Here I go:

I need approval for this motion draft to continue with the real challenge.
This is the interpretation of the scenes I’ve done:

**Still slow movement (begin turn)
Eye blink
*Beging fear
Fearest point
*Fearest point (still)
*Very sad

  • Original keyframes
    ** Added keyframe

Notice that I’ve added an eyeblink and some secondary movement on the hair. Also ears and open mouth helps on the keyframes.
I hope you all like it :slight_smile:
Now let’s see how the hell I put those shapes around! he he :smiley:

EDIT: Hmmm now that I’ve seen the scene so many times I think that I’ve not interpreted fine the situation:
“She start to turn trying to make a quick sword movement and to fear the enemy, then she get surprised/sad when she see Ivan on the floor.”
The keyframe #2 confused me a lot because she looks so candy there so It doesn’t look like a fight scene.
Can you confirm what’s the current interpretation Zelgadis?
I’m sorry if I’m because I only found the storyboard and didn’t read other document.

As I see, I was incomplete with my instructions. As usual. Forgive me.

I want a continuous, almost uniform motion in this scene from start to end. Like slow-mo. Like we slowly flying towards the Morevna, and she turns to us at the same time.

Basing on 4 keyframes I try to describe them:

  1. Morevna notices with the border-sight what something happened behind her.
  2. She is starting to turn. It’s ok, what she looks candy at the middle of the fight, she sure what she has powers to blow all that soldiers away. It looks like a game for her.
  3. She see enemy near. She looks angry, ready to hit.
  4. It’s too late! Enemy is too close! And most importantly - she see Ivan on the ground! That’s the real fearest point. Because something happen what she’s not expected. She is unable to dodge, hit enemy and protect Ivan at the same time!

I think we don’t need eye blink in this scene.

Dont’ worry. I’ve enjoyed doing it a lot!

I’ve reviewed the waypoints of your original image keyframes and they looked like if there where a still in the keyframe 1 to keyframe 2. Also the hill in the transition from the duplicated waypoint of keyframe 1 to keyframe 2 looks to me very quick, so I understood that it was a quick turn.
ALSO, it is easier to me (less work) to do a quick head turn from KF1 to KF2 because my laziness :wink:
“Like slow motion”. It is hard to do. Do it in slow motion without knowing how much time would it takes really in original motion speed is very diffciult. Slow motion shows lots of details to the public and every mistake is noticed. Also timing (as I mentioned) is difficult to achieve.

I don’t want to change your mind on this scene but consider this new scene description:

  1. Morevna notices with the border-sight that there are soldiers behind her. Slow motion.
  2. Initiate quick turn. This is a intermediate keyframe (breakdown one) anticipating the number 3. Crouching and closing eyes, maybe.
  3. She does a quick turn- sword - movement to ride the soldiers (and she defeated them). She shows an aggresive face (in the current shot it is a surprise one)
  4. When she realize that Ivan is at the ground with the soldier’s foot over him she gets very sad.

Ok, Easy to solve.

Of course you’re de Director :slight_smile:

Well I used that waypoints to hold every keyframe still a little bit on screen. Then they more smoothly flow one into another and shows idea of the motion. It’s not a direct reference for keyframes in animation.

Well, I used to think what the technical arguments shouldn’t have much impact on creative side. If you really want to achieve something, then you will achieve it. :wink:

I made a corrections to motion draft: … bbd1e6dbef
To achieve slow-mo effect I set TCB on keyframes. Notice, I used link-to-bline to link eyes to the guidelines.

The hairs is a different story. They are secondary objects because they are depend from head motion. So they should be animated after head animatic will be settled. And they should be always delayed.
Here’s my steps to animate hairs:

  1. Set their position at each keyframe as if they are hard and solid, non-fluid.
  2. Make another layer with hairs, but end of each lock should be where the same lock is on previous keyframe.
    Then I hiding the first layer and use second layer as motion directive.

Ok, here it is. It needs some refining of the keyframes but I’m not a good at drawing so maybe you can correct them a bit.
The source is in git, as usual.

Woa! I just want to say that this animation looks very cool. Keep up the good work!

Nice one genete! Might want to take a closer look at her right iris (stage left). Looks like it gets a little small halfway through?

What can I say? I even not expected what with such dirty drafts could be produced such good looking animation! Cool! The first results are very impressive!

Yes, absolutely right. It has to be corrected.

@nikitakit: all the merit is for Zelgadis who draw the keyframes nicely. Also I picked up all the head parts form the “Look to my bright eyes shot” from Zelgadis, so nothing I draw by my self.

@Zelgadis: nah! it needs lots of cleaning.


Hairs animatic and keyframes:

My little solution on back hair movement:
hairs-back-bottom.sifz (6.52 KB)

This is how I interpreted the lower back and close head hair:
The sources are in git as usual.

Need to add a line on the green shape connecting cyan and yellow shapes (on the top) to close the hairs


Time for shade keyframes?