Throughout the entire project my focus was on developing the character rigs into a higher standard of rig for my team to use. This focus lead me into hours of rig testing and development, constantly creating new quick rigs to test theories and techniques which could be applied to my character rigs.
During the year i also attended talks such as Skype calls from Mario Furmanczyk, a Walt Disney animator, were he talks about the production pipeline for animation. This was not directed at me sue to its heavy focus on animation but it was defiantly beneficial due to it adding to my understanding on what makes a good animation and how animators actually work within a pipeline.
For trees in the scene we were planning on using Xgen to distrubtute them around the scene randomly. the idea came up about making aniamtion into the geometery so the trees would sway and move in the enviroment. I had developed too systems, A IK/FK control rig for the branches.
Or a dynamic joint curve when could be anaimated through CV controlers for additonal control.
For the character spine i had discussed with Dan before the project how annoying it cna be when the FK spine doesn’t follow when you translate the IK controls which can lead to them being lost. I asked if he wanted a solution.
I found the Divine Spine online which a tutorial included in the PDF. through this i made my own version when i then was able to take pieces of in order to create the character spines that we use in the animation. The FK follows the IK without any double transformation.
The divine spine uses a triple layer setup, IK spline, IK handles and a third joint layer for control. It allows for complete freedom of rotation and twist.
The above setup was then tweaked into my own workflow and used to create the following results.
For Hunger i wanted to create the best facial rigs possible to allow the animation team to create the best representation of life.
to begin with i created a series of tests to bring the eye environment to life using a fleshy eye system.
This system uses expressions to control the eyelid movement through the eye rotation.
I also worked on developing a system for sticky lips to allow for a sense of moisture on the characters lips when creating expressions or speaking. This was wanted by myself to just add that extra level of polish to the animation.
This was also time to test the joint setup for the face to create expressions.
These setups were then pushed further and refined to create my facial setup for both characters.
Dynamic Joint Chains
Another key area i looked into while researching was dynamic joint chains for things such as her poncho. This would be useful for the animator to run automatically but they could also tweak the simulation by adding there own animation on top.
This system was later implemented into the base of the poncho and the her earphones.
A piece of development that was later scrapped due to no longer being required was the ability to pin the elbow in place to allow the torso to move without the elbow breaking contact with the pin.
This was created through a series of nodes with the ability to switch it on and off.
Another section of reserahc was into rigging the props and the back of the girl.
I completed a series of tests and eventually the image seen above became what we have now shown below.
References used this Semester