AVE260

 To prepare for my animation sequence, compiled some key poses from my original reference so I could attempt to act them out.  I then filmed the live-action reference of the section I wanted to animate.  I then traced over the key poses in TV Paint to help exagerate the movements and define the shapes of the movements.  I then read through How to Cheat in Maya 2012 book to help refine my animation skills in maya ready to animate this sequence. I read through the chapter on the priciples of animation, this helped to understand the main aspects of animation, what I could exaggerate in my animation.  Constraints, as I parented a suitcase to a rig controller in the hand so it followed with the movement of the hand. I also looked throught the chapters of blocking so I could plan my animation successfully. I also looked through the Animation layers chapter so I could take full advantage of them. 

  I started by doing a quick walk animation test with my rig this helped test the skinning and movement with my rig.  I then started to add tweaks to my movements. Delaying the drag with the hands and a small nod with the head. I started reading the walk chapter in the Animators Survival kit. Using the reference from the book I blocked out a new walk cycle, I could then really understand the timing, pace, and movements of walking. Using the reference helped me to understand the timing of the animation. 

  I then researched into the best method to rig my finished character. I found this Advanced Skeleton rigging script. I found that this was a professional level rig, and the script would save me a few weeks’ worth of tedious work. As rigging didn’t interest me fully, I decided to save time, on the rigging stage, so I could get animating as quickly as possible. I started by deleting history, freezing transformations, and then exporting the mesh as an FBX. I could then re-import this mesh into a new scene so it wouldn’t cause any problems. I placed the joints the script loaded up using the biped rig, making sure these were accurate as possible for my model. I used bone structure to help aid me placing these joints. I then let advanced skeleton do its magic creating the full rig in seconds. I then skinned the character using the delta mush option, as this had the best results. I then published the rig, exporting it out so it was ready for animation.

 This is the finished model. With clean topology, ready for rigging. 

I looked at ear topology and reference and re-topologized this area. I sorted out the definition in the face. Using nurbs curves, and the loft tool, I created a basic hat. I then extruded the faces on this to create a 3d hat. I then extruded the faces on the mesh of the body to create clothes. I then added lambert textures to start bringing the model to life. I then added hair by blocking out simple polygons and using the lattace points I streched these around the model. 

After re-topologizing, I smoothed the model, duplicated, and joined the two halves together. From feedback from lecturers, and looking at structural reference of John Cleese, I realised the proportions needed to be exaggerated. I stretched the feet and legs out, exaggerating these features. This would then make my animation more achievable, especially with the high kicks and flicks in the live-action reference. I then realised I over did the muscle structure. He looked too chunky. I sculpted the muscles smaller but keeping the definition. 

 Using my artistic, photographic, and structural reference, I created a block out of the shape of my character.  From this I then went into quad draw to re-topologize my model. I took a screengrab of my face model and using facial topological reference I drew in my own lines in photoshop. From, this I could then copy the similar lines whilst I was re-topologizing. 

Firstly, to prepare for my re-imagined task I chose a live-action clip from the Ministry of Silly Walks. This would be great reference for animation & it would stretch me technically.  I decoded the pipeline structuring what needed to be done when to be kept on track. I then also took the time to research the most efficient way to create this final animation.  Character modelling interested me, and I felt if I created my own character I could control the final look. I could exaggerate the limbs of this character to fully express the movements in the clip. I then went onto researching into the quickest most efficient character modelling tools in Maya. I found simply blocking out the character. Then using the quad-draw method was the most effective way of modelling, whilst keeping topology clean, I could also use the sculpting tools in maya to create extra face definition and muscle structure. This was important for the rigging and skinning stage, later down the pipe...