#keith lango

[animationtidbits]

The Wingfeather Saga

[theragamuffininitiative]

The Wingfeather Saga peeps who brought us the Animated Short, along with A. P. are live on Facebook talking about it in case anyone is interested. ;)

[alexwebsters]

Calling all animators.  Do not miss this event !

The first World Animation masterclass comes to Birmingham this May.  The most awesome Animation Tutors will be there including: - Jason Ryan ( Dreamworks) - Ken Fountain ( Dreamworks/splatfrog) - Keith Lango ( Valve) - Ed Hooks - Eamonn Butler - Chris Derochie

Day tickets are now available for £175.

https://www.eventbrite.co.uk/e/world-animation-masterclasses-tickets-10184838125

[emanuelagatto]

"How to polish an animation" by Keith Lango

I want to share with you this link because I think there is a bunch of the most precious suggestions I have found all over the web about polishing.

As a beginner animator, my question is always... what am I missing? Keith Lango says that this is a common stage for beginners and that the questions you have to ask yourself are many many more and much much more precise ;)

I am gonna quote here, but it is worth it to give a look to the entire article!

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Arcs:  

Check to make sure your motions have good clean arcs. Turn on trajectories if your software supports them. If not, get out your dry erase marker and draw the arcs on your monitor.

1. wrist- you need to keep an eye on these to fight that marionette feel

2. elbows- if you're using IK arms, then you absolutely MUST check your elbow arcs

3. feet- track the heel & the toes to see if you're getting clean arcs on both

4. head- the most obvious motion hitches will show up in the head. It's usually a torso problem, it just shows up in the head arc

5. knees- watch for pops and skips

6. hips- the center of mass is vital to believable weight, so check the hip arcs.

7. ankles-

8. props- so many time we forget that the prop the character is holding/using is as important to the motion as the character

9. eyes- when they turn, are they linear turns? If so, add some arc.

10. face (lipsync)- make sure your face doesn't linearly go from static morph target to target. The face needs to feel organic.

11. tails- way overlooked, and very tricky to get right.

12. check break downs and make stronger if needed- weak arc? Push that breakdown pose.

13. no two motions should have same arcs- feels very unnatural. Weave the arc lines like a tapestry of interesting motion.

14. cross arcs and overlap for interest

 Line of Action: 

Make sure you’re being strong with your lines. The difference between an OK pose and a great pose most often lies in the line.

Have you pushed your line so it reads clearly?

Is your line interesting?

Is your line strongly concave or convex?

When going from one pose to another can you invert your lines for stronger contrast?

If all you had was one still frame to show for this pose, is your line of action capturing the kinetic energy of your character like a good illustration would?

 Offsets: 

Find a part to emphasize by scheduling it's late or early arrival. Offsets help keep things loose and let your character breathe, combating the common "pose-move-pose-move" feel of most Pose-to-Pose animation.

Check for twins. Shifting one arm by a frame or two is not fundamentally addressing the issue of twinning. You need more than that.

Does it fit for you to offset the hand from the elbow? The elbow from the shoulder?

For this move should your arms lead the torso or do they follow it's weight?

For this move should your hand lead the arm or follow it's weight?

Does your upper torso move independently from your hips?

For this move, should the head lead or follow?

Have you seen if offsetting your rotation keys from the translation keys adds any life to the character? How about individual rotation channels from each other?

Do your fingers each move independently from the other fingers?

Should your fingers flow after the hand or stay tight to it?

Is this the right place to use the offset (aka "pixar") blink?

 Overlap & Followthrough: 

What a LOT of pose-to-pose animation suffers from is the dreaded "hit & stick". You need to find a way to get that out of your animation while still keeping strong clear poses and clean timing.

Are you overlapping too much? Is it too soft? (mushy)

Are you not overlapping enough? Is it too hard? (sticky)

Are your motions distracting? (poppy)

Does it feel like your ease outs are too linear? (robotic)

Will this move benefit from the successive breaking of joints?

Do your body parts overlap with believable physics? Are the hands too slow (heavy) or too fast (light)?

Don’t blindly trust overlap or lag plug ins… check each frame for accuracy.

 Energy: 

One of your primary tasks as a character animator is to manage your tension, your energy build up and release. Each character will build & release their energy in a very different way. And even given different circumstances you character will build & release energy differently.

Does the size of the anticipation match the speed of the subsequent action?

Does your character flow well from one thing to another? Should they?

Does your character's body language and gestures' energy match tone & energy of the dialogue?

Look for ways to build texture into a shot- building across phrases and releasing. Not every pose or move is the same length.

Move your character around on their feet to keep them believable. Nothing says "I'm not believable" like frozen feet.

Does the energy of your character keep building up during hold when appropriate? tip: if the pose hit didn't have an extreme with a recoil, but is rather meant to build energy for release (like an anticipation hold) then you'll keep growing the energy up into the pose, like a long ease into the extreme.

Does the energy of your character keep settling with gravity during hold when appropriate? tip: If the pose hit had a settleback after an extreme, you'll generally want to keep the held energy settling into gravity.

Pace: 

You need to keep things moving at a natural flow. If your shot feels dull, look at your pose holds and your transition timings. I'll bet you $20 that all your holds are about the same length and all your pose transitions are about the same length.

Are you motions too even across the shot?

Are all the motions too fast?

Are they too slow?

Do you have an appropriate mix of fast moves verse slower ones?

Be aware of the appropriate speed for a given set of appropriate actions.

Mix up the pacing of motion. Fast flurries followed by long simmering holds. Great contrast.

Don't make every move the same speed & flavor.

Favor the anticipation or the breakdown or the ease out. Meaning: think what works best for a given action- slow in/fast out? Or fast in/slow out? Or even in/out but fast breakdown in the middle?

What would Character A move like compared to character B?

Silhouette: 

Make your poses read in an instant, not in an hour.

Do your poses read clearly in plain black & white?

Funky lines in the silhouette? Check elbows to see if they're sticking out unnaturally.

Check spine & your line of action.

Think of ways to compressing the pose/action into planes in space for cleaner reads. Perpendicular to camera plane, or parallel to it. think Woody's "cool sheriff" walk from the cardboard box in Toy Story 2. Look at how his motion is compressed into a single easy to read plane that is parallel to the camera plane.

Motion Pathologies: 

Does anything have a funky motion that just looks off?

Check for IK pops

Look for and fix hitches in the arcs

Smooth out any hiccups in line of motion

Destroy any and all distracting moves

Do you overshoot on moves too much? Not enough?

Is there enough "keep alive" on your moving holds? Is there too much so that you're adding noise to the signal?

Clean out any and all distracting nasty geometry intersections. The small single frame ones in the middle of big moves, forget about those. Nobody will notice.

Timing: 

…is everything. Well, almost everything.

Do your character's gestures & actions lead words appropriately in dialog?

Feel free to play with physics a bit to add some texture. Give some jump & hold to things in the air.

A move should never be linear and it should never be even.

Are your physics believable (weight)?

Break up long holds with secondary action (scratching, wiping nose, weight shift, etc.)

Staging: 

Can we see your action from the best possible angle? And remember: the ONLY view that matters is the camera view.

For visually pleasing images compose on thirds

Avoid staging your character directly down the middle unless you have a reason to.

Use those lines of action to add visual angles to lead your viewer's eye where it needs to go.

In production you must keep the integrity of the layout composition and then plus it with solid lines of action & silhouettes.

If your character is doing something important, make sure we can stinkin' see what's going on!

Track your eye as you watch. Where does it go? Is it where it should go? Do your eyes feel like they awkwardly jump from cut to cut? Is this the  desired effect (sometimes it is)?

Acting: 

Will we believe your character is sincere? Are they REAL???

Stay true to character. Buzz Lightyear will not flail like a spaz like Woody would.

Does acting match dialog intensity? Are you being too vaudeville?

Do the hands & body merely illustrate words that your character is saying? How many times do you make a punching motion with your hands when you say the word "hit"? Not many. How many times do you make a kicking motion when you say the word 'kick"? Not many. How many times do you spread your arms like an airplane when you say the word "fly"? Not often. Guess what? Neither should your character!

Do the eye emotions match dialog?

Reveal your character's inner thoughts or emotions beginning with the eyes first. Cascade out from there.

Emotion drives motion. Motion does not illustrate emotion. (no vaudeville. See above note) Also, thought does not drive action- emotion drives action. Thoughts merely drive decisions. but decisions are not acted upon without the emotion to drive them.

Avoid overacting. Keep it simpler.

Don’t try to do too much in one shot. Less is more

If your character's face needs to show an emotional shift, it's easier to read that shift while they are in a pose hold, not in a move. Emotional shifts should occur when the character is generally held still..

Who owns the shot? Don’t upstage the owner of the shot. Keep the secondary and background characters from being distracting with their motions. Sometimes breathing & blinking is enough.

When the time comes to transfer shot ownership from character to character, make sure it's a clean hand off. Only one owner at a time. The audience should instinctually know who to watch based on what you show them.

Maintain proper intensity levels appropriate for where character is on character arc. If your character has a major anger blow out in the third act, don't show that level of anger anywhere before that point.

[schild]

Keith Lango

Yesterday I bought an animation tutorial set from Keith Lango. He is a highly skilled animator and teacher. I have watched a lot of his tutorials before. But now I decided to buy his entire tutorial collection of 60+ video hours of animation tutorials. The price was only 99 us$, around 8500 Yen a believe. These tutorials will hopefully help my workflow and give me a lot of good tips and tricks in Maya.

I have also been working on the layout of one of the animation scenes that will be part of my character emotion set. I'm not fully happy with it yet and this planing phase is quite important, because I need to be absolutely certain of what camera angel I want to use ( so that I can create the right Silhouette and line of action) I also want to act it out in front of a camera, to try out different body language technics.

Here is one that I filmed the week before we went to Singapore:

That door, ref-WIP from Jonas Schild on Vimeo.

What needs improving is the body language and better line of action. Right now it's a little to chaotic and the arms are moving to much. I also want more solid extreme poses that really shows the emotions, going from despair to angry.