Tutor – Toby. Learning and using the ‘Advanced Skeleton’ plugin to rig a character.
1.1 Punisher Model Rigged using ‘Advanced Skeleton’.
1.2 My Character ‘Luna’ Quadruped Rigged with Advanced Skeleton.
Issues with the Rig
There was an issue with the eye controls. When using ‘advanced skeleton’, there was no main eye control to move the eyes together. I tried to parent a control to both eyes, however, this did not work. The aim of the eyes became a translation instead. I left it as it was in case I caused any more issues.
Problems with the controls, when I first build the advanced skeleton the controls were not appropriately resized according to the model (see image below). I had to manually resize them and I had to leave some of them overly large. The reason for this was so that they could be seen outside of my mesh, and my limbs are quite large and compact, so some overlapped in each others ‘territory’ to much. This may not be the most convenient solution to the issue, nevertheless, the result is suitable enough for my to be able to animate with.
1.3 Blocking Animation – with the Punisher Rig
Task: Create two extreme poses and connect them with a few poses in between using blocking animation.
Notes before beginning:
- Camera should be focussed on the subject (gun, whole body or part of body.
- When character is looking at a location (and e.g. pointing the gun), I should have more room in the direction that he is facing.
- Close ups camera cuts for smaller movements. Wide/ full body for large movements.
- Level of realism in poses- correct way to hold a gun, weight distribution when firing etc.
- What does the silhouette of each pose look like? Adjust to make each important part of the pose clear. Even scaling the hand larger if necessary.
- Lack of symmetry- make sure that the poses are not symmetrical on both sides of the body. This will make my poses more dynamic.
- Timing. How long I hold the pose to show the acting, just like in an animatic.
I had the intention to start my character’s first pose on the ground and end with a standing/ ready to fire pose. Therefore, my reference mood board is filled with appropriate options to choose from. I will be using these secondary sourced images as references to help when I am posing the character.
Poses:
I intend to have the character start by laying on the floor to a standing position, all in action poses. Then, if I have time, the character will put the gun in his right holster. (Not sure if there even is a holster, but the pose and movement is enough to get the idea across). I feel as though these are very basic, however, their simplicity are enough for me to practice the ‘checklist’ of technical notes that I listed above, and perfect my work to the degree that this workshop turns into good practice for me. The red numbers mark the key poses. I believe it would be fine to stop at pose 4, however, I would like to go until pose 7. Pose 5 could possibly be skipped for he blocking stage, although it does portray a change in acting – he lowers his gun and releases the tension in his body. Pose 6 would be essential in this scenario through. I believe that I would need the pose ‘arms relaxed at side’, then the ‘about to put gun in holster’, and then ‘gun goes in holster’ poses. The ‘about to’ pose would be the anticipation of the next action, which is key for the animation in terms of principles.
Also, my references may not be the best since they do not even show all of their body, however, I will move the poses according to my sense of acting for the pose instead. For instance, I already plan to change some of the feet positions from the reference images to be more dynamic and dramatic.
Pose 1 – Laying on the floor, pointing the gun
I create a camera out of the view (e.g. image above) as I go along so that I can save these camera position suggestions for later. I decided to edit the shot above further. As I mentioned previously, he is looking to the right, so there should be more room within the shot on the right side. I ensured that the silhouetted limbs were clear and then positioned the camera how I wanted it. The result is the image below. I chose a wider shot since he is about to stand up, also, I can save the close up for when he points his gun while standing. Then a cowboy shot when he holsters his gun.
Although, if you look at the silhouette, the empty space between the arms could be increased. Also, I am conscious of the legs, if you can make out their shape properly. Nevertheless, the main pose and focal subject are clear.
Pose 2 – Getting up
Pose 3
With this third pose, I had a harder time making a clear silhouette with empty space, since everything is so compact.
I believe this low angle would show the best silhouette. Then, I could pan up and zoom out to the full body shot next. Although the left hand is hidden, it is an appropriate position for the arm to naturally rest on the knee and be turned inwards slightly, to the middle of the body.
Contrasting the previous statement, I decided to increase the negative space more and more the left arm further out. Honestly, I prefer this outcome more than the previous. On the other hand, I believe that the concept that I intended should take priority over clear silhouettes. That is if this was any more that a practice exercise.
Pose 4
Pose 5
Play blast
Rendered
Review of the outcome
- The shots could have been more dynamic.
- The last shot should either be changed or another shot should be taken of the same position and placed after it. Alterations include a closer position of the gun to the camera, with the perspective enlarged with an extreme close up, and the rest of his body should be smaller in the background in the same shot.
- The timing could be further refined.