04/08/2021
Today I had a 1 to 1 session with Senior Animator, Graham Goldsworthy where we discussed different kinds of work flow. More specifically on subtle animation work flow for my current shot MI6 as I am struggling to keep the character looking alive where its mostly still and there for am over animating it.
I have recently been researching different animation work flows as my current one doesn't seem to be working for the more subtle movements I wasn't for acting shots.
One method I found was called 'Layered'. It involves breaking down the animation in stages, starting to animated the torso first. Once that's working you animate the head, then the arms and so on. This make for a slightly messier time line but more organic looking movement than 'Pose to Pose' * which usually requires keying all the controls in one key pose.
In my talk with Graham he confirmed that he felt the best way to go about a more subtle acting piece would be a layered approach as there isn't necessarily clear key poses to use. starting from the COG** and working your way through the body you can animate of sets based on how the body parts would be influenced the the other movement.
I am quite a way in to my current animation but I am feeling more confident in how I'm going to approach my next shot like this as this method really clicked in my head unlike some other methods of animation.
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Graham also talked through my MI6 shot with me and suggested a couple of changes and how to make the piece more believable. One being is make sure no area is completely dead. My hips in several places were completely still which I hadn't noticed. He said that the hips (COG) is where most of the life comes from as its very hard to not move, even if you're trying not to. I simply added every so slight changes in direction and the character already felt more alive. Something I have been struggling with throughout this piece.
He also suggested that I place the character much more central to the camera and forward to begin with, this makes sure she's covering up the gun on the table and out eyes are focused on her. Then when she slips to the side and sits down the gun is revealed and creates a chilling image for a prisoner and the audience.
I have already tackled this note and am amazed how quickly it changed he dynamic of the piece.
I will be finishing this animation by the end of this week and will begin blocking out my hide and seek animation.
*'Pose to pose' is the method I usually use. Where you pose the character in a defining position, for each key pose then work on in-betweens and more afterwards. This is very useful for body mechanics shots with big movement and clear poses.
*Centre of Gravity Control on rigs
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