- Adding breakdowns (on 4’s)
Don’t worry about rhythm. Notice the actions right or not. But they don’t have to be the same as the reference video.
- Stability/drifting check
Check the feet are actually moving or slipping around. Make sure they are staying put. Make sure no character set is turned on.
Make sure hands and feet don’t overextend. Try not to have feet and hands leave the base of the book.
Notice elbows: They can cause wobbling around in sort of knees and limbs. They can actually be something as abstract as the rotate control which causes problems.
Make the barbell’s position stay to the chest (start from 36 frames): Need a dynamic marker and connect it to the character so we can kind of always snap this back to the same position.
Attach the barbell to chest: Creat a marker (Editor-Weightt_CRL-Display-Display handle), snap a locater to marker (V).
In order to make the marker move with the character, we should find the options. In this file, the option is related to the chest controller. Parent locater to chest controller. In each keyframe, snap the marker to the locater.
- Splining: Converting to spline tangents
The left one: Spline tangents. This one is going to go sort of fluidity only so it’s going to make it sort of organic. The right one: Clamped version of keys. This one tries to read the curves or a least read the keyframes and try to guess what you want.
- Polishing1: Cleaning up splines/curves
First, adjust the ring above the crotch (centre control). Because of gravity, the curve’s direction when the body falls is almost the same direction as the tangent line.
Graph Editor- Curves- Weight tangent: Change the nature of the curve through shrinking or expanding it.
No pumping. Turn off everything, only keep the torso you want to see. To make sure this is fluid and has a nice arc if it turns.
Second, spine. The there curves are likely to be the same, just a little bit offset.
The peaks of curves should be flat.
Third, pelvis. Cleanup the rogue. Then move up find the place to adjust. Fourth, chest. Fifth, nick. Finally, head.
When finding somewhere the two controllers fight against each other, use common sense, visually and in the graph editor to see where the problem actually exists.
Barbell controls: Grab keys and hit F and then scale them up to see what is going on.
- Polishing3: Elbow and knee popping
You may be undoing position so be really careful. Just make sure they feel smooth.
It is possible that other controller changes have affected the controller we are concerned about. For example, knee pumping is related to ankle rotation, pelvis going up and down at the same time.
- Polishing4: Final polish
Reposing and adding some key poses.
Make the barbell stick to the chest: Click v to snap the marker to the locater at each frame.
- Polishing2: Key-retiming (if required)
Select everything and click shift to move. And then re-clean. Re-posing and re-timing they kind of going together.
- Global (destructive) retiming (if required)
This button is a kind of rescale. We can stretch in different directions to adjust the whole speed.
But after stretching or squashing the curves, the keyframe may not be on integers. If you want to add some keyframes, you need to re-snap these back to the whole numbers which could destroy the animation. So this is the final thing you can do.
- Playblasting/Rendering & After Effects Motion Blur
Drag it and drop it straight onto our footage. And we can cancel this by clicking the Fx.
It cheats our eyes to think it is more fluent. It is a fake motion blur meaning it’s not three-dimensional. So the results can be hit a mess. If you create motion blur by Maya rendering, that’s going to be fully accurate. The version in between that is in Maya you can render out a vector path, and a vector path going through a compositing hacker like Nuke. It can be in AE as well, but you need a plug-in for it that reads the actual directions of the motion blur and calculates the motion blur accurately.
- Arnold Rendering & destructive
open Arnold rederview
add motion blur
store the image
rendering area
Motion blur sort of goes past very quickly with an animation, so sometimes you wouldn’t really see some of these imperfections. But sometimes they can also sort of being noticeable in a sense that they can change these little contrasts and still like they’re actually kind of crawling, like this little kind of dots here because they’re kind of moving around.
Sometimes we should increase the anti-ageing quality and the diffuse quality to improve blur. This will take a longer time to render but the quality will be better as well. There are lots of options but they are essentially just a sort of preview in animations or getting something out which looks a little bit smoother. It’s always worth just playing blasting out and going into the effects and trying to add in pixel motion to see what you actually get.