Shravya_Final

Link:
Horse_Turntable

Resubmission

Valentina_Final Assignment_resubmission

Boyu_Final Assignment

Horse

https://drive.google.com/open?id=1Et9zXwAQ5DwZlin77FpW7NgfQfIG49Qz

                                   

Character Dialogue
https://drive.google.com/open?id=1Se9nx54SIRCprOsVwr1TYPQ0OwgYWjCu

Our Last Class

Please turn in Final Horse Trot Assignment as Either:

Cycle on turntable - 90 frames (does not have to be a complete 360 degree turn)
Cycle moving forwards with added extension animation

and

Final 2 Person Dialogue Lip Sync Assignment

Please put both files into CLASS DROP OFF FOLDER.

IN ADDITION, PLEASE POST YOUR FINAL ASSIGNMENTS TO THE BLOG

THANK-YOU and HAPPY HOLIDAYS !!!!

Dave Latours Awesome Lip Sync Demo

Rough Lip Sync Demo from David Latour on Vimeo.

Notes from Dave Latour

'The demo uses a tool called pose2shelf: search for it on creative crash. Handy and simple but it's limited to working with specific object names. If the character is referenced, (and it always should be ) you need to pay attention to namespace etc.

Another tool you can use for this workflow is Poseman. That will allow you to build a pose library that works with any namespace.'

Week 10, notes on approaching mouth action

This will be a studio class, where we will use class time to work on our shots

Homework: Animate the mouth actions. Using your phoneme library, plug in the mouth shapes, using the same key frames as the jaw. 

Notes from 'The Illusion of Life', by Frank Thomas and Ollie Johnson

1. Anticipate dialogue with head, body or gestures 3-4 frames ahead of the heavy modulation but mouth sync should be right on the modulation. If it is a closed mouth, it will be on the consonant, and, if possible remain closed for two frames in order to be seen.

2. You need interesting mouth shapes that reflect the personality of your voice. Look for shapes that give you an extra touch of character and are peculiar to this one personality.

3. Try to show enough time on the important shapes so that the viewer will be aware that he has seen a picture of the word.

4. On holds at the end of a phrase or a line of dialogue, try to retain a mouth expression that reflects the word or phrase. Retain the character of the shape in the hold with a softening action to keep it alive.

5. There are not too many straight in betweens in dialogue. You may want to retain one mouth a little longer and then move quickly into the next one, or vice versa. Either way you will favor one extreme over the other - both in timing and the shapes you choose (draw).

6. If you have a word that has been stretched out fairly long, treat it like a moving hold.

7. When using the eyes only for sync in an extreme closeup, start the eyes into the move at least three frames ahead of the accent. If the accents are strong lead by 4-5 frames.

8. When using a blink to get the sync, the eyes should close ahead of the accent by 3-4 frames.

9. If you are going to start your dialogue on a drifting or slow move without an anticipation, it helps to start this movie 3-8 frames ahead of the accent.

10. There are times when your dialogue will have to be on ones.

11. The vowel sounds, A E I O U always will require some opening.

12. The consonant sounds M P B are all closed mouths. Keep in mind that the mood of the character will determine the shape of the mouth. Generally mouth shapes that have the "E"sound show teeth. T and G also can pucker like a U. Y and W can go in a very small O or U shape.

13. Make sure the teeth are not painted white or they will flash. This can be particularly annoying if the mouth is over articulated.

Starting on 2 Character Dialogue - Audio and Acting choices

 

 Activity

Dailies - discuss audio choices and ideas with class 

Assignment

Refine planning based on feedback in class. Shoot or collect video reference for your project. Be sure to analyze any reference. Remember to consider staging camera placement.

Have key pose blocking for final assignment ready to show for next class.