Three-ply Character Sheet

These images take the Eleven rig (kid version) through some key poses and explore camera angles.

Pushing and pulling poses, looking for the silhouette and, most of all, developing a personality.

Life's a Beach - Referencing #7

Taking a walk on the beach provided an opportunity for some reference shots. Although not synchronised (using a single camera and multiple takes) they provide some useful footage for creative interpretation.

Experiment #1: The 'subject' was encouraged to struggle with the climb.
[Note: The subject was far too enthusiastic at this point]

Experiment #4: Subject was more compliant to instruction.

Experiment #17: Subject was running short of patience and enthusiasm but continued to perform. Useful results recorded.

Some success achieved in recording motion, walking and climbing across uneven surfaces.
[Note: Post experiment - Subject required hot chocolate and bath but recovered well]

Bridging the Gap - Walk Cycles #2

Here the younger character's walk cycle has been extended and modified.

The intended outcomes were:

• To progress the character from toddler to 6 year old and;
• Introduce elements of personality

Timing still appears a little slow and stilted at moments. Balance and demeanour are improved. The animation presents a personality in head and facial movements with increased confidence in his walk.

Bridging the Gap - Walk Cycles #1

These sequences utilise the Eleven rig from the 11 Second Club

www.11secondclub.com/resources

The child's walk is slow and tentative. He's concentrating on each foot placement. In this simple cycle, bodily proportions are exaggerated but movement is subtle. Some secondary action has been applied to add weight to hands, head and cheeks. 

Timing is faithful to the interpreted Muybridge footage which, if not correct, adds to the stilted, hesitant gait.

An exercise in contrast, this teenage version of the Eleven rig strides out, a consistent gait, arms swinging and head bobbing with youthful confidence.

Despite initial appearance, exaggeration is still limited. The teen is tethered to his Muybridge roots with extreme poses pushed slightly (albeit head action more so).

The hips display lateral movement, roll and twist as he pushes his weight between steps. There is a sure swing to his shoulders and secondary movement in the hands and fingers. His head bobs in sympathy with contact points and its larger, caricatured mass. Frequency of the cycle has been increased from the Muybridge loop.

Critique:

• Maintaining lower arm flexion, stiffer wrists and clenched fists could present a more forceful attitude but also appear more adult. There is something of the 50's hipster going on at the moment.
• The frontal view is more effective in balance and movement, the side presenting some awkwardness in balance and momentum.

Under The Bridge (Part Two) - Referencing #6

 With the addition of a second Muybridge sequence, there can be seen a clear distinction between the movements of child and adult.

Video sequence compiled from Muybridge images

Muybridge, E. (1955). Human Figure in Motion. New York: Dover Publications. (Plate 182)

The child's walk is awkward, his gaze tracks the placement of his feet. With his body still in development, the arms barely swing as he maintains his centre of gravity by adjusting gait, the position of his torso and throwing weight as he plants his feet. With those feet pointing outward, his gait is also particularly inconsistent in stride length.

 

Video sequence compiled from Muybridge images

Muybridge, E. (1887). Animal locomotion: an electro-photographic investigation of consecutive phases of animal movements. Prospectus and catalogue of plates, Philadelphia: J.B. Lippincott. p. ii, no. 11 ("Walking")

The adult walk is much more assured, the gait consistent. The arms swing freely and his head is raised. On a flat, sound surface, he has no need to check his foot placement. Accustomed to the size and ability of his limbs, he can stride with confidence.

Further posts will examine these contrasting styles when applied to animated characters.

Under The Bridge (Part One) - Referencing #5

This video was created by separating one of Muybridge's photographic sequences and compiling the resulting layers.

The background of the full sequence was removed, separating the images into a series of "islands". These islands were automatically split to layers using a Photoshop script created by Shadowxaf (photoshopscripts.wordpress.com/2012/12/09/split-to-layers/).

Final adjustments were made to stabilise the images.

The sequence currently runs at 4 frames per image, around 1.5 seconds for the full cycle. This may prove a little slow but can be adjusted in the blocking stage of animation.

Video sequence compiled from Muybridge images

Muybridge, E. (1955). Human Figure in Motion. New York: Dover Publications. (Plate 182)

This is a far more formal approach to examining the motion of figures than the found, handheld footage of home movies.

Where Muybridge's structured studies can appear clinical, they allow for comparison between the motion of their subjects.

Muybridge, E. (1955). Human Figure in Motion. New York: Dover Publications. (Plate 3)

Here we have one of Muybridge's studies of a man walking. This discussion will continue.

Who am I? Where am I? - Referencing #4

This reference, involving a slightly older child, combines a breakdown of joint placement with an impression of form.

Drawover based on video - https://youtu.be/JWN25zxoeXw?t=1074

It is interesting to note that the character's points of contact (pelvis and left forearm) remain static through much of the sequence and provide a base, a set of pivots, for the rest of the action.

The focus here is on the sweep of the hand across the face, the reactive head movement and the arcs of the right arm joints. Although naturalistic, the movements display some healthy extremes and variations in timing. These assist in the presentation of feeling, not only giving physical weight to the character's limbs but also to his emotional state.

The half-awake feeling is reinforced by the pose (reclined, legs akimbo) and in his apparent lack of self-awareness. This is not a person trying to present an image of control.

Perhaps this is one key to portraying these characters, self-image increasingly modifying our behaviour as we grow older.

Dem Dry Bones - Referencing #3

This drawover attempts to portray the action by identifying joint placement.

Drawover based on video -  https://youtu.be/OpMGURpbgDk?t=10

Perhaps more apparent here, in common with the other examples, use of straight video reference can lead to a lack of dynamism. The original video appears quite natural but this deconstruction reveals a lack of anticipation, secondary action and follow-through.

Although these exercises are helpful in breaking down movement, consideration will be required in applying the results. Where required, pushing the extremes and exaggerated movement will assist in fleshing out the character's personality.

Nature Nurture - Referencing #2

The young child in this video is ham acting. She appears precocious as she pleads or forces her point with upturned hands. There is humour in her over-acting, presenting her point with hand movement (too upturned?) and fingers spread in an attempt to appear sincere.

Drawover based on video - https://youtu.be/OpMGURpbgDk?t=498

A strange contrast is revealed between her dynamic arms and feet that are firmly rooted to the ground. This all gives the impression of an am-dram performance but remains appealing if looked upon as a child's mimicry of an adult's movements, perhaps in a belief that this will make them more credible.

More Than Child's Play - Referencing #1

Looking forward, the Major Project requires the development of two characters with distinct characteristics.

One, an abandoned adolescent, will display physical attributes, proportion and ability in keeping with those of a young adult.

The other is a lost child, five to six years old and we'll examine how proportion, physicality and experience can produce a marked difference in movement and demeanour.

Drawover based on video - https://www.youtube.com/watch?v=j3A-KJUnH5I

This first draw over is based on the video of a lost girl (portrayed by a child actor).
Her body language is closed and shy as she hunches her shoulders and buries her hands in her pockets. She is almost attempting to withdraw into her coat like a tortoise into its shell.

She sucks her fingers and swings her shoulders nervously. In an adult, this hand-over-mouth action may tell of a lie but here, in a young child, it could be a simple comfort, as with a dummy or thumb.

Preamble

This blog presents a record of process and progress in the production of character animations for the BA 3D Computer Animation module M6X02056 - Advanced Character Animation

The outcome will be a series of character studies comprising 20-30 seconds of  animation in total.

The process will involve sourcing, critical examination and comparison of references to inform the development of the studies. The intention here is to present a rounded, believable character, not only convincing in physiology but also conveying emotion through performance.