Unit 2.1 Advanced and Experimental 3D Computer Animation Techniques – Project 2, week 7.
Play Blast – Blocking Poses and In-Betweens
Next I will work on making my animation more fluid. This will be done by altering the animation curves to be have more arc shapes, as according to the animation arc principle that describes all organic movements.
Critiques of Figure 1
I will need to cut down on the number of blinks. I will think more about the character’s though process and necessary blink locations to separate movements (e.g. head moves and the dog blinks).
Blink Reduction:
Below is a list of all of the blink I though to remove while watching figure 10’s play blast of the blinking. The items on the list that are not crossed off are the ones that I did not remove.
One of the two when the dog is surprised.At the start, when looing and sniffing around, there are three blinks too close together. Get rid of one or two.Head tilt, take away one blink there.When the dog lifts paw up and forwards the second time- shorten this blink from 3 frames to two. (makes this a fast blink).After lifting paw, the dog is sad. Take away the middle blink here. (possibly the one after also).- Blink at 41
and 43 seconds. 47 Seconds has three blinks. Take away one or two.- Consider taking away the blink at 54 secs. (instead of this, I repositioned the blink at 54s and removed the one at the very end).
Feedback from myself and others. Other critiques about figure 14:
- After the dog sits down, there is a bit of a jump in the upper body.
- I didn’t notice any jump in the ears, since twice I made the ears move drastically in a single frame. This is good.
- The shocked dog part is a little weird at the moment, but hopefully it will be better with audio and proper camera angles.
- The dog moves quite fast at the start when sniffing.
- Make sure to make sense of the looking left and right at the end. My peer review response questioned that part. However, this is without the editing and audio at the moment, so it is understandable.
Consideration for Colour Tinting
Using the street lamp mesh light, I intend to tint the scene to indicate mood using colour psychology. Figure 2 describes colour connotations to emotions.
Whereas, figure 3 has connotations involving mood in film, which I found more relevant.
From the information I have researched, I found purple and yellow to be the more appropriate to my narrative.
Test Colour Tint Shots
A purple tinted scene looks like there is no main light source at all. Where as the yellow tinted scene look as thought it is day time.
I believe that one issue with the scene may the amount of distance covered by the lamp light. Currently it is a mesh light, however, if I change it to a spotlight, then I will be able to change the drop-off and penumbra angle (size of light circle). I generally want to keep the lamp light orange if I can, however perhaps I can add a purple toned light on the other side of the face.
Next Render
I added an extra area light to where the spotlight comes from. So, that there is an orange light that shines closer, since the spotlight doesn’t light the character very well.
References
London Image Institute, 2020. Color Psychology: How Do Colors Affect Mood & Emotions?. Available at: <https://londonimageinstitute.com/how-to-empower-yourself-with-color-psychology/> [Accessed 14 May 2022].
Digital Synopsis. n.d. How Filmmakers Use Colors To Set The Mood Of A Film. [online] Available at: <https://digitalsynopsis.com/design/film-movies-color-psychology/> [Accessed 12 May 2022].