Character Animation In VideogamesSlide 3
Introduction Character activity in videogames so far…Slide 4
Animation Movement TimingSlide 5
The Flour Sack Show disposition Strong postures Movement TimingSlide 6
Computer Animation Vs. Conventional Drawn or Stop-Motion AnimationSlide 7
Traditional Drawn Animation (2-D liveliness) Advantages Animator can work between key stances Animator can alter as meager as one casing of activity without discrediting whatever remains of the scene Animator can analyze openly with timing between posturesSlide 8
Traditional Drawn Animation (2-D movement) Disadvantages Animator must produce, or "render", each casing of liveliness included (i.e. new drawings for each edge) Animator\'s capacities as a craftsman specifically impact, or cutoff, the nature of the visual presentation of the livelinessSlide 9
Stop-Motion Animation Advantages Animator utilizes real models and sets (No compelling reason to render characters yourself; characters dependably stay "on model") Characters and sets have genuine profundity and make utilization of real lighting sourcesSlide 10
Stop-Motion Animation Disadvantages Animator must work \'straight-ahead\' shooting the activity successively outline by edge Characters don\'t take into account much change of shape, volume or structureSlide 11
CG Animation Advantages Animator utilizes virtual models and sets (No compelling reason to render characters yourself; characters dependably stay "on model") Characters and sets have profundity and make utilization of lighting sourcesSlide 12
CG Animation Advantages Animator can work between key stances Animator can try uninhibitedly with timing between postures Animator can alter as meager as one edge of movement without nullifying whatever is left of the sceneSlide 13
CG Animation Disadvantages Animator must work in a roundabout way (no immediate contact as there is with pencil to paper or artist to model) Animator is just comparable to the equipment and programming accessible Still takes a great deal of time, a considerable measure of ability… … .and can be an undeniable irritation.Slide 14
Traditional Character Animation TechniquesSlide 15
Character Animation procedures and strategies Completely free of the medium being utilized Same methods apply as a part of CG liveliness as they do in 2-D or stop-movementSlide 16
Character Animator: Part Actor/Part ArtistSlide 17
Combination of Two Disciplines Actor Performance Timing Staging Expression EmotionSlide 18
Combination of Two Disciplines Artist Posing Silhouette DesignSlide 19
The Importance of Visual AidsSlide 20
Thumbnails are your companionSlide 21
Thumbnails are your companion Thumbnails are advantageous in light of the fact that… They permit you to work out the activity before you\'ve conferred a lot of time They give a visual reference when representing the sceneSlide 22
Reference: Don\'t Re-concoct the WheelSlide 23
Using Reference gives the illustrator signs to a reasonable and regular execution Movement BehaviorSlide 24
Dirty Up Your ScreenSlide 25
Dirty Up Your Screen Use a China Marker or a screen-safe wet marker to plot bends of activity They give a visual way to finish when working postures They guarantee that ways of activity look and work the way you expectedSlide 26
When In Doubt… Act it out!!!!Slide 27
When In Doubt… Act it out!!!! Showcasing an activity gives a clearer comprehension of… Movement Positioning Timing AttitudeSlide 28
Contrast In Position and Movement Giving a character LifeSlide 29
Character Animation Techniques Contrast In Position and Movement Parts of the character in connection to the entire Character in connection to the earth Animation "peruses" all the more viably Action is more dynamicSlide 30
Creating Strong and Clear Poses Giving a character AttitudeSlide 31
Character Animation Techniques Creating Strong and Clear Poses Define what the character is doing Define what the character is feeling Communicates these components plainly Communicates these components rapidlySlide 32
Timing In Animation Giving a character RhythmSlide 33
Timing In Animation "Moderating" or "facilitating" all through stances Character feels more natural Allows gathering of people to "peruse" postures unmistakablySlide 34
Timing In Animation Altering the planning of an activity impacts the impression of character inspiration Faster activities are seen as more forceful Slower activities feel more careful or less rousedSlide 35
Arcs In Animation Giving a character FlowSlide 36
Arcs In Animation Almost every natural thing moves in some sort of bend Arcs tend to feel more common and "offer" the activity Using circular segments gives a more wonderful stream to your livelinessSlide 37
Secondary Action Giving a character WeightSlide 38
Secondary Action Overlap Follow-through Primary activity drives auxiliary activity and heading Degree of optional activity decides the heaviness of the itemSlide 39
Anticipation Giving a character "Thought"Slide 40
Anticipation Anticipating an activity serves two capacities: Helps group of onlookers perceive the activity they\'re going to see Suggests that the character is "considering" about what they\'re doingSlide 41
Exaggeration Giving a character FlexibilitySlide 42
Exaggeration has two uses: Helps movement feel more "characteristic" Utilizes the quality of liveliness over real lifeSlide 43
Suggested Reading on Animation Technique "The Illusion of Life: Disney Animation" by Frank Thomas & Ollie Johnston "Toon Animation" by Preston Blair "The Animator\'s Survival Kit" by Richard WilliamsSlide 44
Applying Traditional Animation Techniques in the Context of a Game EnvironmentSlide 45
Cinematic Cutscenes Vs. In-Game Character AssetsSlide 46
Cinematic Cutscenes Vs. In-Game Character Assets Cinematic Cutscenes Occur in a set area Occur in a set request Occur from a set point Occur over a set timeframeSlide 47
Cinematic Cutscenes Vs. In-Game Character Assets In-Game Character Assets Occur in different areas Occur in non-straight request Occur from different edges Occur over shifting timeframesSlide 48
Creating Solid In-Game Character AssetsSlide 49
Creating Solid In-Game Character Assets The "Unmoving" Central represent that every single other activity work out of Helps keep up coherence between activities Helps dispose of "popping" amid moves between activitiesSlide 50
Creating Solid In-Game Character Assets The "Unmoving" Should comprise of an inconspicuous, characteristic activity Should be sufficiently contained to work out of effectivelySlide 51
Creating Solid In-Game Character Assets Secondary Idles Actions that keep the character alive Actions that convey identitySlide 52
Creating Solid In-Game Character Assets Character Locomotion Needs to feel normal and right Needs to feel like it has a place in the earthSlide 53
Character Locomotion Runs An additionally bouncing style of run considers varieties in velocity of development through world Also averts sliding in light of the fact that feet just contact ground for two or three casings with a wide dividingSlide 54
Character Locomotion Walks and Turns A slower paced development requires nearer synchronicity between pace of world development and pace of livelinessSlide 55
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