Canine run cycle using Jet rig from Long Winter Studios
11 second club entry
My first 11 second club entry in a while. Certainly is not perfect, but pleased to have submitted.
Ninja jump
Wanted to produce a ninja jump, inspired by Mario's double jump. The anticipation is pretty fast to fit within a game world
dialogue shot
This was a clip I produced while studying under the guidance of Mike Safianoff at CGTarian. I wanted to find an audio clip that showed a conflict and possible change in attitudes. Since leaving Framestore, I have been soaking up both reading and video material on body language. In this case, a man changes his mind to go on a road trip. The audio clip dictated much of the story's direction, but I wanted to take this further by adding an additional character. So the man rejects his mother-in-law's idea of a road trip, before seeing glaring stare of his wife. He's forced to sit up and reluctantly accept that this trip is happening.
Another aspect I wished to include was the involvement of a hand, or in this case two. Hands can reveal much of a character's thoughts. The chin rub in body language, is related to gesture of covering your mouth. He also uses it at the start, to help prop his head up to listen. The comedy he sees at the start, breaks this connection.
For any who wish to check out the original source of the clip, please see here:
Facial muscles part 2: Lower face
Our eyes are the window to the sole, telling much about character. Glen
Keane would advise, if you are going to make an error, do not make it on
the eyes. However, what about the lower face? It certainly feels to have lesser importance when animating, but can learning the muscles help decision making regarding shapes and controls? I'm not sure, but that's no excuse not to study.
A friend tonight sent me a link regarding the facial action coding system. Click here. As a simple starting point, my plan is to go through the list of action units and action descriptors and see what I can find out.
Starting with the orbicularis oris, which, when contracted, pushes the lips together. Note that the lips are pushed together and out.
The middle of the lip cannot raise independently. Instead it is lifted by the levator labii superioris, pulling from either side. Note how the nose wrinkles with this movement. (videos taken from Valerie Martin 's youtube collection).
Pulling from either side, is the zygomaticus major muscle. This allows us to smile.
Notice how the risorius pulls the corners of the mouth sideways.
*to be continued
A friend tonight sent me a link regarding the facial action coding system. Click here. As a simple starting point, my plan is to go through the list of action units and action descriptors and see what I can find out.
Starting with the orbicularis oris, which, when contracted, pushes the lips together. Note that the lips are pushed together and out.
Pulling from either side, is the zygomaticus major muscle. This allows us to smile.
Notice how the risorius pulls the corners of the mouth sideways.
*to be continued
Polishing
Polishing of my shot.
This week has been an interesting learning experience. Becoming ever more fascinated regarding the relationships within the facial structure.
Expressions like rage and mad/anger, may seem pretty similar. However, if the frontalis pushes the brows down when angry, why do they appear to be lifting for rage (something which would require the occipital belly)?
Mike Safianoff summarized it as the following:
Expressions work in a series of progressions. Think of it similar to verbal communication. Rage is a louder version of mad, but the face can't get louder, so the only way to show MORE anger is to get more muscles involved. The occ pulling back, the frnt coming forward, and the corg down, combined with sneered lips/raised nose for disgust, compression around the eyes and an open jaw creates rage. Anger is isolated to just the occ, frnt, and corg...with maybe a little asym sneer in the mouth or the lips rolled in (no teeth).
So the more intense the facial expression, the more muscles we may use to communicate.
Though a detailed understanding of muscles is not necessary to animate the face, it certainly helps, especially with the mixed messages that surround particular workflows.
In an old video series, it was told that the inner brows lead the action. Considering the positioning of the frontalis, this advice seems rather odd. If the inner brow was to lead, surely it would depend on the activity of other muscles, such as the currogator. For confirmation, I quizzed Mike on this:
The brow is very much a combination of muscles and should be treated as whole. There are times when a muscle group fires first or is more prominent in a move but it all depends on the situation. But its important to remember any time one muscle group fires it has an effect on the others...everything is connected.
Lastly, here's a link to an interesting resource: http://www.artnatomia.net/uk . It shows the action and range of each facial muscle.
Cgtarian week blocking and next pass
The brief for week two was to produce a blocking pass for our reference. We were encouraged to choose a few key poses, then build breakdowns that occurred every 6-7 frames. This would produce our idea as a simple pass that could be signed off by the director, though the spacing would be extremely loose.
After watching another hour long video, we were requested to produce a next pass. I'm finding Morpheus a little sensitive in order to push appeal. However, I hope the lesson's in anatomy are slowly sinking in.
After watching another hour long video, we were requested to produce a next pass. I'm finding Morpheus a little sensitive in order to push appeal. However, I hope the lesson's in anatomy are slowly sinking in.
Facial muscles
During the second week of our Cgtarian course, I grew fascinated by Mike's heavy emphasis on the muscle structure of the face. Yes, rules can be bent, but by grounding in reality it will help sell the illusion that your character is made up of living tissue.
Encouraged by my teacher's enthusiasm, I have the proceeded to do my own research. Hopefully it save me much dibble dabbling when producing the ten second dialogue piece, later in the course.
This video is a great introduction to the overall muscle structure of the face. It talks about each muscle in the face and how it affects movement.
The Brows
The brows are moved by the occipitofrontalis and corrugtor muscles. The occipitofrontalis is made up of two main parts. The occipital belly and the frontal belly. When working together these pull the brows up. Note in the diagram, the direction that the brows are pulled around.
The frontal belly, when acting along, pushes the brows down in a frown. The frown is made stronger when pulled by the procerus and depressor muscles, and more deeply placed corrugtor.
The orbiculas oris surrounds the mouth, closing the lips and squeezing them together. It is important to note that the muscle surrounds the entire mouth.
The lips are pulled up by a combination of muscles acting from the side. When building mouth shapes, note that the middle of the upper lip cannot be pulled independently from the outer part.
The smile
Around the orbiculus oris, is the risorus and zygomatiqus muscles. The zygomatiqus muscle pulls from above and behind, while the risorus muscles pulls from behind. When they contract, it allows us to smile.
''The Duchenne smile involves both voluntary and involuntary contraction from two muscles: the zygomatic major (raising the corners of the mouth) and the orbicularis oculi (raising the cheeks and producing crow's feet around the eyes).
A fake smile or, as I like to call it, a "Say Cheese" smile involves the contraction of just the zygomatic major since we cannot voluntarily contract the orbicularis oculi muscle.''
( Noted from Psychology Today.com)
Cgtarian week one
The course started with an hour long introduction. Examples of live action clips were shown, with a variety of takes; some subtle, others not so much. In the forum's part of the site, it was suggested to watch The Human Face, 2001. Please click here to watch.
One of the things that fascinated me, was the importance that each part of the brain plays. The amygdala is the part of the brain that registers emotion, including fear. This can be to the owner's unawareness. Those with non-functioning amygdala cannot register emotions in another's face, but they can learn to be recognised. An example is given how somebody understands the difference between fear and shock, by the corners of the mouth.
Micro-expressions were also discussed, expressions that may only show for a fraction of a second. Secret service people use micro-expressions to spot liars. A sign is the raising of the inner-brows. This is a distress signal. Its important to note that micro-expressions are only indicators of hidden feelings. However, as they should not be there, it raises a case to seek further information.
The brief was to produce reference for a 44-72 frame animation, a close up showing shoulders and head. I knew almost immediately that I wished to do something showcasing positive emotion, rather than negative, to compliment my stand up shot from Anim Squad.
My idea: Its the character's birthday, and his close friend has just purchased him an alcohol shot to spice up the night. The character puts up a little fight, but already knows he's going to be drinking. Here's the ref:
A few things I like about this:
1) The body is closed, shoulders up, at the start of the shot. He's comfortable, but hasn't completely relaxed.
2) He turns away, but the shoulders lower with his defence. It is a good friend that has bought the shot.
3) The tongue poking out at the end. He's a young, cheeky chap.
Mike Safianoff gave the ref a thumbs up, but suggested starting the shot by his eyes following the placement, on the table, of the shot glass. This would help add more specific context to the shot.
One of the things that fascinated me, was the importance that each part of the brain plays. The amygdala is the part of the brain that registers emotion, including fear. This can be to the owner's unawareness. Those with non-functioning amygdala cannot register emotions in another's face, but they can learn to be recognised. An example is given how somebody understands the difference between fear and shock, by the corners of the mouth.
Micro-expressions were also discussed, expressions that may only show for a fraction of a second. Secret service people use micro-expressions to spot liars. A sign is the raising of the inner-brows. This is a distress signal. Its important to note that micro-expressions are only indicators of hidden feelings. However, as they should not be there, it raises a case to seek further information.
The brief was to produce reference for a 44-72 frame animation, a close up showing shoulders and head. I knew almost immediately that I wished to do something showcasing positive emotion, rather than negative, to compliment my stand up shot from Anim Squad.
My idea: Its the character's birthday, and his close friend has just purchased him an alcohol shot to spice up the night. The character puts up a little fight, but already knows he's going to be drinking. Here's the ref:
A few things I like about this:
1) The body is closed, shoulders up, at the start of the shot. He's comfortable, but hasn't completely relaxed.
2) He turns away, but the shoulders lower with his defence. It is a good friend that has bought the shot.
3) The tongue poking out at the end. He's a young, cheeky chap.
Mike Safianoff gave the ref a thumbs up, but suggested starting the shot by his eyes following the placement, on the table, of the shot glass. This would help add more specific context to the shot.
Cgtarian class one assignment: Facial take - Taste
I saw this clip of a lady trying something she loved the taste of. She puts up no fight to express her pleasure.
Here is a couple of videos of babies reactions to food. With less experience to train ther body language, their reactions are much more honest than adults.
Here is a couple of videos of babies reactions to food. With less experience to train ther body language, their reactions are much more honest than adults.
Cgtarian class one assignment: Facial take - Rapunzel inspiration
Today I received my first assignment from Dreamwork's Mike Safianoff. It was delivered via an hour long tutorial, where I was surprised by the quantity and depth of his introduction.
The assignment is to produce a facial take, 2-3 seconds long. I have a few simple ideas: tasting, being stood up, smelling something bad. Each could be broken down, with choices dependent upon who the person is, who are they talking to and what is their relationship.
But, with a week to gather material, I thought it'd be nice to post about some takes I like, both animated and live action. To start with, here's a few from my favorite film :)
This double take by Malcon Pierce, where so much is said without words, reminds me of Glen Keane's Tarzan shot (when he meets Jane). Hope to return to this to break it down further.
This take, the ease in which Mother Goethel slips from one emotion to another, shows the ease in which she wore the mask of a caring parent.
Rapunzel coming to terms with the death of Mother Goethel. Although Rapunzel has found Mother Goethel's true character, the shock shows the attachment she had to the villain. Then the tempo increases as she remembers Flynn.
*To be continued
The assignment is to produce a facial take, 2-3 seconds long. I have a few simple ideas: tasting, being stood up, smelling something bad. Each could be broken down, with choices dependent upon who the person is, who are they talking to and what is their relationship.
But, with a week to gather material, I thought it'd be nice to post about some takes I like, both animated and live action. To start with, here's a few from my favorite film :)
This double take by Malcon Pierce, where so much is said without words, reminds me of Glen Keane's Tarzan shot (when he meets Jane). Hope to return to this to break it down further.
This take, the ease in which Mother Goethel slips from one emotion to another, shows the ease in which she wore the mask of a caring parent.
Rapunzel coming to terms with the death of Mother Goethel. Although Rapunzel has found Mother Goethel's true character, the shock shows the attachment she had to the villain. Then the tempo increases as she remembers Flynn.
*To be continued
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