[trouble] 11SC

[sang820]

11 Second Club June competition, my work [trouble]

[ggoblin]

Wow! Thats beautifully done. I love how everything moves so smoothly.

Thank you for making me aware of the 11 Second Club. I think its a great way to get us motivated to do an animation on a tight deadline, and of course learn so much from it. I will try and submit something, though there is less than a day left before deadline. It'll be fun even though it will probably come last!

[sang820]

Wow! Thats beautifully done. I love how everything moves so smoothly.

Thank you for making me aware of the 11 Second Club. I think its a great way to get us motivated to do an animation on a tight deadline, and of course learn so much from it. I will try and submit something, though there is less than a day left before deadline. It'll be fun even though it will probably come last!

I think 11 seconds is enough to show some interesting ideas, but it's not too much work, and it's a good opportunity to practice. have fun

[ggoblin]

Here is my entry, very unpolished but great fun making it!

[Daxel]

hahaha that Emma Stone-looking fish and what the dialogue implies in that context made me chuckle.

[sang820]

hahaha that Emma Stone-looking fish and what the dialogue implies in that context made me chuckle.

【 Stone-looking fish】oh~ what is this, please let me know

[sang820]

Here is my entry, very unpolished but great fun making it!

interesting. Animators (like me) often fall into [theme traps] and set extreme situations to express tension.But maybe the performance and the details are more important.

[ggoblin]

hahaha that Emma Stone-looking fish and what the dialogue implies in that context made me chuckle.

Thank you Daxel.

I didn't see that, but now that you mention it I guess there is a resemblance.. must be the distance between the eyes or the closeness of the eyes to the edge of the face?



The feedback I got on my first version suggested that it wasn't clear that the fish was inside the shark.. the fish backdrop in that version was more dark blue, so changed that to stomach red and added the bones and no swimming sign for good measure.

[ggoblin]

interesting. Animators (like me) often fall into [theme traps] and set extreme situations to express tension.But maybe the performance and the details are more important.

I didn't quiet understand what you meant. Can you please explain to a novice?

What I learnt was that I was skipping details which I should have spent more time on correcting, and I was spending too much time on other details which are not really visible in the final cut.. ie wasting my time.

For example I wasted time trying to animate the sharks gills with wind effect, it didn't turn out quiet right and more importantly is not even noticable in the final video:



At the same time I rushed importing the assets in to Moho and didn't notice errors in the pngs which could have been corrected easily in photoshop had I given myself more time in the preparation stage. And these cost me as they are glaringly visible in the final video.

[Daxel]

The feedback I got on my first version suggested that it wasn't clear that the fish was inside the shark.. the fish backdrop in that version was more dark blue, so changed that to stomach red and added the bones and no swimming sign for good measure.

Oh I didn't get that, I thought the fish was hidden in a cave outside, and that the shark had eaten her friends. I don't know which version is darker, but the comedic concept is similar.

[sang820]

interesting. Animators (like me) often fall into [theme traps] and set extreme situations to express tension.But maybe the performance and the details are more important.

I didn't quiet understand what you meant. Can you please explain to a novice?

What I learnt was that I was skipping details which I should have spent more time on correcting, and I was spending too much time on other details which are not really visible in the final cut.. ie wasting my time.

For example I wasted time trying to animate the sharks gills with wind effect, it didn't turn out quiet right and more importantly is not even noticable in the final video:



At the same time I rushed importing the assets in to Moho and didn't notice errors in the pngs which could have been corrected easily in photoshop had I given myself more time in the preparation stage. And these cost me as they are glaringly visible in the final video.

:shock:Don't switch lenses. Perform with only one character. Pay attention to the details of body movements and demeanor. will help you.

[ggoblin]

The feedback I got on my first version suggested that it wasn't clear that the fish was inside the shark.. the fish backdrop in that version was more dark blue, so changed that to stomach red and added the bones and no swimming sign for good measure.

Oh I didn't get that, I thought the fish was hidden in a cave outside, and that the shark had eaten her friends. I don't know which version is darker, but the comedic concept is similar.

Yikes, that confirms the weakness of my animation - I couldn't even convey that central pillar of the story. Luckily, like you said, both interpretations work fine. I should have had the fish looking up and around, rather than starring at the camera, when responding to the voice to give impression there was no central focus she was responding to. Those 11 seconds have a lot to teach me.

[ggoblin]

:shock:Don't switch lenses. Perform with only one character. Pay attention to the details of body movements and demeanor. will help you.

Thank you for the advice.

For a character animation competition I think I went about it all wrong. Rather then focus on the characters, details in movement and demeanor, I thought of the over all animation and started by blocking off scenes, etc.

I created the rigs with the flexibility I imagine I would need rather than start planning each body movement, etc and then creating the rig that could deliver that.

So I created the shark with no independent eye movement or eye closing - had its eye movement as an integral part of the smart action of the mouth movement (BTW Sharks - unlike most other fish - are one of the few fish that can actually blink - as they kinda have an eyelid membrane over their eyes), but created intricate gill movements with 5 bones - tried them as IK chain where each subsequent gill amplifies the movement of previous gill, or as independent bones to see what worked best, etc. And spent time calibrating wind movement dynamics, also this changed when shark itself moves.. And added fin and tail movements as felt it would be too plasticy with out it. Most of it wasted as shark only appears for less than 2 seconds.

And on the other hand I didn't create the fish rig with the flexibility it needed - when the fish says "All that means is that it wasn't personal to you." she punches her left fin down (actually looks more like a drop than a punch), but then when she follows through with "But it was personal to me" she needed to bend that fin back on herself to her heart, but I had only created one bone in the fin so couldn't convincingly bent it backwards like an elbow on to herself, so just brought it back up to rest position to emphasis the previous movement down

For her movements, I actually left to the end - blocked off until then, and then I watched the original video clip from "You've Got Mail" movie to get a few ideas.



This was very different approach to what I saw others take, for example check this one out - its focus is a character study of movements, etc. like you suggested - he even acts out all the lines as a reference to his animation:

https://media-cdn.syncsketch.com/553130 ... FP2MSIUXA





Great stuff.

[sang820]

:shock:Don't switch lenses. Perform with only one character. Pay attention to the details of body movements and demeanor. will help you.

Thank you for the advice.

For a character animation competition I think I went about it all wrong. Rather then focus on the characters, details in movement and demeanor, I thought of the over all animation and started by blocking off scenes, etc.

I created the rigs with the flexibility I imagine I would need rather than start planning each body movement, etc and then creating the rig that could deliver that.

So I created the shark with no independent eye movement or eye closing - had its eye movement as an integral part of the smart action of the mouth movement (BTW Sharks - unlike most other fish - are one of the few fish that can actually blink - as they kinda have an eyelid membrane over their eyes), but created intricate gill movements with 5 bones - tried them as IK chain where each subsequent gill amplifies the movement of previous gill, or as independent bones to see what worked best, etc. And spent time calibrating wind movement dynamics, also this changed when shark itself moves.. And added fin and tail movements as felt it would be too plasticy with out it. Most of it wasted as shark only appears for less than 2 seconds.

And on the other hand I didn't create the fish rig with the flexibility it needed - when the fish says "All that means is that it wasn't personal to you." she punches her left fin down (actually looks more like a drop than a punch), but then when she follows through with "But it was personal to me" she needed to bend that fin back on herself to her heart, but I had only created one bone in the fin so couldn't convincingly bent it backwards like an elbow on to herself, so just brought it back up to rest position to emphasis the previous movement down

For her movements, I actually left to the end - blocked off until then, and then I watched the original video clip from "You've Got Mail" movie to get a few ideas.



This was very different approach to what I saw others take, for example check this one out - its focus is a character study of movements, etc. like you suggested - he even acts out all the lines as a reference to his animation:

https://media-cdn.syncsketch.com/553130 ... FP2MSIUXA





Great stuff.

1- Good physical performance.
2- Do a good job of expression management.
3- Reasonable model structure.

It is very difficult to meet these three points, but it is very rewarding. I've been trying, let's do it together =）

[SuperSGL]

I thought the expression on the little fish (Emma Stone ) was pretty good! I think the addition of the sign made me think it was a cave as well. Maybe the fish does a quick look around (head up side to side) Edit: sorry didn't see your post about that. But that's why we do these so we can improve. I've done several animations for the contest at Animestudio.com another monthly challenge with a little more freedom. They give you a subject, like 'Tennis' and you start from there. As an added note I had no interest in making an animation of tennis players. But I remembered my mother in-law liked watching Tiger Woods she had 2 cats both of them were glued to the TV watching the greens. So I used that as my animation you can check it out here if you like: viewtopic.php?t=34421 Only having a month makes you finish (whether it's done or not) and several times I always see things I should have added or mistakes I missed. You learn from these things. The best way to start when you know what you want to create is find tons of references this not only helps get the characters looking and moving correctly but may inspire a new direction for your animation. Good luck in your adventures and don't get discouraged keep at it!