There might be a way that is not obvious to me yet, but I find that it is easier to ignore the model bone altogether when animating a character directly, when the character is not in a cyclic action like walking or running. The problem with this comes when you want to transition to an action that follows a path. Often the character is offset pretty far from the model bone by then, so getting the two re-aligned in the transition so an action along a path will work becomes problematic.
Any of you out there know of a better way to manage the model bone without it being such an added bother when you are not animating a cycle along a path? It would be nice if it could be switched to automatically follow along with the "body" bone of the animation rig.
Bill Gaylord
Full Version: The model bone...what to do with it?
Hash, Inc. Forums > Technical Direction and Development (Learning Animation:Master) > A:M Tutorials and Demonstrations > Animation > Reusable Motion
My process is to use the model bone for the initial "blocking-out" of the animation.
So, I keyframe all the path positions, rotations and other translations in choreography_action_1 using the default bone, and refine until I'm happy with the timing.
Add repeating actions and refine the timing more.
Then, add a new choreography_action and do the skeletal animation.
This process keeps all the basic scaling, translations, and rotations applied to the model bone where they are easy to find and adjust.
Phil
So, I keyframe all the path positions, rotations and other translations in choreography_action_1 using the default bone, and refine until I'm happy with the timing.
Add repeating actions and refine the timing more.
Then, add a new choreography_action and do the skeletal animation.
This process keeps all the basic scaling, translations, and rotations applied to the model bone where they are easy to find and adjust.
Phil
The only way I can ever get the actions to blend....is to switch the camera angles. But there are others that seem to do it OK.
I like your idea of getting it to follow the root bone of the model. Sort of like being able to make it not move the model so you can move the model bone where it *should* be.
I like your idea of getting it to follow the root bone of the model. Sort of like being able to make it not move the model so you can move the model bone where it *should* be.
I had this problem too. See my "Door's Stuck" entry on the New Users forum. I wanted Shaggy to try to open the door, then give up and walk around. I couldn't make it work, and finally had to set up a new shot.
-Zev
-Zev
Thanks, Phil! That sounds like a very sensible way to work with the model bone. Does opening a new choreography action decouple the skeletal animation somewhat from the model bone keying? What bothers me is trying to use inverse kinematics, especially with kinematic constraints to targets. How can the model bone be moved without it forcing an offset onto what would otherwise behave in an inverse kinematic fashion? Perhaps I don't understand fully how the rest of the model relates to the model bone.
Can you perhaps do a simple example with inverse kinematics and kinematic consraints?
Thanks!
Bill Gaylord
Can you perhaps do a simple example with inverse kinematics and kinematic consraints?
Thanks!
Bill Gaylord
| QUOTE |
| Can you perhaps do a simple example with inverse kinematics and kinematic constraints? |
Ok here's a project.
Full project (zipped)
And some renders of each stage.
Basic blockout model bone only
Add Actions
Add Jump
Transition to walk
Transition to sit
The animation is crap, but the process is beautiful! When checking out the project you may see flickering motions in the hands. This can be ignored as it's just a screen re-draw error, and does not effect the final render.
| QUOTE |
| Does opening a new choreography action decouple the skeletal animation somewhat from the model bone keying? |
Think of it as two different layers applied to the animation. The model bone provides basic scale, rotation, and translation of the object, so it's great for setting up your initial timing. Skeletal actions (cyclic, or created in a choreography action) then provide the "details" of the action, walks, turns etc. (I highly recommend taking advantage of the Stride Length feature by doing walks in an action).
This really works best when used with paths like in the example. If paths and cyclic actions are not conductive to your animation, or animation style, it's still possible to use the basic blocking shot to work out timing first, and then "bake" before adding the detailed skeletal animations. The obvious issue that occurs is having to keyframe the feet (and legs, if FK) to stop them from sliding along with the model bone.
In this case, it's probably best to ignore the model bone altogether and do the blocking out animation using the pelvis (or equivalent) bone with IK legs turned OFF, and then adding a choreography action with leg IK ON where you do the basic leg animation.
Notes.
1. This was done in version 12.
2. I had to clean up the sad walk action, so it is different then the one on the cd.
3. I pre-set Thoms arms in the IK constraints relationship with a small amount of bend to reduce the chances of "arm jitter".
4. I had to keyframe the IK arm setup to "on" during the animation.
5. This is by no means the "only" way to animate in AM. I just find it the fastest way to conduct longer animations.
Very important!! If you run into troubles with the non-linier animation features of AM, PLEASE PLEASE PLEASE do a report. Hash needs to hear what the issues are.
Hope this helps,
Phil
| QUOTE |
| Thanks, Phil! That sounds like a very sensible way to work with the model bone. |
I 2nd that thought, Phil Leavins, might I say your mini tutorials are fast becoming legendary for rookies like myself ...
http://www.hash.com/forums/index.php?showt...t=0&#entry53681
http://www.hash.com/forums/index.php?showtopic=9572&st=0
Please keep em coming ...
Thanks, Phil! Very helpful as usual!
Bill Gaylord
Bill Gaylord
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