Animation side stepping and jumping physics

For this project i wanted to improve on my last one and really push my limits on how far I could take the brief. I decided to try out doing an adventurer going through a temple and trying to reach the treasure at the end. With this idea i then started my planning and gathered material to base the actions and movements off of. Seeing as the model would be side stepping on a ledge and then jumping from it I found these videos and used them to help make my sketches

The following at sketches of the same repeated movement (side stepping) And then a sketch on how I would lay out my jump in its key poses based off the jump I picked in teh video above

Once i had my plan set I started off with my key posing and worked on that until I had my final key pose play blast

Slowly but surely I then started to add more to my animation, trying to get the model to feel normal and have a sense of weight. the jump was the most challenging for me as I had troubles spacing out the timing and not making him look so floaty. i wanted to be as polished and the very best i could make for my final assignment this semester. In between animating on my breaks I also made a very simple set with simple blocks and colors just to give the story a nicer feel to it as well as give my model a proper skin as well. (I couldn’t have him going around as a zombie still. So here are the pictures from my planning to the final file for his texture as well as planning for the set. (I also planned my camera shots in the set picture as well.

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When it came to my final week or so I mostly spent it trying to polish the animation up. Giving him nicer arcs and curves when he shuffled or jumped, really trying to aim for that perfect balance of force and gravity in his jump across the ledge and finally just adding little touches, giving him some more personality, like having his hands cup the wall where they could or having him blink or have his eyes bug out when he first sees what kind of trouble he landed himself into. Giving him a moments hesitation after hearing a classmate saying that he needed to asses his situation more. And then as the final touch have him get up and look behind to the jump he made and look shocked that he just did that and survived. Just the quick little things to help make my story flesh out aside from me fiddling with the physics too much and ruining for myself otherwise. It was a tough but enjoyable assignment and I do like my finished product.

Personality walk

For this assessment I decided to attempt a personality walk to that of a classic slow walking zombie, starting off with testing a few styles of walks myself before finally picking the desired walk I liked. I then got to sketching out roughly the cycle for my walk. I had a lot of trouble with the timing and making sure the right for was the one leading and carrying most of the rig’s weight. The other leg was left limp for a nice dead dragging effect .

On the second week I had my first pass at blocking and had used some time to even create a skin texture for the character model I used (Stewart) I made sure to hint back at his original design with similar horizontal marks on his chest to that of his tribal skin.

The third week was my final pass of blocking. I had a lot of trouble trying to shift the weight of his legs and hips due to the limp. But I was able to get a clearer view on it after doing more thumbnails of his hips and legs and started to think of his other body parts as well like the limp left hand.

The fourth and fifth week were just finalizing the blocking and trying to add the final poses of animation and trying to get him moving more smoothly. I still do not like how he turned out as he feels too robotic and inhuman and not natural. There is still a lot of work I can do to fix him up more

Bouncing Cat Animation

The video references I used for the planning and inspiration of my animation were
https://www.youtube.com/watch?v=FwPikeJoxPUhttps://www.youtube.com/watch?v=ZZfG6nQEZZ0
https://www.youtube.com/watch?v=JgjJ0OBpOXE
https://www.youtube.com/watch?v=GiWVWFE3uOU

 

I then proceeded to first block out the jumping movements on paper, staging the cat’s body as it compresses and stretched to jump up onto the bench. In the next picture I then made sketches to show how the animation would work frame by frame. Showing this for the body and the tail of the cat as it tried to jump.This can be shown in my first playblast here

 

This is a sketch I drew of the set I had in mind, deciding it best to make it a kitchen and adding in a small coffee table and plant in the back so the background wasn’t bare. As well as a scratching post to show that the cat lived here aside from the bowls in the corner. I originally had the cat walking from the bowls to its jumping spot but it left too much open unused space in the camera shot so I had the cat bounce in from the right to show how it moved and to fill in the empty space.

Once the bouncing cat animation was complete as well as the set itself I then to the time to quickly add in some ears for the cat. Parenting it to the ball body and then animating it with the ball so it still followed along and had that squash and stretch aspect to it

 

Genre and movies: Looking into the Sub Genre of Superhero Films

Comic/Superhero movies are under the umbrella of action, but can be classed as their own sub genre. Thus they have their own set of rules and tropes that are normally followed by most super hero movies. Marvel , DC and other productions alike all collectively have its own sense of style and feeling when they make comics into fully fleshed out movies.

A superhero is only as good as their villain, a main trope for heroes is the arch nemesis they have to ultimately defeat to save the day. Batman has his Joker, Superman and Lex Luther. In the 2012 film “The Avengers” it was Loki. These villains are here to give a sense of purpose for the super hero and of course to drive the entire movie. Someone more powerful then the normal means of justice can handle and to wreck havoc on the world. “The Big Bad may either be personally responsible for the events, or are the biggest force in opposition of the hero’s goals….In a standalone cinematic story, their presence drives the plot. ” It is almost always the climax for most super hero movies to finally defeat the big bad guy and ultimately save the world from their destruction. Though ultimate destruction can also mean the end to the main protagonist as well, not just the end of the world.

The Joker from DC’s trilogy “The Dark Knight”

Loki from the 2012 marvel movie “The Avengers”

Another trope within the superhero sub genre is the damsel in distress/main love interest. They are often then to provide motivation, moral support and as well as to show that the hero shares a common interest with the audience by falling in love with an everyday person. Most heroes are often rescuing the love interest, like Mary Jane from Spiderman and Louis Lane from Superman. both women serve as the romantic interest for the main lead, providing comfort and support while also driving the plot when they are inevitably captured and used as bait for the hero. Peggy Carter from 2011 film “Captain America” Can be shown as an example of a romantic interest who can hold her own as well as help save the hero, which she had done a few times for Steve Rogers. With Hayley Attwell reasoning with her character’s personality “Reading Peggy Carter on script. She was so strong….Fully capable of saving Captain America on her own.”

Peggy Cater from the 2011 “Captain America

Mary Jane from the “Spiderman” trilogy

But of course a superhero movie wouldn’t be complete without the costumes. A superhero costume is there to separate the protagonist and set them apart from the rest of the world they live in as well as the viewer’s. That and to help disguise who they really are and set their hero and personal lives apart. Certain colors are used within costumes to also help the viewer show what tone the movie and character is going for. With Iron mans ambitious and regal red and gold’s to superman’s familiar insignia on his chest, costumes play a large part in the sub genre.

A still taken from the 2012 marvel movie “The Avengers”

To finish superhero films may be a sub genre, but its tropes and stereotypes within the films are what make it stand out and set it apart as its on type of film. from damsels to villains and a lot more in between. Hero movies are rich in story and cinematic features to set it apart from the everyday action movie.

Sources:

Quotes:

Supervillain – TV Tropes. 2015. Supervillain – TV Tropes. [ONLINE] Available at: http://tvtropes.org/pmwiki/pmwiki.php/Main/SuperVillain. [Accessed 5 June 2015].

Manny The Movie Guy. (2011). Hayley Atwell (Peggy Carter) Talks About CAPTAIN AMERICA: THE FIRST AVENGER . [Online Video]. July 12 2011. Available from: https://www.youtube.com/watch?v=FoWKlk8rllU. [Accessed: 05 June 2015].

Other Resources:

Barber, J.B, 2011. The art of Iron Man 2. 2nd ed. New York: Marvel Worldwide Inc.

Altman, R.A, 1999. Film/Genre. 1st ed. British Film Institute: Palgrave Macmillan.

Visual art post 3 – Comparisons

This is a comparison of my drawings done in the first week to my final one in the last week. Its amazing to see how much I have improved. I can see how my human forms have actually become more anatomically correct (Though I think I could do better) and even able to create a sense of texture and depth with the use of shading. The actual flow of the body itself doesn’t feel lifeless as it was when I first started. It now feels like my work has now gained a sense of movement and life on the page. As well as how I have vastly improved on how fast I actually draw, now being used to the 1 min to 15min time limits with each of the model’s poses

Visual art post 2 -Ink and Brush

We had to use an ink and brush in this session. I really hate anything that is remotely like painting as I feel like I have no control or have any precision like I do with my favorite pacer. The brushes feel too big and cumbersome in my hand and thus reflect in my work. Even when I moved to a smaller brush I found it too hard to move. It was also limiting my strokes considering that I every time I make a line or stroke it would be permanently on the page. Unlike pencil where you can just rub it out and redo it all over again. I really hated this exercise. The only thing I did like about this exercise was how thick and black the ink got and what sort of line it created

Visual art post 1 – Clothing

Drawing clothes on a figure proved a lot harder then expected. Though I found it easier to draw the wrinkle and the flow on a dress and scarf then actually trying to draw the wrinkles and creases on a T-shirt and jeans. The T-shirt and jeans I found to be more conforming towards the skin and the human form then just hanging and flowing freely like a dress. So the added form to consider in something that clings to the human body is a lot more complicated to draw

How Mise en Scene Contributes To Films and Its Story; Coraline

Mise en scene provides the detail and atmosphere of a film or show. The set, lights, costume and composition contribute to the telling of the narrative. Providing emotion and depth to a production. Like shown within the 2009 movie “Coraline” Directed by Henry Selick.

[1]”Setting creates both a sense of place and a mood and it may also reflect a character’s emotional state of mind.” The actual setting of the movie is split into two worlds. The ‘Real World’ and the ‘Other World’. Each of them may be similar in layout are extremely different. this is shown within the color and tonal balance chosen for each set. Within the ‘Real World’, the setting is entirely made up of greys and washed out pastels, creating a dull and boring world for the main protagonist wander through. Though it also emphasis the ‘Other World’. Which mainly consists of bright saturated colors and deep rich tones. Mainly yellows and warm oranges and blues for the majority of the film. Which is used to lure the protagonist and the audience into a gentle and vulnerable lull of calm.

 

2009 Focus productions ‘Coraline’ Dir by Henry Selick

2009 Focus productions ‘Coraline’ Dirrected by Henry Selick

2009 Focus productions ‘Coraline’ Dirrected by Henry Selick

Costume as well as acting contribute to how a story is shown and told. The ‘Other’ mother is the best example for this. During the first two acts of the film the ‘Other’ mother is shown to be exactly the same as the original. Her movement and costuming is down to be soft and gentle and warm. Even her physical appearance is shown to be rounder and more approachable. During the second act she is then seen to be bettering into the idea of perfection. In the final act her true nature is revealed. She dresses sharply, her movement is dangerous. her features become more defined until the point of where it turns unnatural. The animators look for inspiration from the voice actors as well, adding that extra life to the puppet. One saying [2]”I just try to, get some of her body language or how she would deliver things….Echoing how she would handle things”

2009 Focus productions ‘Coraline’ Dirrected by Henry Selick

2009 Focus productions ‘Coraline’ Dirrected by Henry Selick

2009 Focus productions ‘Coraline’ Dirrected by Henry Selick

2009 Focus productions ‘Coraline’ Dirrected by Henry Selick

Lighting plays a large role within the film. though it uses three point lighting, its the highlight that the production team have used on characters that add to the story. Coraline has for the most part a soft warm yellow light on her. She is the protagonist, she is a representation of good, hope, etc for the audience to feed on. While the ‘Other’ mother’s highlights change (like her costume) over the course of the film. Staring with the warm yellows before switching to a bright green in the third act. Green being a general representation of evil and something scary within a children’s film. Because of these set ideas and tropes an audience has of the symbolic colors it helps add to the story.

2009 Focus productions ‘Coraline’ Dirrected by Henry Selick2009 Focus productions ‘Coraline’ Dirrected by Henry Selick

2009 Focus productions ‘Coraline’ Dirrected by Henry Selick

2009 Focus productions ‘Coraline’ Dirrected by Henry Selick

To sum up, Mise en scene helps add the depth and fullness to the world of a film that cannot be brought out with just words. It is there to add context and atmosphere to a film for an audience to full experience a story

Sources:

Focus Features. (2008). “Coraline” – Crafting the World of Coraline. [Online Video]. November 19 2008. Available from: https://www.youtube.com/watch?v=GYLajMqw8bI. [Accessed: 23 May 2015].
[2] kdlmd243. (2009). The Making of Coraline – It’s Alive. [Online Video]. July 8 2009. Available from: https://www.youtube.com/watch?v=XUqMfKbV4ho. [Accessed: 23 May 2015].
Mise en scène – Wikipedia, the free encyclopedia. 2015. Mise en scène – Wikipedia, the free encyclopedia. [ONLINE] Available at: http://en.wikipedia.org/wiki/Mise_en_sc%C3%A8ne. [Accessed 23 May 2015].
Mise en Scene. 2015. Mise en Scene. [ONLINE] Available at: http://www.cod.edu/people/faculty/pruter/film/15points.htm. [Accessed 23 May 2015].
[1] MISE-EN-SCENE | College Film & Media Studies. 2015. MISE-EN-SCENE | College Film & Media Studies. [ONLINE] Available at: http://collegefilmandmediastudies.com/mise-en-scene-2/. [Accessed 23 May 2015].
Maschelli, J.V, 1965. The Five C’s of Cinematography. 1st ed. Los Angeles: Silman-James Press.
Whitlock, C.W, 2010. Designs On Film A Century of Hollywood Film. 1st ed. Italy: HarperCollins.

The Role of Composition Within the TV Series ‘Sherlock’

The composition of a scene is what sets up the foundations of which an audience can look to an understand what is happening to what the feeling or mood in a scene is. An example for this is within the BBC series ‘Sherlock’ within the episode ‘A Scandal in Belgravia’ When the audience is first introduced with Irene Adler as well as how Sherlock’s train of thought is displayed with camera techniques.

When Irene Adler is finally introduced in full the audience is shown her whole body, panning up and around her. Showing her fully as she gets along with her business, walking into her townhouse. Within this shot she is seen standing on the pavement in front of her home. The use of lines here are prominent within the scene, having parallel lines from the side of the pavement to the ceiling of the terrace roofs on the left point to her. To the small wall on the terrace leading directly to her.

The character Irene Adler zfrom the second series of BBC’s Sherlock

Showing the lines that draw the viewer onto Irene Adler

Within the book ‘The Five C’s of Cinematography. it says that “The Linear composition of a scene is dependent… Most effective composition, real lines should not divide the picture into equal parts. Neither vertical or horizontal lines should be centred” in the shot of Irene Adler, she is slightly off center and all lines leading to her are not in perfect alignment of the middle or center lines. These lines are then used to grab the viewers eye and make them focus purely on her as the main source of movement and focus. Giving the character a sense of strength. power and control over the audience as they watch her, this couples with her personality and presence on screen throughout the rest of the episode.

Composition can also help the audience gain a better understanding of a character and the way they work. For example how Sherlock Holmes is gathering clues and collecting information when solving a case or deducing a person, like when bodyguards come to collect him. There are quick snippets of close up pictures from different angles to show the detail of a person or an item. The director, Paul McGuigan has said in an interview

A scene from BBC Sherlock, episode 1 season 2

A scene from BBC Sherlock, episode 1 season 2

“They show a scene of a dead body and suddenly they can show it from another point of view or several and you can dissect  it better….Use still images to go closer to things and then we’ll re-shoot in a different point of view.” This couple with the high definition of the pictures with a blurred background, the difference in colour saturation within the scene compared to the rest of the episode, and tone creates a sense of focus and exposes the little details of a person or object. This is allowing the viewer to understand the thought process that is going through the protagonist mind and linking them closer to him throughout the episode.
Through these examples of composition the audience is able to gain an understanding of focus and mood of a scene within a movie or TV show.

Sources:

Sherlock: Season 2 A Scandal in Belgravia, 2012. [DVD] Paul McGuigan, United Kingdom: BBC Wales.

Sherlock: Season 2, 2012. [DVD] Steven Moffat and Mark Gatiss, United Kingdom: BBC Wales. (This was for a DVD extra called Sherlock uncovered

Maschelli, J.V, 1965. The Five C’s of Cinematography. 1st ed. Los Angeles: Silman-James Press.