After addressing the issue of the velocity of the center of gravity movement, it’s time to resolve the spatial issue of the character’s center of gravity.
During the movement of the center of gravity, greater attention needs to be paid to the issue of spatial distribution, as the original allocation of the center of gravity space is too random. Therefore, we can use the Tween Machine plugin to readjust it.
Here, I have overturned the initial ordinary starting action and introduced a preparatory action to lay the groundwork for the character’s subsequent on-the-spot staggering, thereby enhancing the fun of the animation.
Additionally, incorporate more curvilinear motion during the movement of the center of gravity.
This week, we delved into the use of LIVELINK technology within the UE software, where we created a virtual camera within the program and linked it to a smartphone. This setup allows us to use the smartphone to capture objects within the virtual scene.
To achieve this, we need to activate the following plugins: Virtual Camera, Take Recorder, Live Link, Apple ARKit, and Remote Session.
For the rendering part of this project, the default settings are utilized, with the frame buffer pixel format set to 8-bit RGBA. Subsequently, within the project settings, locate the UDP message transmission—unicast endpoint. For the static endpoint, enter your computer’s IP address first, omitting colons and zeros, followed by the smartphone’s IP address.
Lastly, we need to create a virtual camera and open the Apple smartphone LiveLink Vcam to control the UE5 camera. However, it is important to note that if the software and smartphone remain unable to connect, the user should try disabling the computer’s firewall to establish a connection.
I must admit, when I animate too quickly, I subconsciously forget many of the fundamental principles of animation. As we can see in the illustration, when the character takes a large stride, there is a neglect in the use of curves. Incorporating ease-out into the stepping motion will make the action more forceful and swift.
When the character grabs the stick to perform a pendulum swing, the motion should also conform to that of a pendulum. Therefore, the movement trajectory should consist of easing in, accelerating, and then easing out.
In the animation production process, greater attention must be paid to the character’s silhouette. Additionally, the character should not be completely side-facing the camera.
This week, we ventured into the motion capture lab to experiment with mocap technology. The entire motion capture data was ultimately integrated into the SHOGUN LIVE software. Initially, we ensured that all cameras were connected to the computer and performed spatial calibration according to the software guide, ensuring that sensors within the capture area were correctly identified and configured.
Character Setup: In the software, we created or imported character models and performed the necessary rigging and settings.
Motion Capture: The process of using specialized equipment to record human movements, so these actions can be converted into digital information.
Data Processing: We adjusted and improved the captured motion data using software tools to ensure the accuracy and naturalness of the movements.
Data Export: The optimized motion data was saved and transferred, making it usable by other software, such as animation or game engines.
Thus, motion capture is about recording and optimizing human movements, and then transferring the data into other software for further use.
My initial plan was for a character to start an acceleration run after throwing a long stick, then after taking off, to grasp the stick and perform an aerial roll. Interestingly, in the end, he fails to catch the opposite edge and ultimately falls off the cliff.
Afterwards, we can begin production, but we may find that the action of throwing the stick is too abrupt, so let’s delete this part and replace it with a normal running start, adjusting some frames to make this run appear more powerful. Since the stick cannot be thrown, it is designed to be placed on the wall opposite the character from the beginning, allowing the character to complete the entire action according to the original design without needing to change most of it.
The character’s final somersault is still subject to discussion. I anticipate that this somersault could be the most time-consuming segment, although I hope that won’t be the case. In the end, the character’s descent needs to be faster to match the overall animation’s pace, and incorporating motion follow-through will make the action more dynamic.
Here, I present the practice videos from this semester.
Throughout this term, we embarked on creating an entire animation segment starting from a small spark of inspiration. This process included developing the character’s backstory, crafting the storyboard, and constructing the entire worldview. I’ve realized that the workload of producing an animation independently is immense. This might explain why, in the end, I opted to create a light-hearted combat scene animation. Such a choice likely enhanced my interest and immersion in the animation-making process.
Reflecting on previous blog entries, we can discern that the majority of the challenges in production stem from modifications made during the block animation phase. However, this also facilitated a quicker progression in keyframe animation after importing the character models, underscoring the indispensability of ‘animation previsualization’. Here, we can revisit the production workflow of animation previsualization and the preliminary preparations.
This week, we discussed how to initiate our project and gained an understanding of what we will be learning this semester. I am particularly intrigued by the production of the Resolume project. I believe that this technology can produce some unique effects in animation design, which I anticipate will be quite fascinating. Next week, we will visit the motion capture lab to experiment with mocap. I hope this technology will facilitate the development of my subsequent ARTIFACT project.
Currently, the members of our group are Han Luoqing, He Liuyihao, Zhu Yuhong, Zheng Shihong, and Zou Jianqiu.
Group Task Allocation:
Character rigging and 3D animation: Zou Jianqiu
Conceptual Design and 2D Animation: Zhu Yuhong
3D Modeling and Texture Creation: Zheng Shihong
Game Engine Mechanism Development: He Liuyihao
Story Conceptualization and Writing: Han Luoqing
Each member will collaborate closely within their designated roles to ensure the successful completion of our project.
My Responsibilities:
Early Stage:
Assist Zheng Shihong in Model Construction.
Provide suggestions from rigging and animation.
Participate in model design to offer more reasonable design methods.
Mid-term:
Receive the model.
Continue to provide modification suggestions.
Use the modified model for rigging.
Late Stage:
Utilize the rigged model for animation production.
Throughout these stages, maintain effective communication with the team to ensure smooth collaboration and project progress.
Current project introduction:
The entire game revolves around an environmental theme, depicting the inevitable demise of a forest as it gradually transforms into an industrial city. Following the first chapter of the game, the second chapter will feature a desolate industrial setting, characterized by cold, mechanized urban landscapes, with a spider-shaped metallic monster looming within it.
Week 1 Meeting Overview:
During our first week meeting, we laid the groundwork for our project. We introduced team members, including Han Luoqing, He Liuyihao, Zhu Yuhong, Zheng Shihong, and Zou Jianqiu. Each member’s role and responsibilities were outlined as follows:
Zhu Yuhong: Conceptual design and 2D animation.
Zheng Shihong: 3D model construction and texture creation.
He Liuyihao: Mechanism development within the game engine.
Han Luoqing: Story concept formulation.
Additionally, we discussed the allocation of tasks within the group:
Project Coordination: Zou Jianqiu
Conceptual Design and 2D Animation: Zhu Yuhong
3D Modeling and Texture Creation: Zheng Shihong
Game Engine Mechanism Development: He Liuyihao
Story Conceptualization and Writing: Han Luoqing
Furthermore, we set the stage for the game’s theme, focusing on environmental conservation. The narrative explores the inevitable demise of a forest transitioning into an industrial city. Following the first chapter, the second chapter will depict a dilapidated industrial scene, featuring a spider-shaped metallic monster amidst the urban decay.
In this meeting, I primarily contributed by presenting character binding requirements and suggesting design styles based on my gaming experiences. Recognizing the importance of captivating visuals, I proposed keeping facial details of game characters intentionally blurry to intrigue players further. We concluded by deciding to use Miro as our project handover platform and provided initial project recommendations and front-end development requirements.
This meeting served as the foundation for our project, aligning team members and establishing key objectives for the weeks ahead.
