Memories of Maya

Memories of Maya

Preface

Recall Maya's notes from junior college.

notes

Animation principle notes

Disney’s animators have accumulated animation drawing experience over a long period of time based on the principles of animation: 12 laws of motion. This is the basis for making vivid animations;

\1. Extrusion, Stretch and Squash;

\2. Anticipation of preparatory action;

\3. Staging layout;

\4. Continuous action, key action Straight ahead, pose to pose animation;

\5. Drag and follow through/ overlapping action;

\6. Slow in (Deceleration) Slow out (Acceleration);

\7. Arcs of arc movement;

\8. Secondary action;

\9. Rhythm timing;

\10. Exaggeration;

\11. Solid Drawing;

\12. Appeal;

One, gradual progress and gradual exit

Its main meaning is that when the action of an object or character starts to accelerate, there will be a buffer phase from static to fast. This period is called slow out. In contrast, when a character wants to stop from fast motion, then it also needs a process of buffering and deceleration.

This element is close to the timeliness of animation to some extent, but the timeliness of animation emphasizes the rhythm of the overall action, while slow-in and diffuse-out emphasizes the refinement of the action. When the details of the action have a slow-in and diffuse-out effect, the entire action will appear more delicate and authentic.

2. Preparation

1. Let the original movement have a greater range

2. The preparation before the action gives the audience a preview message, allowing the audience to understand and imagine the next action in advance

The emotions and information expressed by the characters in the animation must be conveyed by the audience, that is, the body language common to human beings, so that the actions of the character can bring the audience a clear "expectation", and the character has made this preparation. , The audience can speculate on his next actions. On the contrary, it is difficult to persuade the audience to project cognition on the character.

3. Follow and inertial action

1. The waving of a person’s arm while walking actually has an action-following effect, which can make the character walk more naturally and vividly.

2. The follow-up action caused by the delay of the part of the body that follows the main body's movement

If two objects A and B are connected. Then when the A object starts to move, the B object will have a certain movement lag, and the start time is slower than the A object. Similarly, when object A suddenly stops moving, object B will continue to move forward for a short distance while maintaining inertia. We call this action phenomenon the action following, which is called Curve Flow in English.

"Animator Survival Handbook" Notes

Ken Harris

1. Introduction

1. Time and spacing. Bouncy ball

2. Two extremes and three middle frames (not the middle frame); speed up and slow down

3. Three methods of making animation: do it in one go, draw key frames, and combine the two. Such as an animation of picking things up. Script-Doodle-Key-Extreme-Subdivision position-Continuous action of different parts

4. Mastery of spacing: Most actions follow an arc, usually a wave arc or a figure eight. Straight lines can express power

Second, walk

1. Walking is the process of tripping and stopping oneself in time

2. Get a sense of weight: the up and down position of the body gives a sense of weight. When the body goes down, we feel the weight.

3. Set the rhythm: generally walk 1, 4, 7, 10, 13 at a twelve grid rhythm. It is also possible to take one step with sixteen grids 1, 5, 9, 13, 17. You can also take one step with the eight grids 1, 3, 5, 7, and 9.

4. Casual footwork: arms and steps are opposite, hips and shoulders are tilted (hands are low), head tilted, body tilted (lower tilt, upper balance). (Desperate, angry, female)

5. Heels and feet (foot flat between the lower and upper positions)

3. Running, jumping and stepping

1. Set up a run with six grids

Fourth, softness

1. Subdivide intermediate frames

Five, weight

1. Use curves

Six, anticipation

1. Anticipation, action, reaction

2. Repeat actions to strengthen anticipation

Seven, dialogue

1. Segmentation. Close lips B, M, P, F, T, V; coordinate with voice

2. Emphasize

8. Performance

1. Change expression; look for contrast, action points, body language, eyes

Nine, animal movements

1. Hips upper position, chest lower position, head lower to hip lower position, chest upper position, head high; walking back and forth like a pair

10. Director

1. Simple, clear, and see everything in sight

Animation of a ball with a tail

1. Experiment purpose and requirements

Through experiments, master Disney's movement laws, understand the visual language of animation exaggerated and humorous, master the animation functions in the 3D animation software Maya, and master the animation curve editor.

2. Experimental environment

Software: Maya

Hardware: PC graphics workstation

3. Experimental content

The beating animation of the ball and the ball with tail

Four, experimental steps

1. Preparation stage

1. Set up the scene

2. Import sequence diagram

3. Set up the camera

4. Debug scenario;

2. Copy stage

1. Copy the position of the big ball; focus on recording the landing place, and the stagnation point is moderate;

2. Copy the deformation of the big ball; just jump up and set the deformation;

3. Copy the position of the ball;

4. Copy the deformation of the ball;

5. Copy the turn of the ball;

6. Copy the tail of the ball following the action;

3. Perfection stage

1. Select the star selector of the big ball, open the curve editor, select the Y axis, set the lower key frame as a straight line, center the upper key frame, and then set it as an arch bridge; select the X axis, so the key frame setting Is a straight line, and then remove the extra frames;

2. Then select the deformation at the top of the big ball, open the curve editor, select the Y axis, set all the key frames to a straight line, and then moderately reduce the deformation amplitude;

3. Perform the above operations on the ball;

4. Further improvement

1. Set up fence animation;

2. Select the tail of the ball and open the curve editor; select the X axis and fine-tune the key frame;

5. Export

1. In the view, only check, surface, polygon, subdivision surface;

2. Point the white ball with a shadow;

3. Right-click on the progress bar and select the settings of the playback preview, the format is AVI, the quality is 100, and the zoom is 1; tick save to file;

Five, experiment summary

I have gained a lot. I have a deeper understanding of the 12 motion rules of animation principles, squeeze and stretch, and follow motion; I am more proficient in the use of Maya;

to sum up

There was originally an animation of a character walking. But write so much for the time being. In the later stage, I feel more and more that I will be the same. There is 3dsmax modeling knowledge in Maya, and there is also the sense of lens mentioned in the video editing class.

There is also a lens concept in unity.

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