was animation before mocap. I one thing is that exaggerating the motions will actually make them feel more realistic and visually interesting than striving for realism. The good studios are still doing work after mocap, and 2d animators are still doing this sort of work by hand.

tracertong

Delphinidaes wrote: »

tracertong wrote: »

Aumni wrote: »

Shoulders are bugging me, I think they're too rigid and far forward? And your character is still doing an awkward pause on each step.

I see what you mean. However, I think that to keyframe a really convincing walk cycle is extremely difficult and beyond what im able to do convincingly. I think that studios do a lot of mo-cap now to make their things look good and I dont have that technology right now, lol.

Professional studios perhaps, but a basic walk cycle is one of the staple things you learn in animation (both 2d and 3d)

Others have mentioned this but the big issue with your walk cycle currently is not so much the keyframes as it is the inbetweens. There is a lot of jerking motions which tells me you either have too many keyframes (IE: you are trying to keyframe every frame) or you need to adjust the transitions between your keyframes to smooth them out. You want the movement to be smooth and uninterrupted between each frame to make it look natural.

It's been awhile since I've used 3DSMax but I think I recall there being a graph editor of some sort that allows you to alter the transitions in and out of each keyframe. There is a chance i'm confusing this with Maya however. I think both programs have the graph editor in some form though.

I adjusted the transitions between keyframes from linear to smooth and this is what came out. I found that if I changed the settings to "fast" or "slow" coming out then it became very jerky...this "smoothed" things out.


http://www.youtube.com/watch?v=YBH3PZIr8eI

http://www.youtube.com/watch?v=8F8DSwfRY5s

tracertong

Heres something new (old). I think I have the potential to be good but right now I'm hideously hideously bad. I had to give up on this project and now im doing something far simpler and less ambitious to dry my feet (?). The one I posted was going to be totally epic but I only have the skill right now to make something really small time. I also want to do more videos about jumping

http://www.youtube.com/watch?v=kLQj38HF8Zc

Rankenphile

When you're thumbnailing out your plan, you've got to work in more detail then that rough stick figure, or else it doesn't help you at all. You don't have to do fine rendered drawings, but figure out what the shoulders, neck, spine, arms, legs, hands and feet are doing. Each of them are critical to the expression of attitude and weight in a pose.

Also, spend more time on walks, but spend time on simpler projects first - make three balls bounce realistically, as if they were made of different materials. I know, not crazy exciting, but very important skill to develop.

Do that and post results, in stepped keys and then a pass in splined tangents. Once you get that exercise done, make a ball move like it is intelligent - have it interact with an obstacle, and give it a specific attitude (tough, meek, old, curious, etc) and a purpose (it is angry, late for work, running from something, on a stroll at night, etc).

tracertong

Rankenphile wrote: »

When you're thumbnailing out your plan, you've got to work in more detail then that rough stick figure, or else it doesn't help you at all. You don't have to do fine rendered drawings, but figure out what the shoulders, neck, spine, arms, legs, hands and feet are doing. Each of them are critical to the expression of attitude and weight in a pose.

Also, spend more time on walks, but spend time on simpler projects first - make three balls bounce realistically, as if they were made of different materials. I know, not crazy exciting, but very important skill to develop.

Do that and post results, in stepped keys and then a pass in splined tangents. Once you get that exercise done, make a ball move like it is intelligent - have it interact with an obstacle, and give it a specific attitude (tough, meek, old, curious, etc) and a purpose (it is angry, late for work, running from something, on a stroll at night, etc).

thanks!!! I'm working on the 3 ball bounce right now and will have it done in a couple of days and will post it in stepped and in splined fcurves like you said.

Rankenphile

excellent. It's a great exercise that should teach you a lot about deformation, what keys are necessary and where they should be placed, and how to control weight and timing using curves. Looking forward to seeing what you come up with.

And don't get discouraged, animation is hard, plain and simple. Nobody is born good at it, it requires a lot of careful thought, analysis, planning and patience. Getting the fundamentals down will help you a lot in trying more complex actions.

As one of my favorite animation teachers likes to say, "Animation may be tedious, but at least it's a lot of hard work." In other words, there's no short cut, it just takes practice and careful, thoughtful analysis.

tracertong

Rankenphile wrote: »

excellent. It's a great exercise that should teach you a lot about deformation, what keys are necessary and where they should be placed, and how to control weight and timing using curves. Looking forward to seeing what you come up with.

And don't get discouraged, animation is hard, plain and simple. Nobody is born good at it, it requires a lot of careful thought, analysis, planning and patience. Getting the fundamentals down will help you a lot in trying more complex actions.

As one of my favorite animation teachers likes to say, "Animation may be tedious, but at least it's a lot of hard work." In other words, there's no short cut, it just takes practice and careful, thoughtful analysis.

Here is what I came up with. It took a long time to render because its 720p and i want to use it in my portfolio. I can do another render with stepped fcurves but i'll do it at a lower rez if thats acceptable.

http://www.youtube.com/watch?v=wKIXHIOKrG0

lyrium

Not much I can say about animation, but if it's going in your portfolio you may want to fix the speech. He says heavy metal ball when he drops the tennis ball and vice versa.

tracertong

lyrium wrote: »

Not much I can say about animation, but if it's going in your portfolio you may want to fix the speech. He says heavy metal ball when he drops the tennis ball and vice versa.

he intentionally mixes them up and also pops the balloon instead of letting it float to the ground. Thats the joke.

lyrium

Yeah, it seemed like such an obvious mistake that it might be intentional, but the point is that it isn't very funny so (at least to me) it seems more likely to be a careless mistake than a joke. Maybe I'm the only one. But, if it were mine I would want things in my portfolio to be as clearly polished as possible, so the chance that someone looking at it would interpret it that way would be a bad thing.

tracertong

lyrium wrote: »

Yeah, it seemed like such an obvious mistake that it might be intentional, but the point is that it isn't very funny so (at least to me) it seems more likely to be a careless mistake than a joke. Maybe I'm the only one. But, if it were mine I would want things in my portfolio to be as clearly polished as possible, so the chance that someone looking at it would interpret it that way would be a bad thing.

Thanks for the input. I hear what you're saying but for me, I like unusual situations and throwing curveballs. It's pretty much why I started animating so I could make twisted stories.

I'm sure that once I get better the employers will be able to tell that im messing with them.

Iruka

The metal ball sorta stops as if it has breaks.

Rankenphile

you sort of missed the point of the exercise here, man

this isn't about doing so in a clever way, this is about simulating weight and getting familiar with the curve editor

as it stands, the balls don't bounce in a way that is very believable, they don't exhibit weight, squash and stretch and the shot is so wide we can't see them

and we're distracted from looking at them by animation of a generic, uninteresting rig that doesn't move naturally

I know what you were trying to do, make something interesting out of a rather simple, boring exercise, but you missed the point completely.

You said you wanted something more interesting for your portfolio, but this isn't near what you would want to put in a reel. This is basic animation 101, and I suggested the exercise to help teach you some of the basic elements of animation. You're a long ways away from needing to worry about a demo reel. And employers don't want to see someone "messing with them", they want to see a reel that clearly demonstrates a mastery of the twelve principles of animation and can create interesting, compelling motion and life.

This is a version of this exercise I did a couple years ago - it was with a single ball and it was interacting with different blocks made of different materials. I would never, ever put this in a reel, but by doing it I learned a lot.

http://www.youtube.com/watch?v=fbeeKIW-rJ4

for this exact exercise, I submitted this:

http://www.youtube.com/watch?v=dkPQmuAwBOg

Simple, not particularly fancy and it is clearly staged to give myself and anyone viewing it a nice easy view of what I was trying to accomplish - learning arcs, timing, a sense of weight and interaction and demonstrating use of squash and stretch. It isn't the best result in the world, and I hardly consider myself a master animator, but if you want to get better at animating in general you would do well to study and learn at least the twelve principles, their origin and their application. Every animator working in the industry today knows of them and how they are used - they're critical to achieving a sense of reality and life, and were first created by the original Disney animators and have been refined and utilized for decades.

I'm not saying "you fail, go back and do it again", but if I were you, I'd go back and do it again.

tracertong

Rankenphile wrote: »

you sort of missed the point of the exercise here, man

this isn't about doing so in a clever way, this is about simulating weight and getting familiar with the curve editor

as it stands, the balls don't bounce in a way that is very believable, they don't exhibit weight, squash and stretch and the shot is so wide we can't see them

and we're distracted from looking at them by animation of a generic, uninteresting rig that doesn't move naturally

I know what you were trying to do, make something interesting out of a rather simple, boring exercise, but you missed the point completely.

You said you wanted something more interesting for your portfolio, but this isn't near what you would want to put in a reel. This is basic animation 101, and I suggested the exercise to help teach you some of the basic elements of animation. You're a long ways away from needing to worry about a demo reel. And employers don't want to see someone "messing with them", they want to see a reel that clearly demonstrates a mastery of the twelve principles of animation and can create interesting, compelling motion and life.

This is a version of this exercise I did a couple years ago - it was with a single ball and it was interacting with different blocks made of different materials. I would never, ever put this in a reel, but by doing it I learned
for this exact exercise, I submitted this:

Simple, not particularly fancy and it is clearly staged to give myself and anyone viewing it a nice easy view of what I was trying to accomplish - learning arcs, timing, a sense of weight and interaction and demonstrating use of squash and stretch. It isn't the best result in the world, and I hardly consider myself a master animator, but if you want to get better at animating in general you would do well to study and learn at least the twelve principles, their origin and their application. Every animator working in the industry today knows of them and how they are used - they're critical to achieving a sense of reality and life, and were first created by the original Disney animators and have been refined and utilized for decades.

I'm not saying "you fail, go back and do it again", but if I were you, I'd go back and do it again.

Thanks for the input. Im using it in a portfolio to get into an art school with a 4 year program. Anyway, im not giving up on animation (i still want to improve) but i find that if i work too basic i get really bored. And my favorite show for a long time was Aqua Teen and now Life and Times of Tim is right up there. And they both barely move anything at all except the eyes and mouth but they still come to life know what i mean?

Their animation was pretty terrible but they got by and I liked it. Thus, I think the people who worked on those shows created captivating TV with bad animation. Thats what im going for - making people who watch my stuff want to watch through to the end regardless of if it moves robotically or not.

Again, im not giving up but having "proper" arcs and this and that really bores me and drives me away from the whole creative thing.

Anyway, Im learning zbrush now after i learned to use the skin modifier yesterday and after I've gotten used to it for a couple of days I'll continue to animate....the next project is called (Can't) Fly.

r-jasper

dude, you realise that even the people who work on show like ATHF and southpark are animators who've a complex understanding of the animation principals.

all you should be worried about now is that bouncing ball exercise. that walk cycle of yours is way too complex for you now. you need to first have an understanding of the basics like weight, timing and spacing before you should even consider attempting something like a walk cycle.

once you've the basics down then you can move onto bigger, more complicated things. there's no way anyone would offer you a job with this quality of animation right now.

r-jasper

if you're getting bored with the basics just forget animation as a viable career path right now.

the whole point of anim is to mimic life. and that there is the creative process you should strive towards. you shouldn't be worried about whether it looks pretty or not. so long as it moves and feels prettily.

/rant

tracertong

r-jasper wrote: »

if you're getting bored with the basics just forget animation as a viable career path right now.

the whole point of anim is to mimic life. and that there is the creative process you should strive towards. you shouldn't be worried about whether it looks pretty or not. so long as it moves and feels prettily.

/rant

For me, the point of animation is to create something that is compelling to watch (and sell tickets and make money), not to mimic life. Can be done in numerous ways.

Anyway, I will be leaving this forum and will continue to make my own work and apply to art school. I'll soon have a strong understanding of zbrush and skinning and will have much higher quality work but I will keep it to myself.

Farewell and have a good day to you all.

Rankenphile

You're using style as an excuse.

I promise you that won't go over well at any school worth your money.

All I tried to teach you was the basics. It is precisely the same as a traditional artist telling another to work on perspective and anatomy - even if you don't use it in your work, that doesn't mean you don't have to know it.

tracertong

Rankenphile wrote: »

You're using style as an excuse.

I promise you that won't go over well at any school worth your money.

All I tried to teach you was the basics. It is precisely the same as a traditional artist telling another to work on perspective and anatomy - even if you don't use it in your work, that doesn't mean you don't have to know it.

I just went to a school the other day for an open house and showed the animation director the earlier animation and lip sync i had done and he said it was "hot" and that I "knew 3d animation" and that it was "rare" that students entering the program knew it.

Graduates from the school have worked with all types of animation companies and video game studios.

i will never ever animate the bouncing ball by itself. It is way too boring and unwatchable.

Rankenphile

tracertong wrote: »

Rankenphile wrote: »

You're using style as an excuse.

I promise you that won't go over well at any school worth your money.

All I tried to teach you was the basics. It is precisely the same as a traditional artist telling another to work on perspective and anatomy - even if you don't use it in your work, that doesn't mean you don't have to know it.

I just went to a school the other day for an open house and showed the animation director the earlier animation and lip sync i had done and he said it was "hot" and that I "knew 3d animation" and that it was "rare" that students entering the program knew it.

Graduates from the school have worked with all types of animation companies and video game studios.

i will never ever animate the bouncing ball by itself. It is way too boring and unwatchable.

Well then you obviously know more about this stuff then I do, and are far too clever and wise to learn the most basic principles of animation, and I've got nothing else to share.

tracertong

Rankenphile wrote: »

tracertong wrote: »

Rankenphile wrote: »

You're using style as an excuse.

I promise you that won't go over well at any school worth your money.

All I tried to teach you was the basics. It is precisely the same as a traditional artist telling another to work on perspective and anatomy - even if you don't use it in your work, that doesn't mean you don't have to know it.

I just went to a school the other day for an open house and showed the animation director the earlier animation and lip sync i had done and he said it was "hot" and that I "knew 3d animation" and that it was "rare" that students entering the program knew it.

Graduates from the school have worked with all types of animation companies and video game studios.

i will never ever animate the bouncing ball by itself. It is way too boring and unwatchable.

Well then you obviously know more about this stuff then I do, and are far too clever and wise to learn the most basic principles of animation, and I've got nothing else to share.

Look, I was just being honest. No need to get sarcastic now.

Orikaeshigitae

If you don't want to work on your fundamentals because they're boring, welcome to the club. If you don't do them because they're boring, you're in the wrong field.

Schools want your money. Schools will inflate your ego in order to get your money, whether or not it is warranted. When you have peers that tell you that you need to work on your fundamentals, and an animation director who has trained working graduates telling you that you are super fly awesome at a recruitment fair, one of them is probably blowing smoke up your ass. Guess which one.

Iruka

tracertong wrote: »

I just went to a school the other day for an open house and showed the animation director the earlier animation and lip sync i had done and he said it was "hot" and that I "knew 3d animation" and that it was "rare" that students entering the program knew it.

Graduates from the school have worked with all types of animation companies and video game studios.

i will never ever animate the bouncing ball by itself. It is way too boring and unwatchable.

Listen, there are places for pretty elementary animation, but 1) its a lot more prevalent on the 2D side, because its alot easier to turn up the charm and the doodle factor (ATHF, Problem Solvers, Squid billies, Don hertzfeldt, Grickle) there are some exceptions to this (Xavier: Renegade Angel) but they are largely awful (Xavier: Renegade Angel ).

2)The kids in my program who landed internships with adult swim were the most talented (and in a few cases didnt even watch the shows) in all respects of animation, from motion to story telling. They did not go into the interview going "Oh, I could learn how to make someone run, but when do you ever really watch someone just run? They werent hired because they were the most clever dude that they ever came across.


Then again, Ironically this video did get this guy work:
http://www.youtube.com/watch?v=FiARsQSlzDc

But it was so outlandish and resonated so well with people who went through programs that it networked for him. If you want to land a career on the clever factor, I would turn it way the hell up.


Working on the basics will be the best way to ensure yourself work, if thats what you want to do. It'll also enable you to tell the story with good animation when you need to (think, rollerstaking peter and dancing stewie in family guy, in an otherwise minimally animated show.) Trust me, professors are great, but they are not going to be as honest as your peers.

Rankenphile

tracertong wrote: »

Rankenphile wrote: »

tracertong wrote: »

Rankenphile wrote: »

You're using style as an excuse.

I promise you that won't go over well at any school worth your money.

All I tried to teach you was the basics. It is precisely the same as a traditional artist telling another to work on perspective and anatomy - even if you don't use it in your work, that doesn't mean you don't have to know it.

I just went to a school the other day for an open house and showed the animation director the earlier animation and lip sync i had done and he said it was "hot" and that I "knew 3d animation" and that it was "rare" that students entering the program knew it.

Graduates from the school have worked with all types of animation companies and video game studios.

i will never ever animate the bouncing ball by itself. It is way too boring and unwatchable.

Well then you obviously know more about this stuff then I do, and are far too clever and wise to learn the most basic principles of animation, and I've got nothing else to share.

Look, I was just being honest. No need to get sarcastic now.

You're utterly unwilling to accept honest critique and have an excuse for why everything you are doing is right

why would I want to waste my time continuing to try to convince you otherwise? You'll do what you want, and you'll either succeed wildly or fail miserably, or come to a realization that animation is actually hard work and requires analysis and collaboration with folks who maybe have made the same mistakes you have and learn to listen to them when they are honestly trying to help

either way, I've got more important things to do then try to convince you otherwise

good luck and I hope you do well

Wassermelone

tracertong wrote: »

Rankenphile wrote: »

You're using style as an excuse.

I promise you that won't go over well at any school worth your money.

All I tried to teach you was the basics. It is precisely the same as a traditional artist telling another to work on perspective and anatomy - even if you don't use it in your work, that doesn't mean you don't have to know it.

I just went to a school the other day for an open house and showed the animation director the earlier animation and lip sync i had done and he said it was "hot" and that I "knew 3d animation" and that it was "rare" that students entering the program knew it.

Graduates from the school have worked with all types of animation companies and video game studios.

i will never ever animate the bouncing ball by itself. It is way too boring and unwatchable.

Maybe you should go to the school that tells you that your shit needs improvement (because it does), rather than one that is just going to fellate your ego.

tracertong

You guys, i am truly sorry. You think I suck and I can see where you're coming from. Me, on the other hand, I think I'm an awesome animator and I'll tell you why.

I tried to kill myself 2 times and couldnt succeed. The 2nd attempt was about a month ago. I've never succeeded in anything in my life. This character I'm animating is me. He always fails. He always messes up. He says something than takes it back and says the opposite.

Thats why in the first animation he falls off the ledge screaming one thing but then goes back up with the reverse. Why he takes back what he thinks his dad said but then realizes that his mom said it.

http://www.youtube.com/watch?v=kLQj38HF8Zc

In the second animation thats why he messes up the names of the first 2 and then pops the balloon instead of dropping it.

http://www.youtube.com/watch?v=wKIXHIOKrG0

................

I'm a very broken man and my animations reflect it. But, I succeeded in getting over that brokenness. Unfortunately, you guys didnt see the beauty in it. Thats ok. I wouldnt expect you guys to get it. I'm just starting out. I dont care about meticulously going over my fcurves anymore.

Really, I dont care about art school and if i go or not or if I succeed in the industry. I think the creative process itself is its own reward. And I have a full time job that i've worked at for a few months and ill go back to maybe next week and a bachelors degree.

Iruka

I dont think you suck, I just think you have a shitty attitude towards improvement, its entirely different.

I'm sorry about your personal hardships, if animating is an outlet for you thats great! Just realize that most people, including us are going to approach you in critiques with "This is how you can improve with my knowlege of where you are at as an artist, and where you could be as an artist, in or out of the industry" We cannot telepathically know that you are a suicidal dude that is using animation as a creative outlet with very small interest in improving traditionally.

If animation is just very personal to you, there is nothing wrong with that, and there have been animators who do it their whole life and really never share it with the world. In that very personal realm, though, its hard for us to do anything for you. You think you are doing great, and for what it is, its fulfilling what you need. What do you want from us?

tracertong

Iruka wrote: »

I dont think you suck, I just think you have a shitty attitude towards improvement, its entirely different.

I'm sorry about your personal hardships, if animating is an outlet for you thats great! Just realize that most people, including us are going to approach you in critiques with "This is how you can improve with my knowlege of where you are at as an artist, and where you could be as an artist, in or out of the industry" We cannot telepathically know that you are a suicidal dude that is using animation as a creative outlet with very small interest in improving traditionally.

If animation is just very personal to you, there is nothing wrong with that, and there have been animators who do it their whole life and really never share it with the world. In that very personal realm, though, its hard for us to do anything for you. You think you are doing great, and for what it is, its fulfilling what you need. What do you want from us?

I thought I needed help with my walks and i wanted to show you guys my work but I dont feel that need anymore. I'm done with this thread but thanks.

Rankenphile

you're not talking about animation

you're talking about storytelling

I'm telling you you still need work on your walks and your animation work

you're convinced otherwise

I'm glad that your work is creatively fulfilling for you, and if you want help and honest critique on the basic mechanics of animation and the process involved in it, great, we're here to provide advice

but until then, you're just showing off your work and ignoring any sort of critique or expertise

have fun, and good luck in school.