(I don’t like how his left arm moves - we’ll fix it tomorrow)
What next?
Plan:
1st step.
As you can see, the draft constucted from the circles, boxes and cylindres. To make more clear presentationof motion I suggest to make draft animation of this figures in synfig. Something similar I did for the “eyes” animation:
But this stage could be skipped.
2nd step.
We are drawing all 6 keyframes in detail in GIMP. (lines/colors/shadows)
3rd step.
Final animation done in synfig based on the 6 drawn keyframes.
Cool! the proposed workflow seems quite efficient to me to obtain the more accurate results.
I have two comments:
That’s the reason I asked for a lateral run cycle. Even in this case I see the need of a top run cycle to understand the movements of the arms and the legs. AS you can imagine the poses are opposite but symmetrical. That’s the cause you don’t like his left arm movement. The theoretical top and side view positions of the arms should be the same for the left than for the right ones.
Looking to Morevna’s face I can see that there is a little “bounce effect” on her eyes contour when she returns to the frontal look. It is due to the use of smooth interpolation between two adjacent poses. You should use linear to keep the shapes in a static position (like you did with the eyeballs that are correctly moved.
Should I wait for left arm correction or can I proceed with step #1?
To say honestly, when we begun drawing this the first try was to implement it in a side view. But soon we ended up representing character with boxes, circles and cylendres - it gave us better result. Anyway, now creating a side wview wouldn’t be much pain.
Yeah, thank you, I’ve noticed that too. But in final animation it wasn’t so obvious, so I left it as is for now. Also I have a special trick with setting interpolation for hairs in animation draft.
Notice, what all vertices of hairs should have interpolation TCB except those what attached to the head directly. They should have linear interpolation. It was hard to select them every time from list and set their interpolation one by one at every keyframe. Then I created a special bline (yes, the red one) and linked all it’s vertices with all vertices of hairs which should have linear interpolation. After that, if I wanted to set linear interpolation to those vertices I just needed to set linear interpolation to the whole helper bline. That was much simplier.
You could safely proceed with first three keyframes. 4th will be changed - e plan to fix it today. Maybe changes will affect frames 5th and 6th keyframes, but not sure.
Here’s the tuned run cycle, with the view from top:
Keyframes are in the attached xcf file, saved as layers: animatic-12-keyframes.xcf.zip (191 KB)
Sorry for delay…
Good improvements Zelgais! I like very much the head improvement
Regardint to your last update it seems that you have lost the left leg Z depth a bit.
I’m impatience to see the full drawing coloured keyframes. I wold like to work on the shape and composition design of the final model. It would be interesting how to solve some of the variations of perspective of the moving parts during movements. Specially the hands
Cool! I glad it is interesting for you! I’ll kick my artists to draw over this animatic after it will be finished. But it might take some time cause’ I planning to send all drawings to Moldova for approval and critique before dropping them to animation process.
To help us with the drawing and animation process ByeZif kindly provided a 3D character doodle with fully adjusted bones and IK. morevna.blend.zip (176 KB)
Thanks to Neverova Natalya, now we have animatique for scene 04 (motion and timing should be a bit fixed but we already can begun to animate this scene in synfig). 04.tar.gz (529 KB)
Keyframe for scene 01 is ready. Animatique is also included. We proceed with tracing character in synfig. Background needed. 01.tar.gz (47.8 KB)
While I’ll be out, you could take care about scene 01 or scene 04, if you like - they are not assigned to anyone.
Scene 01 just needs to be traced in synfig. Character is not moving, so you don’t need to look back to animation.
Scene 04 is more simple for drawing, but more complex for animation.
Don’t care about the colors too much - I have a special approach for managing color palette consistent across the movie. Will describe it when I return.
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