Author: kamill

Remodelling of the head

A quick post before the final hand in. As I wasn’t satisfied with my final animation, and my character in general, over the last few weeks I was working on improving it. One of the changes that I did is slightly remodelled character’s head and his face. I’ve also gave him different eyes. As we can see his faces isn’t as “boxy” as it was before. His face looks smoother, at least to me. Removing few edges from his face and keeping it quiet low when it comes to edge count also helped when it came to creating blendshapes, something that I’ve struggled with with the previous model. The eyes bring completely new appeal to the character, actually having an iris makes him look more alive and in my opinion is just more aesthetically pleasing to everyone. Their shape changed as well, as you can see below. They’re much more spherical than before.

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Evaluation

The question that I’ve asked myself at the beginning of this year, after my first term on this course was How can facial expressions help communicate character’s emotions and inner monologue and therefore make the audience empathise with him/her? Even that I had some basic understanding of the subject it was a challenging task. First, what is empathy and why is it important in film or animation? Well empathy is simply our capability to understand feelings of another person, ability to put ourselves in their shoes. It doesn’t always mean that we like the particular person, but we somehow care. As an animator ability to make a wider audience care is important to me. Without making them care people would not be interested in watching my work.  In his book “Acting for Animators”, Ed Hooks says that “We humans empathise only with emotion. Your job as a character animator is to create in the audience a sense of empathy with your character” (2011). So if we’re only empathising with emotions, what really are they? It’s really difficult to come up with a definition of emotions, I would say they’re a response or a reaction to what is happening around us. Later in his book Hooks says that “it is impossible to express emotions without thinking” and that’s hard to disagree with. How do I, as an animator show that the character is thinking? Probably the easiest and the most popular way of showing a thought process in a character’s mind is blinking. Blinking makes a character stop for a second, it’s like a mental punctuation point. So that’s what I did in my short animation, whenever the character was changing a thought or was making a decision I made him blink. Blinks are also a great way of adding life to the character. There are different types of blinks in animation, they can be fast, slow, there can be half blinks, there’s even something called “the Pixar blink”(when the one eye blinks few frames earlier  than another one). I tried using different lengths of blinks in my animation to add some variety into it. In my research and observation of short and full featured animations and film I’ve noticed that characters blink differently when they’re happy and differently when they’re sad.

Quickly into my research I’ve realised that reading expressions and emotions from still images isn’t really the best way of researching empathy in animation. Facial expressions are motions and motions can’t be caught in a still image. I’ve also then realised that the narrative will be a major part of my research, as it would be rather to achieve empathy in a character without a story and motivation behind characters actions.

While working on my project I came across few obstacles. Early on I made a bad character design decisions, I was being cautious with the style that I was trying to portray, balancing between realism and cartoony style didn’t give me satisfying results, even that I only realised that at the final stage, when I couldn’t do any changes. Design and style can also play an important role when we’re trying to achieve empathy and in a narrative. Establishing a world that the character is can also help with making the audience care and empathic toward our character. We need to inform the audience of what kind of the environment the characters are in, so the audience what be distracted and confused and would rather focus on character’s actions. Another problem that I came across happened while I was doing blend shapes. Exaggeration is important in animation, it is considered to be one of the principles of the art form, that’s why I was trying to get as many exaggerated and over the top expressions as I could, but it was pointed out to me that some of them aren’t appealing at all and don’t work. Again it was the design fault, as I’m confident that it would work with a cartoony looking character. Some of the limitation came also from mistakes that I did the modelling phases. To get the shape of the head that I wanted I’ve used too many edge loops, which later make my work harder as I’ve spent too much time doing blend shapes, with the results that weren’t always satisfying. However, in a way, these not so perfect moth shapes emphasised the role of eyes, eye brows and eye movement in my character.

Early on I was looking at Paul Ekman’s research about facial expressions and his six, or seven universal emotions (anger, happiness, sadness, disgust, fear, surprise and contempt). Few of them are hard to recognised in a still photograph, without any context. As I’ve mentioned earlier, expressions are motions, so presenting them in a still image wasn’t useful for my research. However these basic, or universal emotions were a good start and from them I could move on to other expressions that I could want to achieve. Pixar in their latest film “Inside Out”(2015) decided to portray 5 of them and anthropomorphise them as characters in this movie. What is interesting is that they’ve achieved different emotions by overlapping some of the main one.

Pacing and timing is an important part of animation, especially while doing a series of transitions of the emotions, like I tried to in my short animation. The result could have been better, some frames should been hold for longer, some transitions should have been smoother, it would really improve the final product.

Hooks E., 2011. Acting for Animators. 3 Edition. Routledge.

VanDerWerff  T., Chart: How Inside Out’s 5 emotions work together to make more feelings, 2015, [online] VOX Media, Available at: http://www.vox.com/2015/6/29/8860247/inside-out-emotions-graphic? [Accessed date: 30 June 2015]

Progress: Rigging

Recently I’ve rigged my character using The Set Up Machine. As you can see below I had to tweak few things, such us influences on the skin, so the jacket would act naturally and wouldn’t dissolve in the character’s body. What’s ahead of me is the final animation. I’ve decided to slightly change my story. Now I want to do it in one camera angle and completely focus on characters faces. He’ll be sat by thinking about his past. I want the expressions to be clear to the audience and want the audience to empathise with the character.

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Blendshapes and blinking gif

Recently I was working on blendshapes for my character. As I’ve previously mentioned, most of the expressions that I wanted to portray were suppose to be illustrate sad and rather negative emotions. I was trying to make some expressions asymmetrical, as in my research I found out that asymmetry brings interest to  the character and gives the pose energy. It seems that the expressions are symmetrical mainly when character is either bored, or in a position of authority, or has no emotions.

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closedmouth widemsile surprise smile2 smile skepitcalfaces shock sadness2 sadness puffed_cheeks frown

 

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Refrences:

Norm, Tuesday Tips – Asymmetry in facial expressions. 2014 [online] Griz and Norm blog, Available at: http://grizandnorm.tumblr.com/post/79975572030/tuesday-tips-asymmetry-in-facial-expressions-a

Exaggerated facial features and problems with them

In my research I found that exaggeration plays an important role in animation, it’s even considered to be a part of 12 basic principles of animation. Realism can be considered to be dull and static, especially when it comes to movement in animation and exaggeration takes it to certain extremes to make it appear more entertaining and exciting, especially when characters are designed in a cartoony style, rather than photo-realistic. I’ve noticed it in my work from my undergraduate degree when it was lacking exaggeration and the results weren’t as good as expected. But exaggeration doesn’t always improve the work straight away.

For my final project I’ve decided to design a character with exaggerated facial features, and while large eyes and bigger, overemphasised eyebrows bring some results and make a character look more interesting, more appealing, but in my design I was too concious and instead of focusing on one style, I was trying to balance between photorealism and cartoony, caricature style. This started to cause some issues when it came to doing blend shapes. Getting some particular mouth shapes turned out to be harder than I’ve initially assumed. Character’s high and emphasised cheek bones give him some charm, make him look slightly different than a typical character, but they also limit some of the facial movement. That’s something that I didn’t considered while designing the character.

Progress – environment and working on blendshapes

 

Recently I’ve been working on modelling the environment of my scene and on blendshapes for my character. The entire animation will take place only in one room. There are two floor lamps, but the main source of light is going to be a window on the right. I want to set this to be happening around the dusk time, so there wouldn’t be too much light coming in, just enough to lit the scene. There are photo frames laying around everywhere, the idea is to put the pictures of the main character and his dead wife in it, to foreshadow, give a hint to the audience. Below you can see a screenshot of me working on blendshapes. As it’s a rather sad story a lot of expressions will be portraying sadness, hopelessness, anger, despise etc.

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blendshapes

Andrew Stanton: The clues to a great story

Recently I’ve watched a Ted talk presented by Pixar’s filmmaker Andrew Stanton, who wrote and directed “Finding Nemo”(2003), “WALL-E”(2008) and wrote scripts for Toy Story movies and Monsters, Inc. In his talk he spoke about storytelling, how he approaches it when he’s writing a script and why do we love stories.

Stanton says that we all love stories because “Stories affirm who we are. We all want affirmations that our lives have meaning. And nothing does a greater affirmation than when we connect through stories.”(2012). I think that’s something that gets overlooked sometimes when we discuss stories. It seems to me that the main reason people like stories, whether is it a novel book, or a movie, or a story on a radio, we seem to think that it all comes down to the entertainment, how we, humans want to be entertained. But his point is different, or at least he gives it a fresh perspective, as he sees it from a different angle.

As a storyteller/writer you should “know your punchline, your ending, knowing that everything you’re saying, from the first sentence to the last, is leading to a singular goal”. This is important – it shows that stories should be well planned ahead and the ending should be figured out from the start so the middle part is the journey to that goal. Coming up with endings is hard, I realised that while planning and writing the story for my final project and I’m still not satisfied with it.

Another point he makes is to ““Make me care” — please, emotionally, intellectually, aesthetically, just make me care. We all know what it’s like to not care”.(2012) This is something that every scriptwriter should have in a back of his head, that the only way to catch audience’s attention, to entertain them is by making them care. Later on he goes on about how we should make the audience put things together, make them work for it. So instead of giving them everything on a plate, let’s make it fun for them to solve it for themselves. As he says “We’re compelled to deduce and to deduct, because that’s what we do in real life. It’s this well-organized absence of information that draws us in.“(2012).

A character should have a spine, a goal, something they’re striving for. He gives examples of Pixar characters, such as WALL-E, or Marlin from “Finding Nemo”, but what’s really interesting is what he says at the end, that these goals can sometimes lead to some bad decision making, that characters get in trouble because of them, there are new obstacles in front of them. And that’s what makes stories much more interesting and entertaining.

He also talks about how he was struggling in the early days of Pixar, while writing “Toy Story”. At the time there was a certain formula for animation movies. For example there was a lot of singing involved and there was some romance. The story wasn’t working out and Disney was panicking, so they wanted all these things in the movie. But Stanton and the rest refused, and as he says: “And thank goodness we were just too young, rebellious and contrarian at the time. That just gave us more determination to prove that you could build a better story. And a year after that, we did conquer it.”(2012). It shows that there are no hard rules in storytelling, there are only guidelines. However liking the main character is something he says is a “fundamental”.  I think it would be hard for the audience to relate to an unlikable character, especially in the animated movie. Although there are examples of successful stories with unlikable characters in main roles, I’m thinking about House from “House MD”, or Kevin Spacey’s character from “House of Cards”, but I’m not totally convinced they’re unlikable. They might be evil(in House of Cards case), or rude and cynical like House but there’s something about their characters that people like.

According to Stanton one of the most important ingredients that a story should have is a sense of wonder. “Wonder is honest, it’s completely innocent. It can’t be artificially evoked. For me, there’s no greater ability than the gift of another human being giving you that feeling — to hold them still just for a brief moment in their day and have them surrender to wonder”(2012).

He ended his talk with saying that drawing from our own experiences, our own stories is also something a storyteller should do. “Use what you know. Draw from it. It doesn’t always mean plot or fact. It means capturing a truth from your experiencing it, expressing values you personally feel deep down in your core.”(2012)

Andrew Stanton: The clues to a great story, 2012. [online] TED talk. Available at: https://www.ted.com/talks/andrew_stanton_the_clues_to_a_great_story/