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Finalizing the animation

From: Character Animation Fundamentals with Maya

Video: Finalizing the animation

So now we should have the dialog animated, and the rest of the steps are to add in some blinks as well as the final head motion, and we should pretty much be done. So, let's go ahead and play what we have so far. (Character: Ha, it worked! Prepare to meet your doom!) (Character: Ha, it worked! Prepare to meet your doom!) Okay, so he looks pretty good, but his eyes are still a little bit dead, and there still needs to be a little bit more head motion. So, let's go ahead and start with that head motion, and again, I am going to turn off the sound to little bit easier to talk over what we are doing.

Finalizing the animation

So now we should have the dialog animated, and the rest of the steps are to add in some blinks as well as the final head motion, and we should pretty much be done. So, let's go ahead and play what we have so far. (Character: Ha, it worked! Prepare to meet your doom!) (Character: Ha, it worked! Prepare to meet your doom!) Okay, so he looks pretty good, but his eyes are still a little bit dead, and there still needs to be a little bit more head motion. So, let's go ahead and start with that head motion, and again, I am going to turn off the sound to little bit easier to talk over what we are doing.

So, the first thing I want to do is, as he comes up, that head is going to actually start to drag, so I want to make sure I rotate that head down. When I'm looking to do is make sure I get a nice kind of an arc here, so that head is going to be part of that. And so as he comes up, he is opening his jaw, and so when he opens his jaw, I actually want to kind of extend that a little bit. So, as he comes up to this top, I want to make sure I open up this throat area so that he can actually say that word.

Now, remember, when you have big vowel sounds, a lot of times people will tilt their head back to open their throat, and we want him to do that at this point. And again, we're doing the same thing here. He is moving up. He has got a really big motion here, and his head is very heavy, so the head is going to want to stay here as the body is moving up. So, again, we are going to have a little bit of overlap, a little bit of secondary motion here. As he moves up here, his head is going to dip down.

Then he has got another big valve here, so again we want to make sure we tip his head back so that it can say that word. So, now we have the rest of the dialog here. So, let's go ahead and actually turn this on, so we can see what we've got. So, again, the word 'prepare', we probably want to accentuate that a little bit, so what I am going to do here is, as he's coming up into prepare, I want to make sure that that head is dipped down a little bit.

Again, I am just doing this for contrast. Right there. So, that's actually a stronger pose. This is stronger than this, so let's go ahead and tilt that head back. I am going to tilt it down when he says the P for prepare. And again, I've got a very big vowel here in the 'pare' in 'prepare'.

So, again, I want to make sure I tilt that head back a little bit so that the throat is open. Meet. Now, here's another situation where we are going to have secondary motion. The body is tilting back, but again, this head is going to want to stay here. So, let's go ahead and do that. So as he starts moving back, this head is going to kind of rotate.

And then we have the opposite situation here. The body is starting to move forward, but again, the head is still kind of going in that direction, so we are going to have to tilt the head back to compensate for this. So, this is somewhere around frame 69. So again, this just gives a little bit more of a sense of motion here. And again, we have more overlap here where the head is going to overshoot this position.

So, now we should have this motion here. Let's see how this works. (Character: Ha, it worked! Prepare to meet your doom!) So, now all we have to do is add in a few blinks. So, let's go head back into that camera view here, the face camera. Now, I have it on here. I renamed it. So, I have got a camera here called FaceCam.

In the other lesson, it was called camera2, but I actually renamed it so that it was a little bit more explicit as to which camera we were using. So, let's go ahead and do some blinks. Let's go ahead and take a look at this in camera1. I am going to turn off my sound just for a second here. So, as he comes up, actually, I want to do a blink right here. So, let's go ahead and just do this in this window here. So I am going to set a keyframe for the lids at frame 4, and then let's close them down by frame 10.

So, that's a six-frame blink, which should be pretty much standard. So, now watch what happens. It almost looks like he's laughing. Just by having the eyes closed, it almost looks like he is laughing; in fact, I should probably close those one frame sooner, just because that's really the top of his motion. And actually, it works to have his eyes closed almost through this whole part. And then what I am going to do is as he rises up again, that's when I am going to open his eyes again.

So, what I am going to do here is I am going to select both lids and on frame 18, I am going to set a keyframe, so that keeps them closed. And then somewhere around frame 23-24, I am going to go ahead and copy the keyframes at frame 4 and paste them at frame 24. So, now what we have is they start closing at 4. They're close by about 10 and they open up again.

So, now let's go ahead and play this with sound. I am going to turn on that sound here. Now, again I have a little bit of an open space here right before he says prepare. This is actually a pretty good place for another blink, so I am going to start another blink at frame 30. Again, I am going to go into my FaceCam and this time I am just going to copy and paste keyframes. So I am going to start this at 30, so that means I am just going to set a keyframe here, go into frame 36, find a closed-eye keyframe, which is here at frame 18, copy, paste those somewhere around 36 and then copy the ones at 30, and let's go ahead and paste those at 40. I want a little bit of a faster open for this.

So, let's see how that works. Okay, again, he is doing this broad motion here where he says, "Prepare to meet your doom!" I think I want to do one more blink there, so as he's throwing his hand forward, I want his eyes to be closed again. Let's go to frame 62 right on this little lull in the dialog. And again, I'm going to select my eyelids, upper and lower, and let's go ahead and set a keyframe to leave them open.

So, now I need to copy a closed-eye keyframe, so I am going to find that somewhere around frame 36, copy that, and then let's paste that at frame 68. Now, let's take a look at this. And then as his head rises up here, that's when we are going to open his eyes. So, there, I want them to be closed, and then as he rises up, I want to open them.

So, I want them open by frame 80, so subtract 6. 74 is when I want them closed; 80 is when I want them open. So, let's go ahead and select the lids, set a keyframe to keep them closed, find an open one at frame 62, copy, paste at 80. So, I am copying the keyframes from 62 to 80, and that should pretty much be it for the head and blink motions. Let's take a look at this.

(Character: Ha, it worked! Prepare to meet your doom!) (Character: Ha, it worked! Prepare to meet your doom!) Actually, I think that open of the eyes is a little bit late, so let's go ahead and select that, and let's just move it back. So, I am going to select these eyes here, and I have got this blink kind of coming in at frame 62 to 80. Actually, I am going to turn off sound because I am going to scrub this here, so I don't want this to be too loud. Select these keyframes, and then I am going to move them back a little bit.

I am going to move them back to say starting at around frame 56. So, let's see how this works. Actually, let's moving back another two frames, so 56, 57, 58. There we go. That looks good. So, let's see how that works. That looks good, okay. So, let's turn on the sound and see what we have. (Character: Ha, it worked! Prepare to meet your doom!) 0:09:54.26] (Character: Ha, it worked! Prepare to meet your doom!) Okay, so that looks pretty good.

Now, we are pretty much 90% of the way there. We can go through a little bit more and refine this a little bit more, clean up the loose ends, but this is pretty much the process. So, I am going to go ahead and actually load up my final version. So, I've got a version out here called Acting_08, which is my final version, and let's see the final version that I have actually created. (Character: Ha, it worked! Prepare to meet your doom!) (Character: Ha, it worked! Prepare to meet your doom!) So, we have got a pretty good animation here.

So, remember, this is what the process is. First off, read the track, understand what you are animating, then block out the poses, then time those poses to the timeline, loosen up the curves, make sure we have our moving holds, our shift of weight, overlap and follow-through, then dialog, and then a final pass for head motion, blinks, and then any other ancillary things that we're doing. So, hopefully, this whole process is a little bit more clear.

Now, each scene is obviously going to be a little bit different, but now we have a little bit of a workflow that we can use to animate other types of scenes.

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This video is part of

Image for Character Animation Fundamentals with Maya
Character Animation Fundamentals with Maya

65 video lessons · 9944 viewers

George Maestri
Author

 
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  1. 22m 18s
    1. Introduction
      1m 10s
    2. Using the exercise files
      1m 8s
    3. Character rig overview: Simple character
      6m 19s
    4. Character rig overview: Full character
      7m 30s
    5. Using other rigs
      48s
    6. Using screen drawing tools for Windows
      3m 9s
    7. Using screen drawing tools for the Mac
      2m 14s
  2. 23m 47s
    1. Creating strong poses
      3m 27s
    2. Creating custom MEL scripts to help pose characters
      4m 39s
    3. Using layers to select characters
      1m 10s
    4. Learning the basics of posing characters
      10m 7s
    5. Creating stock poses
      4m 24s
  3. 25m 11s
    1. Understanding forces and character motion
      2m 13s
    2. Understanding drag
      5m 51s
    3. Working with secondary motion
      5m 33s
    4. Bringing the character to life
      4m 21s
    5. Refining the animation
      7m 13s
  4. 39m 30s
    1. Keyframing initial poses
      4m 21s
    2. Creating the blocking pass
      7m 42s
    3. Moving holds
      5m 27s
    4. Animating weight shift
      4m 21s
    5. Animating pose to pose transitions
      7m 46s
    6. Animating a wave
      9m 53s
  5. 42m 15s
    1. Analyzing a walk
      5m 43s
    2. Setting up a character for a basic walk
      1m 22s
    3. Animating a walk: The feet
      5m 55s
    4. Animating a walk: The lower body
      8m 23s
    5. Animating a walk: Making the cycle symmetrical
      3m 10s
    6. Animating a walk: Working with the spine
      5m 59s
    7. Animating a walk: Arm motion
      7m 28s
    8. Animating a walk: The head
      4m 15s
  6. 24m 15s
    1. The importance of the passing position
      4m 52s
    2. Working with foot placement
      3m 50s
    3. Adding character to a walk: Contact position
      5m 10s
    4. Adding character to a walk: Passing position
      3m 20s
    5. Adding character to a walk: Finalizing
      7m 3s
  7. 52m 27s
    1. A run in four poses
      2m 39s
    2. Animating a run: The first pose
      4m 31s
    3. Animating a run: The second pose
      7m 17s
    4. Animating a run: Mirroring the basic poses
      10m 59s
    5. Animating a run: Hip and foot motion
      5m 12s
    6. Animating a run: The upper body
      5m 2s
    7. Animating a run: Left arm motion
      5m 31s
    8. Animating a run: Right arm motion
      4m 39s
    9. Animating a run: Cycling the animation
      6m 37s
  8. 1h 20m
    1. Animating blinks
      7m 56s
    2. Animating changes in eye direction
      5m 6s
    3. Animating a head turn
      4m 35s
    4. Working with audio
      3m 38s
    5. Overview of mouth controls
      2m 44s
    6. Animating vowels
      15m 14s
    7. Animating consonants: B, D, and G
      7m 2s
    8. Animating consonants: F, M, and S
      8m 22s
    9. Animating lip sync: Assigning phonemes
      10m 43s
    10. Animating lip sync: The head
      9m 44s
    11. Animating lip sync: The body
      5m 10s
  9. 55m 55s
    1. Creating the main poses
      4m 18s
    2. Blocking poses to dialogue
      7m 1s
    3. In-between blocking pass
      3m 27s
    4. Animating moving holds
      5m 19s
    5. Creating weight
      6m 19s
    6. Adding secondary motion
      10m 0s
    7. Animating dialogue
      8m 12s
    8. Finalizing the animation
      11m 19s
  10. 24s
    1. Goodbye
      24s

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