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저장하였습니다.

픽사의 앤드류 고든 감독이 알려주는 워킹 사이클 10가지 팁

어느 잡지에 기고한 글 같은데 링크 아시는 분 알려주시면 감사요~^;;

(그리고 네모박스에 화살표 모양 버튼 누르면 영상도 나올 것 같던데, 

사이트 링크 아시는 분이나 영상 가지고 계신분은 덧글로 알려주시거나 메일로 보내주시면 감사하겠습니다.^^; >>오리 메일)


출처 : 미상, 네이버 3D 애니마스터 카페


  


 

 

 

10 steps to better walk cycles

 

Pixar's Andrew Gordon helps you improve your character anmation

with advice on personality, weight and more

 

The walk is one of the hardest things in animation to do well - but when it's done

correctly, it can say  more than anything else about a character. In this article, I'll look at a few ways 

to approach a walk cycle, to help animators to bring their characters to life.

 

One of my favourite walks is Woody's in Toy Story 2 as he comes out of the box, acting like a character

in an old western. The character was dripping with personality in this scene:

it shows that the essence of a good walk is half mechanics,half character.

 

When I began at Pixar, I was taught how to do a walk the old-school way, starting with the translation

of the root and working outward to the other parts of the body. At the time, Glenn McQueen taught us

how to copy the translation splines into other parts of the character to get quick overlap. I've never

forgotten this method. Getting the core of the character looking good really puts you ahead of the game.

How a character moves up and down as well as side-to-side can really determine the personality of

a walk.

 

As you animate your cycle, consider rotation as well. When I teach animation, I show penguins walking

as an example of how rotation plays into a walk. Some penguins have very quick broad rotations, while

emperor penguins have a much slower, sort of figure of eight pattern to their rotations. Boiling down a

walk into its essence is what you're after.

 

 

01.Plan your walk

 

Before you even start to map out your walk cycle, try to think of a person or character in a film that your

character is similar to and dig up some footage. Matching physical types is helpful, of cource, but try

to match up personalities as well. For Mike Wazowski, the on-eyed green critter from Monster, Inc,

I looked at a lot of New Yorker types - think Joe Peschi or George in Seinfeld, for example - and

watched a few Looney Tunes for inspriration. Although Mike's walk is jovial, it also needed to convdy

that he might have isssues about his size.

 

Before doing anything, you need to consider who your character is. Think about the 'five Ws':who,what,

where,when and why. Another thing you should do is hop on a treadmill and act the walk out in front of

a camera. Try a bunch of different walks. The main thing is that you really think about your walk.

 

 

 

02. Start clean

 

Many people ask if they should be animating a walk in place or moving in space. I don't think it makes

much sense to do a walk in place, because you get a lot of foot slippage. Instead, start at value of 0 in

the Y (Z in some package, of course) so that you can measure exatly how far the character is travelling.

You should set up the workspace so that you can see the character from every angle you need to. Once

set up, start making poses.

 

I find that putting the character in the general attitude of the walk helps me see it more clearly when I begin

refining it. An example of this would be when I was animating a walk for Edna Mode during the Incredibles.

I put her in a pose that was regal, with her nose up in the air and her arm out as if holding a long cigarette.

The next step was to start blocking the legs.

 

 

03. The limbs

 

Think of the arms as pendulums. Block in one side with basic poses, then massage the timing in the spline

editor.

 

Think of the succesive breaking of joints - something Walt Disney's Nine Old Men perfected - to create fluid

movement. Think about how the arms ease in and out of their extremes. Pay attention to arcs. If you track the

wrist, it will most likely move in a figure of eight.

 

Think about how the shoulders play into the arms: they will make your arms look more organic. Animate a bit

of finger overlap, but be careful not to overdo it. Watching reference will help you to make the right decision.

 

Once I have one side one, I usually copy it to the other side and offset in in time and pose.

 

>These splines show this walk's arm movement : note where they converge and diverge.

 

 

 

 

04. Use bend bows

 

Bend bows are controls that let you push around the geometry between the joints in order to get a more organic

fell to a pose. A great example of a bend bow in the arms is in The Jungle Book, When King Louie is shaking

Mowgli's hand. Just frame through that scene to see this technique in action.

 

>Adding shape to the arm using a bend bow in the shape can help with the rhythm in a pose

 

 

 

 

05. Squash and stretch

 

Adding squash and stretch to areas like the torso, neck and feet can really loosen up a walk.

Squash and stretch is meant to be felt, not seen. Use it much like a spice on a chicken : when you overdo it,

it tastes bad... Squash and stretch is also in pose.

 

>Look for areas to use a bit of squash and stretch in a walk 

 


 

 

06. Vary the cycle

 

Once you create the walk cycle, it's your job to make it fit within a scene. The last thing you want it to look like is

a repeating cycle. Manipulate the path you put it on. Vary the arms, add blinks and looks and anything in general

that will break up the walk. Remember, the cycle is only a starting point.

 

Most scenes that require walks are done by hand. The cycle is used ---------.

 

>The first pose is generic ; the next two are a bit more in character but still need work

 



 

 

07. Block the legs

 

The legs are arguably the most difficult part of the walk : animating them involves getting the proper stride length

to match with the distance being travelled. Some use mathematics to figure this out, but I just eyeball it. I start

with a stride pose, then continue to the passing pose, do another stride pose and continue until I get a full

two-step walk. Once I have those tent pole poses, I try to match the first and last frame. You can do this by

either attaching a camera to the character so you can see it move in place, or by copying the translation into

the top root translation and reversing the value so it stays in place.

 

Once the legs are roughly in, you need to do the breakdowns. Making the walk feel like it's transferring weight

is key. How the foot pushes off and how the leg contacts are very import.

 

>Stride, passing back to stride... The tent pole poses of your walk will set you on the way to assessing distances

 

>Flapping the knee on the passing pose helps to suggest the transferral of weight from on foot to the other

 

>While animating the legs, I pay attention to the hips and the root control, checking how the translation

up and down is looking in a spline editor

 


 

 

08. Overlap body parts

 

You want the body to fell as if it's muscle and bone. To make the torso feel organic, make the body

parts overlap a bit so you can feel the compression of the spine.

 

Depending on how you have your model rigged, there are many ways to do this. Some people like to

start with the up and down translation, copy that into the bones in the spine, and scale and offset them.

This is a good technique, but requires some spline doctoring. I prefer to start doing it by eye, then

go back into the spline editor and work with the curves. I view the related curves together so I can

offset some to make them complement each other.

 

Make sure you get the 'contrapposto' opposition of head to shoulder and of shoulder to hips. Hip

Movement is important. The basic rule is : when the leg is at its widest stride, the hip is drapping

on the front leg. Also work for nice patterns on the head, using the nose as reference point. 

Remember your character's weight and how it affects all these elements.

 

> The up and down movement in a walk can drive many aspects of a walk as you strive to make

it feel more organic and physical

 

> Place the key body zones in opposition as the character walks

 


 

 

 

09. Track your arcs

 

Pay attention to the arcs on all your areas of a walk : the head, shoulders, legs and so on.

Making your arcs clean is so important. Make sure that they work in three dimensions. If

you work too much from the side, the walk won't look good from other angles.

 

> Track the arcs on the legs to ensure the movement cycle remains nice and clean

 

 

 

 

10. Leg polish

 

I like to fix knee pops using leg scales. I go in and eyeball it. I also like to flap the knee out

a bit on the passing pose to get more of a shape change in the leg. I often use rotation on

the top of Inverse Kinematics in order to hyper-extend the knee a touch, again for good

shape change.

 

 

>>  This issue's disc includes the three winning entries from the Spline Doctors 2010

Walk Challenge, which included Andrew Gordon on its judging panel

splinedoctors.com

 

Posted by duckkkh 오리79

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