Character Animation

Blocking Second Pass (part 2)
I have taken the second part of the sequence through the same process I described below. This time however I filmed some reference footage for the first shot because I was not happy with the blocking. I recorded myself repeating the dialogue several times on my webcam until I got a few interesting gestures. I especially wanted to get rid of the "For Me..." gesture where he put his hand on his chest. That just seemed too obvious and in fact when I acted it out, that was the last thing I would do when saying those words.

In fact it still needs some tweaking because I haven't captured the second part of that gesture properly, but this is looking much better and more interesting than before. Now I could do with some feedback before taking it further.
Next Installment: Splined

Character Animation

Blocking Second Pass (part 1)

Here I have taken the first few shots of the piece through the second stage of my blocking process which adds breakdowns and inbetweens to further define the actions. Hopefully you can see that working in this way allows you to build up a nuanced and complicated performance from a very simple foundation.

At this stage I am generally not even touching the facial expressions or lip-sync. You want the performance to work without, so don't add it until you're happy with the physical acting. There are points in this where I want Karl to be thinking to himself and you can already see that coming across just because he stops looking at the other two and sort of retreats into himself physically. Ricky is quite manic and so his character is fast moving and dynamic but the other two are both quite dead pan deliveries. It should make a nice contrast and also it allows for some more subtle acting. It can be quite tempting in animation to over act but when a character is not moving, generally it means they are thinking. And that is when an audience starts to get drawn into a performance or character when they see a thought process stirring up inside.

Next installment: Blocking Second Pass (Part 2)

Character Animation
A look at the process and progress of an animated scene.

It has been a while since I animated a really juicy dialogue shot in 3d animation so I've decided to create one as a centre piece for my show-reel. Since I always learned a lot from seeing other people's working method I thought I would also document it on this blog. I will try to go into as much detail as I can. Before we start I suggest you look at my current show-reel.

Picking the audio
To begin with you have to pick a piece of dialogue to animate. This is a very important part and there are many options. The industry standard method of creating a piece of character animation for a show-reel is to take a clip from a film or TV show or similar source, and animate a short clip in your own unique way. It is down to personal preference but you have to consider who you want to see it and how they may react so don't have anything offensive or nasty. I try not to pick anything too well known, if it is from the latest blockbuster film then your audience already has preconceptions of the audio. And if you're trying to out act Robert DeNiro you might come away looking a bit silly.

I have picked some audio from a podcast that I listen to. It is from the Ricky Gervais podcast and features Karl Pilkington and Steve Merchant. It is quite well known I suppose, but it has only ever been in audio format so you don't know how they would act it out themselves which gives me free reign to invent a performance.

There are a lot of clips I could have gone with but I narrowed it down to this 39 second clip. It has some very interesting rythm's and beats in the dialogue which is what you should look for and also it inspired me (probably the most important thing) and made me laugh. I would suggest a shorter clip if you are just starting to animate. About 10 seconds is good. But I want to go for something that requires some different camera shots and movement. We will see if I have taken on too much!