Animation: the Goons

[Kid-Mesh]

HAHAHAHA....not bad...

I think the audio clip is just hilliarious:scream:

[JBarrett]

Nice start on this. Looks like you've got some really fun poses in there. The lip sync needs more work, but it's going in the right direction so far.

Re: finishing the piece, I think that adding more anticipation, plus a bit of overshoot and settle in the right places, will add the kind of feeling you're looking for.

[mkt]

overall the fixes ive done have produced either robotic motion or rubbery motion, i thought i could tone down the rubbery stuff but when i get to where it looks reasonable im losing the dramatic over the top effect that i get with just the quick poses you see here

Jazbees - so more anitcipation, this is probably asking a lot but what techniques do others use for implementing anticipation - inventing new poses or just going in the graph editor and giving curves a little counter before the pose

ive been getting too much of a rubbery effect with my overshoot - maybe just toning it down will help.

I think coming up with more inbetweens to stick between these is the best thing ive seen thus far.

i'm not really thinking much about the lipsync just wanted to see it in their because it was distracting not having some motion in the face.

Kid Mesh - yeah the goon show has endless gags like this - good stuff

[JBarrett]

Usually I try to block in anticipation and overshoot in the first pass when the keys are still linear/stepped (usually linear for me). Often I do the same w/ overshoot, but sometimes I'll think to add it after the fact if a certain transition isn't doing what I want it to. I usually end up adding a lot of little details in the graph editor once I like the initial motion. Depending on how detailed your rig is (i.e. how many channels you have to tweak), it might not be too tough to add the anticipation and overshoot/settle in the graph editor.

One way to avoid rubbery overshoot is to not let it settle back right away. Add a bit of an ease-out and moving hold into the overshoot pose, holding it for just a few frames (or a lot, depending on the feeling you want), then transition from that into your main pose. There's no formula for that kind of stuff. A lot of it comes through experience and knowing what kind of effect you want. This is why it helps to experiment in the blocking stage where sliding timing is a lot easier than when you've already done a lot of tweaking.

Looking at the clip again, there are a few other things it could use that I forgot to mention earlier. The big ones are 1) more arcs in certain transitions, 2) better moving holds - a lot of them feel too stiff, 3) more head/neck movement - something about his head feels stiff, and 4) offsetting the keys on different body parts so they're not all hitting their keys at the same time.

Keep at it! :)

[BigSky]

Perhaps you could think a bit more "actory" when you're working with this...like letting the character get a bit more obsessive about his pound note...use his eyes a LOT more...he's all internal, thinking about how that pound note and HIS pound note are the same.
Try to avoid twinning, where your poses are symettrical, break them up in space, and as Jazbees suggests, in time.
I really like the feeling of your character here, nice and subtle, you just need to loosen him up a bit, and let his emotional life be the thing that generates his actions..."the mind is the pilot.."

[mkt]

Different scene. Rendered even.

15 fps, ill do more work on the face and up 30fps version soon...


here (http://miketrujillo.com/fin.mov)

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