Duration 4h 39m Project Files Included MP4

Title: MackleyStudios – Autodesk Maya Mythical Creature Animation

Info:

Creature Animators are in demand. This course teaches you how to develop your own creature animations.

Chris Tedin presents the first in a series of creature animation and walks you through how to animate a dragon rig in Autodesk Maya.

I’m excited to present to you guys the first in a series of creature animation, specifically, Mythical Creature Animation. The demand for creature animators is growing and will continue to rise. As motion capture tends to take over a lot of the biped stop-animation, creature animation and animal animation is going to remain steady.

So we’re going to look at the dragon, and look at it with a combination of quadruped animation and winged characters. So we’ll start with the basic structure of the wing and how it operates. We’ll do some real basic studies by making ourselves a simple geometric object and look at the structure of the wing, animate, set key-frames, and set pose-to-pose animation. We’ll look at references, like large birds – a crane as an example – we’ll slow down the flight to make the size even larger and make it seem like a larger character. We’ll continue to look at those references and go back to the creature and use that to guide us in the discovery of the dragon’s animation.

From there, we’ll start with pose-to-pose, looking not at the timing, but the entire character’s poses, not just the wings, but the body, the tail, the head, and the feet. We’ll do overlapping animation. We’ll go over how the animation flows through the character, looking at the interpolation curves: getting all the character’s motion smooth where it needs to be smooth and getting it more dynamic where it needs to be dynamic. We’ll also look at arc-motion and different tools inside of Maya to guide arc-motion. With this, we’ll do an entire flight cycle that can be repeated and used inside of game animation, etc.

We’ll move from there on to a landing of a character, taking what we learned from the flight cycle and taking it onto a landing character, which is a lot more complex. Every pose is going to be different and there is no cycle that we can apply to every approach. We’re going to go over how the character lands – the physicality of the character. Not just the weight of the character but the way the muscle mass is pushing against the air and how the air reacts and responds and how this massive character can slow itself down to a landing… and the way all the other parts – the head and the tail and the feet – and how they all react to the ground plane so we can get that physicality and response to the ground-plane properly. For this process, we’ll be looking at all the details. Every little part. First, layering the animation once we do pose-to-pose, then getting the timing correct, then getting that ground-contact well-considered and well-thought-out and solving some simple problems like gimbal-locking. Always going back to that curve editor, making sure that the curves are smooth and tight where they need to be.

The timing is important to: is the character flapping at the right time, and what’s the thought-process of this dragon as he’s landing on the ground? What’s his next move? What’s he trying to accomplish? There’s this emotional impact of him trying to scare the audience. We’ll set the camera in a way that is most responsive to this dragon’s presence and get the right emotional reaction out of it.

I hope you like it. I had a lot of fun doing this series. I hope you have a lot of fun and enjoy the process. The rig is available for free, by the way. I give credit to the guy who rigged the character, so enjoy playing with this rig and enjoy dragon animation.

持续时间 4 h 39 m 项目文件包括的 MP4

标题︰ MackleyStudios — — 玛雅蜮动画

信息︰

生物动画师的需求。本课程教你如何去发展自己的生物动画。

克里斯 Tedin 提出了第一次在一系列的生物动画和你走过如何在玛雅龙钻机进行动画处理。

我很高兴向你们提出第一个在一系列的生物动画，具体来说，神话生物动画。对生物动画师的需求日渐增加，也会继续上升。运动捕捉趋于接管大量的双足的停止动画，生物动画和动物动画要保持稳定。

所以我们要看看龙，并看看它与四足动画和有翼的字符的组合。所以我们会开始与翼和它是如何运作的基本结构。我们会努力使自己成为一个简单的几何对象和结构的翼，动画，看设置关键帧，并设置 to pose 动画做一些现实基础的研究。我们来看看引用，像大鸟 — — 起重机作为一个例子 — — 我们会慢下来的飞行使大小甚至更大，并使它看起来像个大的人物。我们会继续看看这些引用和回到这种生物，用它来指导我们的发现龙的动画。

从那里，我们就会开始与 to pose，不看时机，但整个性格构成、 不只是插上翅膀，但身体、 尾巴、 头和脚。我们会做的重叠动画。我们来复习如何动画流经字符，看插值曲线︰ 所有性质的议案顺利它需要顺利越来越得到它更有活力，它需要动态。我们也会看看电弧运动和在玛雅人引导电弧运动的不同工具。这一点，我们会做的整个飞行循环可以重复，用来在游戏动画等。

同时我们从飞行周期，并考虑到着陆的性状，是很多更复杂，我们将从那里到一个字符，着陆。每个姿势将会不同，我们可以适用于每种方法没有任何周期。我们会去结束字符的土地 — — 肉体的字符。不只是重量的字符但方式肌肉的质量正在推进反空气和空气如何反应和响应以及如何这大规模的字符可以放慢本身着陆...和所有的其他部分 — — 头部和尾巴和脚 — — 和他们所有在地上的反应平面所以我们可以得到那肉体和地平面响应正确。在这个过程中，我们会看着所有的细节。每一小部分。第一，分层动画，一旦我们做了 to pose，然后时机把握正确，然后让地面的接触经过深思熟虑和精心深思熟虑和解决一些简单的问题，如万向节锁。总是要回那曲线编辑器，确保他们需要的曲线平滑和紧。

时间是重要的︰ 是字符扑在正确的时间，，什么是这种龙的思维过程，因为他降落在地面上？什么是他的下一步移动吗？他想要完成什么？还有他想吓唬观众这情绪的影响。我们会是最为敏感的这条龙存在的方式设置相机和获取权利情绪化的反应出来。

我希望你喜欢它。我有很多的乐趣这一系列。我希望你有很多的乐趣和享受的过程。钻井平台是免费的顺便问一下。我操纵字符的家伙的功劳，所以享受玩这个钻机和龙动画。