In a Tedward Direction
An Adventure in Animation
Monday, July 13, 2020
Gnomon Workshop tutorial now available!
I've finally broken my silence with an announcement. For the past few months I've been working the hours away to produce a tutorial for the Gnomon Workshop and the first volume is finally here!
The tutorial is titled "Subtle Performance Workflow"; the first volume covers shot planning and body animation and the second volume will cover facial anatomy and animation. My whole objective for this tutorial was to outline my workflow and thoughts for animating a realistic, subtle dialogue piece; to get into the nitty gritty of making a character feel vibrant and alive while not doing a whole lot.
Enjoy the final animation! Volume 1 is already out and volume 2 should be up in the next few weeks.
And to coincide with the release of my tutorial, I've put together a reel of the work I personally did on Aladdin. I was a lead on this show and worked closely with modeling and rigging to develop the facial setup used on Genie. I'm pretty proud of how it all turned out. My only regret is that I didn't get to actually meet Will Smith during the time we were making him blue.
Wednesday, January 30, 2019
The Current Situation
Though I wish I had posted something for the last two months of the year, the break has allowed me to take a step back and look at it all. I want to dig a little deeper this year and tackle harder topics. Maybe even throw in a video or two. Do something with my Patreon beyond letting it sit there, come up with some exclusive content. Keep an eye on this space!
In the meantime, for January and this new year, please enjoy my latest two showreels representing my work on Star Wars : The Last Jedi and Jurassic World : Fallen Kingdom. I was a lead animator on both of these shows (and specifically the lead animator for Snoke) and I couldn't be more proud of how they turned out and of the work that the entire team at ILM pulled off. It was a dream come true to work on these franchises, and while they were never easy, there's definitely a certain magic to working on something from my childhood, to work on the projects that got me interested in the field of visual effects in the first place. Enjoy!
Wednesday, October 31, 2018
Just Add Noise
I have a script I use for general noise that can be found here. You set value range for the noise, hit apply and get some nice random noise. Pressing the button again will get a slightly different result. For vibration noise, I bake a curve in a layer, select every other key and set a positive value. Then invert the selection and apply a negative value. I usually then run the previously mentioned noise script so the vibration doesn't feel too artificial, with low values so it doesn't undo the vibration feel.
Wednesday, September 5, 2018
Watch Where You're Looking!
Tuesday, July 31, 2018
Refer to Reality
I've been asked a few times how I go about using reference. To my mind there are two kinds of reference: personal and sourced. Personal is the video an animator shoots for themselves, and sourced is video an animator will find on YouTube, BBC Motion Gallery, etc. The following thoughts apply to both and I will point out instances where they are different.
It's important to note that the finished, rendered product is what people will see, not any of the steps along the way. So reference, in my mind, should be a help and a guide, not something to be copied. Rotoscoping never looks very good.
Whenever I begin any shot, whether at work or at home, the first thing I do is thumbnail. I get down my raw, uninformed ideas in the form of simple posing. Then I film or try to find reference with these ideas in mind. The ideas might change once introduced to the light of reality and that's okay; the thumbnailing is just pre-planning.
In the process of looking at the various takes I've filmed, or the different video clips I've found, I may edit these different takes together to make a supercut. It's not so important to have a single continuous perfect video clip to use as reference; people are going to see your finished animation up on the screen, not your reference.
Once I have this supercut reference, I thumbnail again, but now it's informed by the video and it becomes about finding the key poses, amping them up and making them stronger, more readable and more entertaining. I'll draw key poses, breakdowns, and make notes about little details I've seen in the reference if I can't reflect it in the thumbnail.
It's at this point that I ignore the reference for a while; I have enough information to start blocking. I may glance at it when I start splining, but I won't really look at it again until polish to make sure I'm not missing out on anything, to clarify my notes from earlier, and to make sure I haven't departed from the reference in a detrimental way. The animation needs to stand on its own and work within itself, and I think the only way to truly do that is to give it room to breathe and become its own thing.
That being said, I thinks it's fine to go back to the reference if something isn't working. Maybe a weight shift isn't feeling right, or a blink is just wrong. The reference will show you what the reality of that movement is. If it isn't in your reference, shoot more or find more; you need good foundations for any animation you do.
Gather reference, rely on it, but don't let it hold you back from making your animation amazing.
Keep on keyframing!
Wednesday, June 27, 2018
Give It Some Tongue
I am a firm believer of "if you don't see it, don't animate it." No one wants to waste time perfecting something that will never be seen. But! Consider a shot of a character where you don't see the legs, it would be important to still block in the legs, if they're walking or shifting weight. You'll never put the same amount of detail into those legs, but at least roughing them in helps the overall animation. I believe there are benefits to treating the tongue in the same fashion.
When an animator moves the tongue it is usually for one of two reasons. Either it's based on reference, or it's because the tongue needs to move when the mouth is open; movement for movement's sake. This is not a good position to be in (I've been guilty of this myself!), but like any animation, having a good foundation will go a long way toward believable movement. Knowing where the tongue has been and is going to be when not visible gives you a better idea as to where it should be and what it should be doing when the mouth is open. I think it's important to note, when I animate the tongue, it is a rough block, except for when it's visible.
When leading on Snoke I sent this video out to everyone on the team. It is a really good reference for how the tongue is actually moving and the range of motion it has.
The tongue also subtly affects the outward performance. The muscles of the tongue anchor to the jaw and so you do get movement under the jaw as the tongue moves around. This really only applies to the most realistic of characters, but it is a nice detail to add in.
In light of all this, I recommend a few things. First is to attach a camera to the side of your character's head, with the clipping plane adjusted so you have cut the head in half. Now you can see the tongue properly, much like in the X-ray video above. The second is to build up a pose library for your character's tongue. I pose the tongue with the full phoneme when I set up a pose library. Most pose library plug-ins should allow you to affect only the selected objects, so you can do a tongue pass after the fact, if you so choose. Ideally, if you're working professionally, your lead or supervisor would set this up.
Below I have illustrated the tongue position for various phonemes, separated out into vowels and consonants.
Vowels:
D/T as in "toy"
F/V as in "floor"
H as in "hot"
K/G as in "guild"
L as in "lord"
M as in "meld"
N as in "never"
P/B as in "PB and J"
R as in "roast"
Ss as in "snake"
TH as in "thing"
/TH as in "mother"
Thursday, May 31, 2018
Practical Scripting for the Animator
So as I do each manual step I can see that:
1. The command to make a group, or at least the one the Maya menu is using.
2. How to rename that group, the original name of the empty group was Null1.
3. How to select my parent (-r means replace) and -add the child with MEL before....
4. Creating a parent constraint between the two with a default weighting of 1.
5. The command for creating a locator (the -p means position in this case, so it's at the origin)
6. Our familiar rename command
7. Select the parent second.
8. Parent the locator under the group.
9. The selecting and parent constraining we learned from above.
10. Selecting and baking the constraing. BakeResult has a lot of flags attached to it. Simulation should have been turned off because this isn't a dynamic simulation. The -t is time, so the numbers with the colon in the middle is the time range. The other one that is important to consider that I cropped out on accident is -sm, for smart bake, you can have that on to preserve your keys or bake out every frame or number of frames.
11. We constrain the child object to the locator like above.
And done! Except, it would only work for those specific names. It wouldn't work every time, so it'd be useless except in one very specific instance
string $someText = "someText";
string $lastSelected[] = `ls -sl`; (You can then get your first object with $lastSelected[0])
int $wholeNumber = 10;
float $decimalNumber = 10.5;
There's also vectors, but I don't really use them myself.
- Maya MEL Commands - This is a list of all of the MEL commands, it has all of the relevant flags and examples of use. I use this most often!
- MEL Scripting - This gives a pretty good breakdown of common mel commands and gives examples as to how they work. Also covers making UIs in MEL.
- MEL How-To - Covers a lot of different questions and is a very good resource to see how things are broken down.
- CGTalk - Either someone has already answered whatever question you have or they are willing to if you post.
- HighEnd3D - Has many, many available MEL scripts to peruse for free.
I know there's also the fear of being pigeon-holed into a technical route if you reveal scripting knowledge. I know because I've been there, but really, in my experience, people are grateful, but not expectant. Also don't be afraid, if you feel you're being pushed in a certain direction, feel free to speak, your mental well being and desire for growth in certain areas should be a welcome discussion point with your boss. It should also be pointed out here that your job, as an animator, is to animate; script on your down time, or at home, or if you really need a tool, make sure the time writing is less than the time saved. Don't get tunnel vision and distract from your actual work.
Before I sign off, here's a list of things that I find supremely useful:
- Always end your lines with a semi-colon, it lets Maya know that command is finished. Likewise if you are using a command within the context of something else (like defining a string) put tildes on either side.
- objExists - Checks to see if anything with that name exists in a scene.
objExists pSphere1;
- getAttr - Returns the current value of any attribute.
getAttr ( $object + ".visibility" ) ;
- setAttr - Sets the attribute to whatever value is given.
setAttr ( $object + ".visibility" ) 0 ;
- For/In Loop - This lets you do the same thing for multiple objects in an array. In my example above, apart from the first object, any other object I select I would want to generate locators and constraints. The for/in loop allows me to do the same action again and again for multiple objects.
for ($object in $objects){
parentConstraint $object $parentObject; }
- If/Else - Good for toggling type hotkeys. If this condition exists, do this; otherwise do this.
if(`objExits pSphere1`){
select pSphere1;
}else{
polySphere -name pSphere1; }
- Tokenize - You can break up the name of an object based on an alpha-numeric character. I use it to try and to get namespaces, more often than not. In the example below, you can see I'm using the first section that comes out of the tokenize (the [0] means it's the first) because that's usually the namespace.
string $object[] = `ls -sl`;
string $storageBuffer[];
tokenize $object[0] ":_" $storageBuffer;
string $nameSpace = $storageBuffer[0];
- whatIs can help you figure out the specifics of a command. Sometimes a command behaves strangely or inconsistently, you can use whatIs to find out what it actually is and if it's part of another command. For example, when you break connections on an attribute, CBDeleteConnection comes out. If you use this command, it didn't always work, because it's waiting for Maya to source the script it lives in on your hard drive. Using whatIs you can find exactly where it is and what commands it is actually using to break that connection.
For instance! In the first example I used doGroup to make an empty group, using whatIs I was able to find that mel script in my maya bin folder and find that it was using the MEL command group. You can use group -em to make an empty group
- Pretty well all commands come with flags to define what you want to do with them. For instance, if you look at keyTangent, the MEL command that deals with tangents, there's loads of flags. And a lot of them you can query too. For instance you can query the in and out angles of your tangents, if you're into that sort of thing:
keyTangent -query -inAngle -outAngle pSphere.translateX ;
And it should then return to you with two numbers. Usually you have "command -flags $object(s)ToActUpon".