AND SO IT BEGINS...

[artfx]

AND SO IT CONTINUES

I am still working to pound out what will be my definitive style and workflow in AS. In this case I really wanted to make a final verdict on switch layers. I remember that Greykid said that they actually don't use switch layers very much and rely primarily on point animation. I also wanted to get some character talking going. Here it is:

http://www.studioartfx.com/video/pointswitch.mov

So here's what I learned. If you're going for a particular type of motion, there's a good reason why you might want to avoid using too many switch layers. You see, if you do a major point deformation to shape your charcter into a new pose, be it a head turn, leaning into camera or anything else, you have to then match that deformation in every single sublayer of your switch layers (at least the one's you're using) one at a time. This can get boring very quickly. There's also the issue of how well they can be matched, since you can see the other sublayers while you work.

This raises the question of whether or not it would be better to use point animation in place of switches for these instances and animate them on the fly, even matching to a wav file. Pondering this may bring up ideas to simply the shapes used to make this easier.

There is no one right answer of course, but many things to think about as one finds the way that get the final result.

[heyvern]

Good points about switch layers.

What I have discovered recently that I really like, is actions.

Switch layers are great for lip synch but lately I am thinking that actions are better suited for "broad stroke" reusable motion like head and body turns. I gain access to interpolation (ease in/out etc). I can use them anywhere I like and easily move them around.

I wonder though about your thinking on moving the points on all the sub layers of a switch. Are you talking about the huge problem adding and deleting points? That is the biggest challenge for me which I have kind of sort of solved building switches from one layer with point motion keys and then duplicating the layers. This technique led to using actions more... it seemed redundant to do all that work when the motion could be an action in just "one" layer.

Another trick I use for doing switches (seeing all the sub layers for editing) is to drag all the layers into a group or somewhere outside the switch folder. I can then edit a layer and still see all the others. When finished I just drag those layers back into the switch.

One of the problems I have is my background in 3D. I am so use to having any angle covered on a whim that I try to do too much with my 2D characters before starting animation. I end doing more than I need and not having the one "pose" that I really need till I get to it.

I need to storyboard more carefully and determine up front exactly what I need to save work.

-vern

[rplate]

Good points about switch layers.
What I have discovered recently that I really like, is actions.
Switch layers are great for lip synch but lately I am thinking that actions are better suited for "broad stroke" reusable motion like head and body turns. I gain access to interpolation (ease in/out etc). I can use them anywhere I like and easily move them around.
-vern

This got my wheels going on using actions. Here's an example I did of a head turn using point motion and making it an action for the 45 right hand turn and then using the action in a switch layer. I reversed the other half for a side to side head turn. The point motion is made up of three positions. Front 0 degrees, then 22.5 degrees, and then 45 degrees. So that wasn't a whole lot of point dragging. Here's the flash export...
http://homepage.mac.com/rplate/Sites/AAheadTurn4.swf
I meant to fix the traveling nose line but ran out f time.

[jahnocli]

Looks good!

[Squeakydave]

Just thought I'd chip in here.
Don't use any one technique. This is not 3d. and you can not build one character that can do everything - well not easily.
Start with your storyboard and only build what you need. If a scene only has one angle on a face talking use switch layers. If you need a head turn it may be better frame by frame. (Switch or points)
Keep changing the trick and your audience will never know.

The good thing about working with AS is that the more you do the less you have to do. You'll pretty soon build up a library based on your storyboard.
Managing it is another thing entirely. I usually end up taking things from earlier scenes and adapting them. The only tip i can give about this - and that I can't seem to manage my self - is to try and keep all your 'models' the same size. It makes life much easier when you have to go back and add stuff.

Most of my recent work is very buget lead Flash animation (Cheap clients) With a good storyboard and animatic you can be very economical. I've done whole projects with just 3/4 views of characters with out anyone catching on.....doh! me and my big mouth.

[rplate]

Here's the flash export...
http://homepage.mac.com/rplate/Sites/AAheadTurn4.swf

and a rendered Movie... No switches.
the hair is rendered with the splotchy effect.
http://homepage.mac.com/rplate/Sites/AAhairTurn4.mov
May take a little time... 1.3 meg
flash is only 112 KB
What a difference. To bad AS can't render in Flash.
Can't figure out why the nostrils turn red when rendered?? Also any idea on how to blend the nose profile on the final few frames? I'm still learning.
Here's the Aneme file
http://homepage.mac.com/rplate/Sites/HEADturn.anme.zip
All the extra key frames are tweaks on the hair. It seems I had to keep all points in a certain order. It was a learning experience.

[artfx]

I haven't checked your anime file but in my tests I always make the nose a shape that sits in the middle of the face, with a little line in it. It's invisible being the same color as the face, but this way when the head turns nearly to the side, that shape juts out and so we get the illusion of the nose passing the cheekbone.

[rplate]

always make the nose a shape that sits in the middle of the face, with a little line in it. It's invisible being the same color as the face, but this way when the head turns nearly to the side, that shape juts out and so we get the illusion of the nose passing the cheekbone.

Thanks for the tip. I did that and I like the results much better. I worked on the original and it made things a little more difficult to keep the alignment so there's a slight bit of movement that I couldn't quite fix. If only there was a nudge tool.
http://homepage.mac.com/rplate/Sites/AAhairTurn.mov

Thanks for all your input to the forum.

[Genete]

Great head turn rplate.
I have asuggestion with nose issue. Perhaps if you enlarge the line of the nose (but making it zero thickness if you want) the you can make it "appears" (releasing the thickness again in animation) when the point of the nose is exposed. In this way you will not have that exagerated cheekbone at frames 34 to 43.

Great point movement study anyway

@artfx: Great stuff like previous. But hey!!!! we're wating more from you!!! Something new??

[artfx]

That works rplate! I like the head turn.

Don't worry Genete I will crank out somenew stuff soon. Especially next week. This forum gives me so much inspiration and I see so much potential I can't help but want to play with AS!

[rplate]

Great head turn rplate.
In this way you will not have that exagerated cheekbone at frames 34 to 43.

Thanks Genete & Artfx
I took another look at the nose and found that I could simply pull in a couple of points ahead of the final nose position. I updated the movie file above or here below, as well.

http://homepage.mac.com/rplate/Sites/AAhairTurn.mov

I'll let whomever, update the AS file on their own as a learning experience.
After all I can't have ALL the fun.

[Genete]

Now much better rplate. And that's the way ... if you have some FUN share it!

[rplate]

If only there was a nudge tool.

Little did I know that there is a nudge tool. Ask Vern. HE KNOWS

Look at the poor guy in the DOGHOUSE here.

http://www.lostmarble.com/forum/viewtopic.php?t=7200

Arf, Arf!

[heyvern]

If you put yourself in the RTFM doghouse you must follow these rules:

• No television or DVDs or music CDs. You must work without distractions.
  
  You must search the darn help files and the forum BEFORE posting a question or technique.
  
  You must where pants at all times even if you work at home.

<sigh>

-vern

[rplate]

If you put yourself in the RTFM doghouse you must follow these rules:

• No television or DVDs or music CDs. You must work without distractions.
  
  You must search the darn help files and the forum BEFORE posting a question or technique.
  
  You must where pants at all times even if you work at home.

<sigh>

Can I keep my pants unbuckled?

Vern, Forgive me for pointing at you as the one who didn't read the manual. After reading your self bashing, put youself in the RTM doghouse, I opend the manual once again to see for myself. And yes, there it was, the NUDGING tool for both the Draw, and the Layer translation tool. Using the command key (on a MAC) to nudge my way into more accuracy.
Since you have already served your time in the RTM doghouse, may I borrow it for a day or two. I felt so self righteous pointing at you, instead of realizing my own failings.
But the knowledge gained is well worth the crime and punishment.