Thursday 22 May 2014

Dissertation conclusion

When I started the dissertation I was quite focused on making it purely animation-based, with the hope that I could scope it easily in the future. Before long it became apparent to me that although I could create 3D animations, I wasn't learning anything particularly new. On the 17th of March I officially changed my dissertation goal substantially, focusing on the entire creation process of a 3D character. including animations.

At first I was slightly skeptical of how well the new dissertation direction would go, and feared that I would run out of time. Today I have a fully rigged and textured 3D character with 4 animations of a fairly high standard, and I'm pleased with the results. I now feel confident that I could create a wide range of characters for 3D applications such as games and animations, and I also feel confident that I could animate them  too.

Although I'm pleased with the results, there are elements which I feel could have gone better. To start with, timing was a big issue, as I didn't know how long each process would take. I gave an estimated guess for my timeline and was fairly accurate, but ended up with less time to animate than I felt comfortable with. This was mainly due to all of the new research I had to do in order to rig my character.

There are also slight errors in the rigging and animations for the model which I would improve with more time. These errors include some odd stretching in the shoulders and neck, and juttery frames of animation when the cycles loop.

When working with 3D characters in the future I'm going to try to do all of the research I need before starting, instead of getting half way into the process and having to fix errors as I go. I would also like to try creating more advanced characters in the future, giving them cloth and hair with physics coupled with more advanced facial rigging for lip syncing and better facial control.

In conclusion, despite there being minor errors and complications in the creation process, I have learnt a great deal of information which I can use again in the future. I feel that the skills that I've learnt will greatly aid my search for a job within the games industry.

Bibliography

Below is a list of the sources I used throughout the dissertation. I have decided not to include the sources of individual images used, as these can be found easily by clicking on them.


"11 Second Club - Resources." 11 Second Club. N.p., n.d. Web. 21 May 2014. <http://www.11secondclub.com/resources>.

"3D Character Animator Job." 3D Character Animator Job. N.p., n.d. Web. 21 May 2014. <http://jobs.saic.com/job/Huntsville-3D-Character-Animator-Job-AL-35801/15560600/?feedId=4&utm_source=Indeed>.

"3D Rigger / Animator for Game Studio (3DS MAX)." oDesk. N.p., n.d. Web. 21 May 2014. <https://www.odesk.com/o/jobs/job/Rigger-Animator-for-Game-Studio-3DS-MAX_~01848f74674c16dfd7/>.

"3DS Max 2015 Realistic View Not Working." Autodesk Community Forums. N.p., n.d. Web. 22 May 2014. <http://forums.autodesk.com/t5/3ds-Max-3ds-Max-Design-General/3DS-Max-2015-Realistic-View-Not-Working/td-p/4997074>.




Asghar, Robert. "Powerful Body Language: Squinching And Other Hero Poses." Forbes. Forbes Magazine, n.d. Web. 20 May 2014. <http://www.forbes.com/fdc/welcome_mjx.shtml>.

Athias, Delano. "Introduction to Character Rigging in 3ds Max." 3ds Max Tutorials > Tutorial > Digital-Tutors. N.p., n.d. Web. 21 May 2014. <http://www.digitaltutors.com/tutorial/336-Introduction-to-Character-Rigging-in-3ds-Max>.

Blair, Preston. Cartoon animation. Tustin, Calif.: W. Foster Pub., 1994. Print.

"Blizzard Entertainment: Career Opportunities." Blizzard Entertainment: Career Opportunities. N.p., n.d. Web. 21 May 2014. <https://blizzard.taleo.net/careersection/2/jobdetail.ftl?job=47480>.

"CGTalk - Biped Problem! How to edit the biped COM curves... need help." CGTalk - Biped Problem! How to edit the biped COM curves... need help. N.p., n.d. Web. 21 May 2014. <http://forums.cgsociety.org/archive/index.php/t-547525.html>.

"CGTalk - How do I reset a biped to the default pose?." CGTalk - How do I reset a biped to the default pose?. N.p., n.d. Web. 21 May 2014. <http://forums.cgsociety.org/archive/index.php/t-754722.html>.

Changing Minds. "Dominant Body Language." Dominant Body Language. N.p., n.d. Web. 21 May 2014. <http://changingminds.org/techniques/body/dominant_body.html>.

Chopine, Ami. 3D art essentials the fundamentals of 3D modeling, texturing, and animation. Oxford: Focal Press, 2011. Print.

Connor, Dermot. "tutorial-2 : walk cycle." angry animator. N.p., n.d. Web. 21 May 2014. <http://www.angryanimator.com/word/2010/11/26/tutorial-2-walk-cycle/>.

"Film and TV Jobs, Commercial Production and Media Jobs – ProductionBase." ProductionBase. N.p., n.d. Web. 21 May 2014. <http://www.productionbase.co.uk/film-tv-jobs>.

Gossman, Randy. "Student Center Tutorials." Student Center Tutorials. N.p., n.d. Web. 21 May 2014. <http://www.randygossman.com/student_tut_lipsynch.html>.

Gwilliam, Jamie. "22. 3ds Max Quicktip: Animation Timeline part 1 - Jamie's Jewels." 'Jamie's Jewels'. N.p., n.d. Web. 21 May 2014. <http://jamiesjewels.typepad.com/jamies_jewels/2011/08/22-3ds-max-quicktip-animation-timeline-part-1.html>.

Haenssgen, Mirko. "Autoweight - Automatic skinning tool for 3ds Max." ScriptSpot. N.p., n.d. Web. 21 May 2014. <http://www.scriptspot.com/3ds-max/scripts/autoweight-automatic-skinning-tool-for-3ds-max>.

"Hand Modeling Tutorial." Hand Modeling Tutorial. N.p., n.d. Web. 21 May 2014. <http://www.cs.washington.edu/research/ap/tutorials/handtut/handtutorial.htm>.


Hurkadli, Anand. "Creating a Biped Walk Cycle." YouTube. YouTube, n.d. Web. 21 May 2014. <https://www.youtube.com/watch?v=KxKg0zoIvEc>.

Jackson, Lee. "WoW - 3Ds MAX tutorial for Morph Targets - Part 02." YouTube. YouTube, n.d. Web. 21 May 2014. <https://www.youtube.com/watch?v=LL6xY_SywgY>.

"Jobs in Pune on Naukri.com." Naukri.com. N.p., n.d. Web. 21 May 2014. <http://jobsearch.naukri.com/jobs-in-pune>.

"Limb Topology." LimbTopology. N.p., n.d. Web. 21 May 2014. <http://wiki.polycount.com/LimbTopology>.

Lin, Nash. "Bouncing Ball Animation Tutorial with Maya 1/8 - Basic Maya and Rig usage." YouTube. YouTube, n.d. Web. 21 May 2014. <https://www.youtube.com/watch?v=hdQdhDvDt6o&feature=youtu.be>.

"Love." Pinterest. N.p., n.d. Web. 21 May 2014. <http://gb.pinterest.com/pin/472737292105907545/>.


Marshall, Justin. "Creating Cartoon Characters in 3ds Max." 3ds Max Tutorials > Tutorial > Digital-Tutors. N.p., n.d. Web. 21 May 2014. <http://www.digitaltutors.com/tutorial/3581-Creating-Cartoon-Characters-in-3ds-Max>.

Marshall, Justin. "Modeling a Character for Animation in 3ds Max." 3ds Max Tutorials > Tutorial > Digital-Tutors. N.p., n.d. Web. 21 May 2014. <http://www.digitaltutors.com/tutorial/227-Modeling-a-Character-for-Animation-in-3ds-Max>.

"Maya Getting Started." Maya Getting Started. N.p., n.d. Web. 21 May 2014. <http://download.autodesk.com/us/maya/Maya_2014_GettingStarted/index.html>.

"Mixamo: Production-quality 3d character animation in seconds." 3D Animation Online Services, 3D Characters, and Character Rigging. N.p., n.d. Web. 21 May 2014. <https://www.mixamo.com>.


"Okino PolyTrans and NuGraf" Okino PolyTrans and NuGraf, Professional 3D Translation/Translator and Conversion/Converter Software for CAD, NURBS, Skinning, DCC and Animation. N.p., n.d. Web. 21 May 2014. <http://www.okino.com/default.htm>.

Pardew, Les. Character emotion in 2d and 3d animation. Boston, MA: Thomson Course Technology, 2008. Print.

Pickton, Mike. "Rigging a game character using Biped and Skin in 3ds max." YouTube. N.p., n.d. Web. 21 May 2014. <http://youtu.be/fpU1yqsT8_A>.

"Pinterest." Pinterest. N.p., n.d. Web. 21 May 2014. <http://gb.pinterest.com/search/pins/?q=facial%20topology>.

Pixar. "luxo jr..avi." YouTube. YouTube, n.d. Web. 21 May 2014. <https://www.youtube.com/watch?v=Xo_8g9wpoQc>.

Saranga, Dan. "Male Cartoon Character." The-Blueprints.com. N.p., n.d. Web. 21 May 2014. <http://www.the-blueprints.com/blueprints/humans/humans/34029/view/male_cartoon_character/>.


"Thread: 3DS Max - Having trouble with possible correupted UVs." Tech Artists Forums RSS. N.p., n.d. Web. 22 May 2014. <http://tech-artists.org/forum/showthread.php?4740-3DS-Max-Having-trouble-with-possible-correupted-UVs&p=24702#post24702>.

"Thread: [3ds Max 2013] - Biped Workbench/Curve Editor Advice." Tech Artists Forums RSS. N.p., n.d. Web. 21 May 2014. <http://tech-artists.org/forum/showthread.php?4354-3ds-Max-2013-Biped-Workbench-Curve-Editor-Advice>.


Vanderwood, Jacquelin. "Cartoony Eye Setup in 3DSMAX." Cartoony Eye Setup in 3DSMAX. N.p., n.d. Web. 21 May 2014. <http://at3dhelp.tripod.com/ayes.htm>.

Walker, Drake. "Face Topology [Breakdown Guide] - Polycount Forum." Polycount Forum RSS. N.p., n.d. Web. 21 May 2014. <http://www.polycount.com/forum/showthread.php?t=80005>.


Williams, Richard. The animator's survival kit. London: Faber, 2001. Print.


Wiser, Jason. "Jason Wiser's Madwomb.com Tutorials: 3ds max Biped Rigging." Jason Wiser's Madwomb.com Tutorials: 3ds max Biped Rigging. N.p., n.d. Web. 21 May 2014. <http://www.madwomb.com/tutorials/jasonwiser_tutorial_maxRigging01.html>.

Juttering problem partially fixed

Whilst looking for a solution to the problem I encounter in my blog post about run cycles, I found an Autodesk help document about time configuration. The document goes through the progress of shortening an animation, and notes that sub-frame animation should be used. Instead of being based on frames, sub-frame animation works by positioning frames as timestamps instead. Instead of setting a frame on frame 42, for example, it would be set at 00:03 in.

Using this is apparently better for re-scaling animations as you don't lose frames in the process. I tried turning it on and adjusting my animation to get rid of the jutters, but even after my efforts, the problem was still arising. I also read a document on frame snapping and tried to adjust the timeline to make it more seamless, as you can see below. Although I think this helped slightly, I can still notice the animation juttering as it loops.


Problem when moving scenes

On the 16th of May I encountered a problem with my scene files in 3DS Max, but decided not to blog about it until it was resolved. When I transferred the 3DS scene files from my laptop onto my desktop, I found that the mesh was showing up at grey, whilst when I applied the same material to any other object it appeared normal. However, when I rendered the scene, everything appeared normal; see the image below for an example.



After searching online I couldn't find an answer, so I decided to create a forum post on Tech-Artists forums. After trying out the help suggested to me, I found that none of them seemed to work. Their advise did, however, lead me to a forum post dealing with a somewhat similar subject. In the end, it appeared to be an error with their graphics card, and I theorised that this could be the problem with mine too. After installing 3DS Max 2015 it suddenly works fine, so I'm going to use that from now on.

Wednesday 21 May 2014

Walk Cycle - Part 3

Whilst creating the run cycle I had to move the arms backwards along the timeline in order to sync them with the legs, and I realised that this also needed to be done with the walk cycle. Doing this made the foot positioning become off-set, so that was fixed, along with the hip movement.



Notice that half way through the video the animation judders slightly, which is exactly the same problem I've been having with the run cycle. I believe this might be due to re-scaling the timeline, so I will look closer into it later to find a work-around.

Crouch cycle - Part 1

Whilst researching ways to make my character crouch I didn't come across a lot of results, nor had I read anything about crouching in the past. I therefore started by thinking about the kind of pose I wanted him to crouch into, and found images of Lara Croft and Superman crouching, as I see them as powerful characters. The kind of pose I wanted to create involved having one hand on the ground with one knee in the air.



In order to get an idea of how a normal person would get into this pose, I decided to film myself doing it in slow motion. I filmed once from the side and once from the front, as this would give me a good idea of limb positions.



This animation was different than the others, in that the foot positioning was affected on a world axis rather than locally, so the feet would stay planted in place as he moves. I actually found that this made it easier to animate because I didn't have to rely on copying and pasting poses into new positions, but rather making it on-the-fly.



I felt that there were three major issues with the crouching animation at this point:
  • The arm movement wasn't very smooth, and it made them look quite robotic.
  • There was a point as he stood up where he wouldn't be able to balance in reality.
  • The skinning on the neck was broken.
The arm movement was simple to fix, as it just involved smoothing out the curves in the graph editor even more and giving them a wider arc as he got up. To make his balance better as he stood up, I moved the position of his left foot forwards and delayed his back-stride until he was fully upright.

The skinning on the neck was the hardest fix, as I didn't want to adjust it for one specific animation, and then have it look unnatural on other animations. In the end I adjusted the vertex weighting to make it look good, and then tilted the spine back slightly to perfect it.



I also decided to raise his eyebrows as he crouches, giving him a better view ahead, and also made him blink as he goes down.

Tuesday 20 May 2014

Submission plans

Now that I'm only 3 days away from the 23rd May submission for my dissertation, I have a short-term plan to get everything finished to a polished standard. Today I'm going to create a crouching animation for the character, where he will simply kneel down on one knee and then stand up again. Tomorrow, I'm going to polish the animations and then attempt to create transitional animations between the different cycles, for better use within a game engine such as Unity.

Once all of the animations are completed I will render out footage from each and compile them into one showreel which I will submit alongside my blog and 3DS Max files. I may try to import the character into Unity and make it playable, but this isn't essential. For the blog itself I plan to publish a 'Bibliography' post containing a list of content I've referenced. Alongside the bibliography, I want to publish a short post which will refer to the most essential blog entries throughout my dissertation, so that any vital information isn't missed during marking.

Run cycle - Part 1

I can think of many ways to animate my character running, but I think it's important to think about his personality and the reason why he'd be running. Although my character has a lot of muscles in his arms from vigorous workouts, I don't think he'd be into cardio exercises as much. If he was running, it'd be purely because he urgently had to get somewhere and for no other reason; he would otherwise walk everywhere with his pride intact. Because of this, I decided to make it a slightly slow run with heavy impacts as he lands.

Once again using my blog post on The Animator's Survival Guide, I familiarised myself with the basic poses needed for a run. Similar to the walk, there are 4 main poses for a run: contact, down, passing and up. I decided to try going for a cartoony run cycle, and found a PDF of Animation' by Preston Blair, which goes into detail about different animation cycles. I found the image below to be a useful starting point, as it outlines the key poses for animation.


After applying the key frames to my first animation trial, I decided that I didn't like the result. I'd made the character lean backwards in order to create the effect that his legs were moving faster than his body, but it ended up looking too strange as the balance would be way off.



After the failure of my first run, I decided to go for a more realistic approach. To start, I looked at an example image from The Animator's Survival Guide which shows a simple run cycle. From there I took a video of myself running in slow motion with over-exaggerated arm and leg movements in order to get an idea of timing.



After plotting out all of the key poses and fixing the curves in the Biped Workbench, I was quite pleased with how the run cycle was looking.



From there, I made the following changes in order to make it more realistic and appealing:
  • Moved the hips left and right with each step, tilting the torso and neck to compensate balance.
  • Gave the arms and legs more impact on the down pose.
  • Moved the arm swinging back 5 frames of animation to get them in time with the legs.
  • Converted the feet from normal keys to sliding keys, and made them move at a consistent speed.


The last problem with my run cycle which I still haven't been able to fix is slowdown in the arms when the animation loops. At first I assumed that it was a simple mistake with the graph editor, but on closer inspection, I found that it was all fairly smooth. You can see a video of the problem and a screenshot of the graph editor below, which show the problem in slow motion. I'll update my blog if I find a solution or work-around for the problem.



Saturday 17 May 2014

Walk cycle - Part 2

For the walk cycle, there were three major problems which made the animation look unrealistic:

  • First of all, the feet weren't flat on the ground and shifted up and down as they ran along the floor.
  • Secondly, the feet moved back at an inconsistent speed; this would look terrible in a game engine as it would look as if he was sliding along the ground.
  • The third big problem was actually to do with the chest, as the big 'X' printed on his suit was stretching strangely with each step; this was because the vertex weights going down the chest were not smooth enough.
In order to make the feet stay flat on the ground I completely re-did the leg movements using sliding keys. As I said at the end of my last walk cycle blog post, sliding keys set the affected body part(s) to have IK handles instead of FK handles. I go into more detail on the importance of FK and IK in a previous blog post.

To get the speed of the foot movement current, I used the 'Pos Curve' dropdown to make the Y axis as straight as possible as the foot slides across the floor; I then gave it a smooth curve as it lifts back in front of him.



Fixing the chest was easy, as it only required me to select loops of vertices around his waist and then change their weights to give a smoother gradient between the chest and torso.



See the current walk cycle in motion below, alongside a comparison with the old one. Although the changes might appear subtle, they make a big difference to the animation as a whole. You might also note that I doubled the length of the new walk cycle in order to make him blink every 8th step, and also flared his nostrils in and out to make him breath.


Friday 16 May 2014

Idle pose - Part 1

Continuing on from the theme from the walk cycle, I wanted to make the idle pose powerful. For this, I did some research into dominant body language, and found  an article on Changing Minds which provides a good starting point. Giving off dominant body language mainly involves open stances, which take up as much space as possible. It can also be done by doing the following things:
  • Making the body as high as possible to give attack advantage.
  • Putting hands on hips, as it makes the elbows go wide and make the body seem larger.
  • Putting the chin up and thrusting the chest out.
  • Placing legs apart to increase the size taken up.
  • Using prolonged, unblinking eye contact.
See the image of Wonder Woman from Forbes on the right, as it gives a good example of a dominant stance.

For my animation I followed all of the above advice, and then made him rock from one foot to another, as if he was waiting for something to happen. I did this because if it was imported into a game engine it would look more natural, as if waiting for the player's input.

Creating the idle animation was quite easy, as it didn't involve any foot movement. In order to get the feet to stay in place, I used Planted keyframes in the biped menu; this made a big difference from the walk cycle. From there, I set the key poses at frames 50, 100, 150 and 200. After these key frames were set, I smoothed out the curves in the biped Workbench.

Although the animation was looking good at this point, I decided that I needed to add some flare to it to make it interesting. I started by using my Face Morpher to flare his nose in and out, to look as if he was breathing. From there, I made his eyes squint a little bit as he scratched his nose and flared his nostrils even more as he did this. I then made him look left to right and then back again through the timeline, as if he was scouting the area; to add to this, I gave the head a subtle rotation to follow the eyes.

Walk cycle - Part 1

To get a starting point for my walk cycle I decided to look back at my blog post about chapter two of The Animator's Survival Guide. In this post I went through many different types of walk cycles and how to block out the key poses.

There are 5 key poses to block out at the start: down, passing, up, and contact positions. The down and up positions are key for giving the character a sense of weight and mass.




Getting the hips and shoulders rotating along with the legs are important for portraying balance in the walk. As I'm animating a cartoony character, I plan to emphasise these rotations to give him more personality.





I decided from the start that I wanted to give my character a powerful, dominating walk cycle as he's supposed to be either a villain or an anti-hero. Whilst searching for 'powerful walk' on Pinterest for reference images, I was bombarded with images of power-walkers (of course). Even though this wasn't what I was searching for, I noticed that the way the elbows stay bent with each stride actually made them look more powerful and determined. I also found an online walk cycle tutorial by Dermot O Connor where he creates a 2D walk cycle which is somewhat similar to the one I want to create.



When starting my own animation, I ran into a problem. I already had a biped animation set to test the rig, and didn't know how to delete it to start afresh. After discovering a forum post about it, I found that there is a button which deletes all of the animation. My second problem was that I needed a quick and easy way to select just the biped without having to hide everything else. After finding an Autodesk help document about Layers in Max, I remembered that I'd already set a dedicated layer for my biped when I made it.

Before starting the walk cycle, I first had to understand how to animate a biped in 3DS Max. I began by watching a YouTube video by Anand Hurkadli which goes through a very simplified method of animation. The method involves posing the biped into the key poses described above, copying them, and then pasting them to the opposite side of the biped to create a simple animation quickly.

After trying this method to start my animation it came out quite clunky, and it looked as if he was floating on air (see video below). This was because I had not yet used the curve editor, nor had I moved the body up and down to simulate weight.



Using a post on the tech-artist forums, I learnt how to use the curve editors for bipeds in 3DS Max. They're similar to the curve editors in Maya, except they have one very annoying limitation; you're forced to change the individual axis points as a group, rather than by themselves. This means that if the rotation of a bone used stepped curves, the positioning would also have to use stepped curves.

With a biped it's quite hard to change the height of the body as a whole, as you can't move the hip bones separately. This problem had me stuck for an hour whilst I tried to find an answer myself,  and in the end I had to find a forum post on CG-Society which talks about moving the COM curves on the biped. It was a simple toggle which changed the COM from rotation to position curves.



After finishing editing the curve editor, it became apparent that the animation was running too slowly. I found a small tutorial by Jamie Gwilliam which showed a quick and easy method to speed up the animation timeline.



Although the animation isn't finished yet, I'm going to make basic versions of a couple of the other animations before polishing it. You can see the latest version of the walk cycle below. The next step, for example, is to re-do the feet using sliding keys and planted keys, which I will write about in my next walk cycle blog.

Monday 12 May 2014

Animations and timeline progress

I have spent two days looking into methods to convert my rig (built in 3DS Max) to a Maya document for animating. The only method I've found to do it which doesn't involve re-rigging the entire model is called Okino Software PolyTrans. The software allows one to easily convert a 3DS Max file to a variety of different formats.

The problem with it is that it costs a hefty sum of $395 (or £234), which for my purposes does not seem suitable.



Instead, I will have to animate the rig in 3DS Max, which has animation tools that are fairly similar to Maya. On a similar note, I am running at least a week behind my timeline, with little time left to complete the animations. Because of this, I am considering having slightly more emphasis on the character creation process (modelling, texturing and rigging) alongside the animations. I am still hopeful that everything I've learnt about animating characters will help me create some very attractive and expressive cycles, but I am also proud of the work I have done thus far with my character.

Saturday 10 May 2014

Finished rigging!

After some more adjustments to the vertex weighting today, the rigging is finally completed. I will now try importing the rig into a Maya and then start animating from there using my research about animation.


Friday 9 May 2014

Creating the facial morph

After following the tutorials I created 8 expressions for the face, although I probably won't include the last one  as it didn't turn out very well. These took around 3 hours to create, and most of that time was spent moving the mouth around; because of this, I decided that I wouldn't create the phonetic lip syncing as it would take too much time. If I plan to use my rig in a longer animation after my dissertation, I may come back and add these.



With the Morpher modifier applied to the face I can now use multiple morph targets simultaneously, as you can see below.



Following from section 36 of a tutorial called 'Cartoony Eye Setup', I created Look-At targets for my eyes to follow. Each eye can move individually, pointing at the small green cubes you see below; they can also be moved as one using the big white cube around them.



I finished off the rig by attaching the head to the biped and skinning it so that the neck bends in a realistic way. Unfortunately, because the model is so dense there are some extreme rotations that begin to deform the neck, but these are not encountered during natural animation.


Researching and creating the biped rig - Part 4

With the body completed, the next step is adding facial morphs. I started by reading the official help document for the Morpher Modifier in 3DS Max. The modifier works by allowing you to create multiple expressions for the face, and then it creates toggles that you can use to automatically morph the face into those positions. As well as expressions, you  can use facial morph to set up lip syncing, creating morphs for different mouth shapes.

In order to get a better idea of the process in action, I watched a tutorial video by Lee Jackson on YouTube, which runs through a very basic set of facial morphs. In the video, he suggests that you should do the different parts of the face separately, so that the morphs become modular and can be used simultaneously.



Although I was slightly tempted to try rigging the whole face manually, I feel that using facial morphs is quicker and easier than attempting to create individual bones and skinning the face manually.

I plan to make facial morphs for the following expressions:
  • Raised eyebrows
  • Furrowed eyebrows
  • Left eye blink
  • Right eye blink
  • Flared nostrils
  • Smiling mouth
  • Grinning mouth
  • Frowning mouth

For the lip syncing, the Autodesk help document suggests creating faces for the following:
  • A, I
  • E
  • F, V
  • C, D, G, J, K, N, S, T, Y, Z
  • L, T
  • O
  • U
  • W, Q
  • M, B, P

Instead of using letters, I feel that creating faces based off phonetic sounds (such as Oo, Sh, and Uh) makes more sense, as this is how go about doing lip syncing for my 2D animations. To help me visualise the faces, I found a very useful lip syncing tutorial by John Randall Gossman. Although the tutorial is made to help with traditional, 2D animation, he still provides a very useful chart of phonetic face poses on a cartoon character that I can use as a reference. He also shows how the faces should be placed along a timeline with an example audio clip. 


Thursday 8 May 2014

Researching and creating the biped rig - Part 3

Continuing down Jason Wiser's rigging tutorial, I applied a Skin modifier to my mesh and added all of the correct bones to it. After that, I modified each envelope to give a rough idea of how each bone should influence the points on my mesh.

Looking at the image below, you can see that the red areas have a high influence over the bone whilst the blue areas have a low influence.



The main issue with using purely envelopes is that there are always areas where the vertices get squashed into strange formations. To fix these, you have to manually adjust the weights of vertices, deciding how much influence the surrounding bones should have on them. I learnt how the Weight Table worked in 3DS Max by reading through the official documents for them on the Autodesk website. Looking at the weight table below, you can see that the vertex selected has 40% influence from the forearm and 60% influence from the upper arm.



The first area I fixed was the elbow joints, where the arm gets squashed when bent. I previously wrote about how to build the joints so that they clip through each other when bent, and this was done here by making sure the vertices along the joint have at least 90% influence from their respective arms.



The same thing was done with the shoulder, making sure that there is a clean seam along the clipped joint.



The knees were badly deformed from the envelopes, with most of the vertices influenced too greatly from the upper leg. Doing the same as the elbows, the two loops that run across the knee were given 50% influence from each leg, creating a perfect bend.



To test the torso I added an extra section to my animation which rotates the three spine joints to one side, twisting the mesh. I found that the weights weren't perfect and smoothed them out accordingly.



I then fixed all of the other parts of the body, such as the feet and neck, making sure everything deforms correctly. 



Researching and creating the biped rig - Part 2

Sorry for the week-long delay from blogger, but I've been struggling with getting the skin correct on the model, and it's still a work in progress.

Given that there were only 3 weeks left to get everything finished, I decided to research into ways to make the skinning process faster; my search revealed a script for 3DS Max called Autoweight by Kogen. This tool technically makes skinning faster, by allowing you to set up the areas on the mesh that the bones will influence, and then letting the software do the rest for you.

Before starting I watched two videos from the creator of Autoweight, which overall give a brief tutorial of the tool. He made it seem quite simple and straight-forward.






Trying it myself, I specified the areas where I wanted it to affect the bones, creating the colourful image you see below.



The problem arose when I started modifying the influence each bone had on the areas. I noticed that a lot of the coloured areas I specified were not actually linked to the bones, and that the script was ignoring them. For example, on the image below one of the fingers was linked to a loop of vertices around the wrist.



Although I've summed up the issue quickly, it happened to me on 4 different attempts, all giving similar problems. After looking through the forums and doing various Google searches, I couldn't find a solution, nor any examples of it happening to other people. Because of this I decided to stick to a more tradition method, using envelopes that are built into 3DS Max.

Thursday 1 May 2014

Researching and creating the biped rig - Part 1

I chose to rig using a biped as I felt it would be quicker and easier than creating all of the bones myself. As my character is a basic humanoid a biped works well, but if I were making any other creature I would use a different method.

Before creating my own biped, I read through an informative text tutorial by Jason Wiser, which goes into a lot of detail about the key stages of rigging. Although I found the tutorial extremely useful for the most part, there are areas where I find that visual examples are needed to get a good understanding. For that, I watched through a 40 minute rigging tutorial by Mike Pickton, which gives a basic demonstration of the rigging process.

I will provide blog updates as I rig my mesh and give a brief explanation of things I've learnt at every step.





1. Preparing the mesh

  • It's suggested that the character should be created in a T-pose with palms down and fingers somewhat spread, so that the the skinning envelopes don't grab the wrong vertices. As I plan to add Morpher facial animation, I detached the head from the body before I began.

  • Organisation is important for finding certain parts of the body or bones, so I've labelled every part of my model with the prefix 'Larthur_', followed by a suffix such as 'EyeR' or 'EyeL'. Organisation is also paramount when working in teams where other people will be using your model, as it allows them to easily find what they're looking for.

  • Scaling the model is vital to do it before adding the biped because once a model is fully skinned/rigged it's difficult to re-size everything accurately, as I learnt the heard way. After doing some basic skinning on a test biped, I'd realised that my model was around 21' in height, and I had to re-do it from the start at a more appropriate 6'7" height.

  • Lastly, it's good to make sure that the character is in the right position before adding the biped. The feet should be on the "ground" plane (0,0), and the centre of the shoulder and ankles should be aligned with the Z-line.



2. Creating and setting a biped

  • Creating the biped can be done from the Create/System, and should be aligned to (0.0) at the mesh's feet. The different parts of the biped are automatically named in a logical way, but should be added to a new "biped" layer in the Layers Manager.

  • To start scaling the bones in the biped, Figure Mode has to be turned on under the Motion panel. Under the Structure rolldown I changed the number of fingers and finger links to match my mesh, and only gave it 1 toe as the mesh is wearing shoes.

  • The rest of the body is positioned to match up with the mesh, with 3 segments along the spine for accurate bending. The arm joint stays quite deep inside the shoulder mesh so that the armpit crease looks good when animated.


3. Biped animation
  • It's good to set up an animation for the biped before skinning, because it means you can play it as you skin and see how the mesh deforms. To animate the biped you first have to go out of figure mode, and then animate it in the same way you would animate a finished rig. 

  • Although the tutorial suggests using a walk cycle as the animation, I decided to follow the YouTube video and create an animation which tests the movement and rotation of each individual body part; this was so that I could test each limb to the limits of its movement.

  • To animate using IK controls you can move the hands or feet, and to animate using FK controls you can move the legs and arms.

  • Although the Auto Key button works the same for bipeds as it does for other animation, if you want to set an individual key at a specific point you have to use the red "Set Key" circle in the Character Studio Motion panel.

Tuesday 29 April 2014

Finished topology

After following the advice I talked about in my last blog post, I've now made all of the changes to my character topology and I'm now ready to rig the model. I'm running almost a week behind schedule, but as long as I can get the rigging done fairly swiftly, I should still get everything finished in time.


New Limbs

The new elbow and knee joints were made using the first example on the below image by Ben Mathis.



The elbow joint is small so that it fits between the upper arm and forearm, but should still bend smoothly. If I find that it's too small and causes problems after being rigged, I can deform the arm a little to make it work properly.



The knees are made in the same way, but are wider and shaped to look like real knees. Once again though, they can be changed if the bending distorts them.



New Shoulder

I tried new, complex geometry for the shoulder, but found that I'd left it too late; every time I tried re-creating the chest, I couldn't make it fit correctly. Instead, I decided to go for the more simplistic cylindrical method (or bendy-straw method), and tidied up the chest so that it fits.

As for the stomach and pelvis, I felt that they didn't need to be changed in order to move correctly.



New Face

The face had the biggest re-haul in topology and took me a few hours to get it how I wanted it. The main changes revolve around the eyes, as they now have smooth rings of polygons going around them. I've also tried to limit the amount of triangles used so that any deformation works well. Unfortunately I had to lose some detail in the upper nose, but I don't feel that it's too noticeable.

Saturday 26 April 2014

Researching how to improve my topology

Now that I have my basic model finished, and before I rig it, I need to make sure that it's ready for the deformation that will happen when it's animated; this is absolutely crucial for any usable model within games or animations.

The Polycount Wiki is the site which is most referred to online, as it offers a great variety of tutorials and advice from both professionals and hobbyists. Specifically, the posts about topology for limbs, faces, shoulders and the general body are useful to me.

I don't feel I have the time to spend too long correcting the topology of my model, as my focus is mainly on the character animations, but I will at least get the crucial features for rigging finished. In hindsight, I should have done more research into these individual areas of topology before I started modelling my character, but it still shouldn't slow down my production timeline too much.


Limb Topology

The page on limb topology is the most important to me, as the arms and legs of my character have to move fluidly to make the animations look professional.

Firstly, the joints at the knees and elbows should be modelled so that they can easily collapse when bent, and look natural doing so. With the current limb topology on my mesh, the joints would become distorted when bent.



Secondly, the weights on the joints whilst skinning should be similar to the diagram below. The top bone shouldn't have 100% control over the top vertices, as that would create jagged, unnatural movement; instead, there should be a little bit of leeway for the bottom bone.



Shoulder Topology

For me, the second most important topology to correct on my model is the shoulder. After reading all of the posts from the Polycount Wiki, it's clear that the way I've done my shoulder won't work perfectly when I rig my model. I will try using the more complicated method of shoulder topology which is shown below, but if I find it's taking too long I will try the 'deformed cylinder' method.

In his video on shoulder topology, Jonathan Williamson runs through all of the loops that should go around a shoulder model. A lot of them follow the anatomy of muscles in a real shoulder, which creates a more realistic effect when moved around during animation.



On the diagram below, the first model has topology which has good muscle formation, but is harder to unwrap and doesn't bend as well. The bottom model shows the deformed-cylinder topology which is easy to weight and unwrap, but doesn't look as anatomically correct.



Body Topology

I am fairly happy with the correct topology of my characters body, but it will need adjusting to fit in the new shoulder topology, so it makes sense to make any vital corrections where I can.

Because the shoulder and chest have to fit together perfectly, I decided to watch the other video by Jonathan Williamson which talks about all of the loops on the chest. Although the diagram below makes it look complicated, the topology for the chest is all logical, and it already looks similar to my own character.



As you can see from the image below, the body topology can be done in a variety of different ways, and the model from Spy Hunter uses very simple top logy on the chest and legs. In a similar way to the shoulder, if I don't have the time to create complicated topology for the chest, it should work fine as it is.



Face Topology

For me, the facial topology of my model is the least important aspect to correct, as I may not have time to implement facial rigging and animation.

For advice on facial topology I followed an informative forum post by a user named Del. In a similar way to the video on shoulder anatomy, Del explains all of the different loops he uses on faces and why they're so important. I found that my character already has a lot of these loops, but for better facial animation I could still try improving it.



For more examples of cartoony facial topology, I found that Pinterest has a huge amount of user-created images that I can use as reference. Although a lot of them are for animations where the poly-count doesn't matter as much, there are also images which provide extremely useful insight into game character creation. I may consider uploading my own work once the dissertation is completed.