Zhang's blog

Storyline：

The refuge has housed generations of individuals for almost 300 years. There is only one young child who looks forward to life beyond the shelter despite the fact that people have long become accustomed to living here.

He entered the launch room covertly one day. He was incredibly drawn to the outer world as he saw it through the glass screen outside the window, with its bright blue sky, lush forest, and small animals.

He then attempted to leave the ship and travel somewhere, but the robot tracked him down and kept preventing him. The young youngster unintentionally activated the automated button while trying to grab the robot’s remote control for the spaceship.

Thus, the spacecraft promptly launched via the lengthy conduit.

Until there was a bang, the spacecraft fell to the ground. What the little boy rushed out to see was a barren landscape. The robot flew to its side and said, “I said, there is no better place than the shelter. ” This is a plot that we changed after a group discussion. We want to use this simple story to demonstrate that people sometimes need to live in fantasy. Because once the fantasy is shattered, we will most likely face the cruelty of reality.

Individual work in group work

1. Scene Design

Ideal world: forest

The Outer World: Desert

Shelter: Launch Pod

The forest represents an ideal world, whereas the desert represents reality. The little boy spends most of his time in the launch chamber and spaceship. Reduce the workload on the production line.

2. Scene modeling

According to the needs of the plot, the launch chamber has a huge glass wall to simulate a real forest.

3. Robot modeling, UV display

Because of the plot to snatch the joystick with the little boy, the robot is designed with long arms and a huge display screen to display text expressions and other content.

4. The little boy character is tied to the skeleton

Use the adv plug-in to tie the skeleton to the little boy.

Review blocking/spline and go over bite sizes as well as what hurdles to come across during this exercise.

link：

Blocking：https://syncsketch.com/sketch/MzZjMTAzZjQx/?offlineMode=1#/14251587/14869215/f_0

Ending:

https://syncsketch.com/sketch/YWE5ZmUwZmIy/?offlineMode=1#/14396810/15014516/f_0

Walk cycle video link:

Planning out ideas for body mechanics.

reference:

Lip animation: looking for a reference video with a close-up dialogue with a big face. Use the window capture of the obs system software to record the screen video, and use the rendering to export the sequence frame and audio in ae.

Make lip animation based on video.

reference video：

Walk cycle: Adjust the walking curve last week to increase fluency. And according to the different degrees of lifting of the left and right feet, the body will turn.

In general, whichever foot is lifted, the body will turn in the opposite direction to maintain balance.

video link: https://syncsketch.com/sketch/ZDQyZjQ1MTkx/?offlineMode=1#/13984833/14601830/f_0

Face: The weight of the head was brushed according to the bones last week, and the face is adjusted on this basis this week.

Make basic blendershape, such as opening and closing eyes, raising left and right eyebrows, smiling at left and right corners of the mouth, up and down and other basic expressions.
Split and make the facial features.

Blocking: First make the keyframe where the left and right feet touch the ground, and then lift the foot left and right at 1/2 of the two keyframes.

Note: When a person walks, the body will also have a slight up and down change.

Homework video:

https://www.syncsketch.com/sketch/Mjk3NTA2ZmVl/?offlineMode=1#/14130124/14747907/f_0

Face brush weight:

Brush out the weight of the head according to the skin, and pay attention to brushing the mouth. When brushing, it is time to think about whether the muscles in motion will affect this part, and if it is not affected, there is no need to brush.
Note: brush layer by layer, not easy to mess.

At the same time, avoid using replace when brushing, and basically use add and scale.

Homework video:

Create a pose showing weight from my sketches in Maya.

According to the reference video and ppt, I learned how to do it and the key points of production.

reference video： How to animate a side weight shift animation（100% polish）

Finished video link：https://www.syncsketch.com/sketch/YjhlNDBmN2Ri/?offlineMode=1#/13806333/14424799/f_0

Download model: jd Flour Sack rig for Maya

Show-object-joints can automatically distinguish objects and controllers.

Show-object-clear below: Returns to the original classification.

Select the square to make a ground.
Move top—null to the group of bottom—null.
This will give the effect of moving the upper body together.

The basic walking action can be completed by single-controlling the controller of the limbs. Do contact points first, and then add keyframes in the middle.

Botom – null to control body steering.

The same top_null to control the direction above.
Botom——null to add keyframes in the middle

Use Bottom_control to control the stomach up and down.

The video link of the final rendering:

Tail：

• Reference：

Do up and down bounces first.

Then do the following movement of the tail.

WORK:

https://syncsketch.com/sketch/ZmNiMWMyMDY2/?offlineMode=1#/13687703/14305131/f_0

Hand:

Open the third magnet icon so it turns blue.

Bring the center of gravity of your palms down.

Repeat the operation, doing the middle finger first.

Freeze the coordinates of the finger, making it zero.

A contains b, c; b contains c
A is the bottom part of the finger, followed by b, c.

Duplicate, finish other fingers, and freeze the coordinates.

Make the arms in the same way, and notice that the center of each section of the arm is placed on top, opposite to the fingers.

Pose, make animation.

Create locate at the center of the ball.

Copy the locate and put the new locate in the hand group, so that the locate can be followed manually.

Adjust by the value “1&0” of right hand and ball.