#3: BaAnna Test WorkFlow #002

Here's a revise to the flimsy #001.
Note: This is just a log of how i do it. Not a foolproof guide. Mine's still in the process of trial n error. Note note: This is a workflow for character animation on a tv series schedule.

Step::

1. Blocking out the golden poses.
- (for Body mechanics) Golden poses to include for: the Neutral pose, the Anticipation (antics), the Action, the Overshoot (if u'd fancy exaggeration), and the Settle back pose.
- (for Acting) hmm.. Pose to pose. anything goes. Yawns. Sighs. Slumps. etc.
-oh wait. Did i mention that if the golden pose is incorrect, everything goes CRAZYYYY!. (not really:P)
So. if the animation isn't quite what u expect, even after countless effort tweaking the inbetweens, STOP ADJUSTING the breakdowns n check the golden pose again.
Hmmmm... *squints at screen* Aha!

2. Time out the G Poses. (roughly)
-Just drag the keys n playblast to feel the timing. (I like to do it in plateau)


3. HIPS FIRST (for humanoid characters)
- clear your mind. Check the reference. Act it out to feel the direction. Inbetween spotted!
- How to inbetween hips for a kicking action I did today. A little tip from the chief:
: Put a Down position for the inbw. Why? I dunno. Chief calls it the Disney arc!
- hips have little (2-3frames) or no cushioning/eases. (how come?)


4. OFFSET the HEAD
- Drag all the keys for the head right by 2 frames. (ie. delay head for 2 frames)
- Tip from the Chief: Where to key eases (in n out) n the inbw.
: Frame1; Pose 1. Frame 3; Delay pose. Frame 5; the InBW. Frame 7 now Frame 9; Pose 2.
: I believe the point is to try space out these important keys evenly (at least 2 fs).

5. INbetween the middle n upper spines.
- Trace the Hip keys. Move left by 1 frame and key in the delays for the MnU spines.
eg. frame 59, hip moves Down. frame 60, MnU spines bend forward.


6. Expressions (in chronological order)
- Blinks (mine's a separate ctrl from the eye ctrls)
- Block out the main expressions. (Eyebrows. Upper lower eyelids. Mouth.)
- Adjust timing. Key in eases. Expressions are fast. i do usually about 4fs between which major expression.
- InBWing. Eyes n mouth can help give the illusion of squash n stretch to a face tt can't. If there's dialogue, I use accents as 'stretch' points, points where the eyes widen n/or the lips narrow. It is also good to add a 'squash' point; brows flat, eyes almost closed, lips widened, before a 'stretch' to help emphasize the change.

That's about it for updates. Time to sleep. There are spiders running a muck.