tag:blogger.com,1999:blog-568416200996850535.post9161875807072509780..comments2008-07-25T09:11:06.266-07:00mdauznoreply@blogger.comBlogger10125tag:blogger.com,1999:blog-568416200996850535.post-59201260365827401782008-07-25T09:11:00.000-07:002008-07-25T09:11:00.000-07:00To starky987<BR/><BR/>There are three ways, which I have came across. I'm Maya user, but these things would be same in all packages.<BR/><BR/>One, yes character set. Just create the Character Set of your character and select the character set, if it is not selected and its done.<BR/><BR/>Another would be, if the rig contain GUI, than maybe there will be an option for selection of all the curves.<BR/><BR/>And the last one, open the script editor and clear it and then select all the curves and then copy the the command appered in the script editor and make it shelf button.<BR/><BR/>One more, there is the script available on net named as pose2shelf, don't know about other packages if that will work with them too. Just load it and make the shelf button and execute it.<BR/><BR/>Hope so this will help you out.<BR/><BR/>--------------<BR/><BR/>Mr. Shawn Kelly - You Rock! :)Aabidhttp://www.blogger.com/profile/05720606378648406700noreply@blogger.comtag:blogger.com,1999:blog-568416200996850535.post-19102002972016887302008-07-14T10:21:00.000-07:002008-07-14T10:21:00.000-07:00This is to anyone who can offer advice. When setting my keys on every part of my character, I currently go through and individually select each part to set the key. Is there a faster or more efficient way of doing this? Do character sets have anything to do with this? I'm teaching myself animation so I don't have any instructors to ask. Thanks!starky987http://openid.aol.com/starky987noreply@blogger.comtag:blogger.com,1999:blog-568416200996850535.post-44037085830591120512008-07-12T04:47:00.000-07:002008-07-12T04:47:00.000-07:00I get a bit confused about getting the best result from key poses.<BR/><BR/>I agree that they are designed when something has to happen. Such as on hooks in a dialogue piece, or an action has to be set in motion to achieve a goal (it maybe as seemingly simple as a character taking a step). They are there to communicate.<BR/><BR/>So we block out our key poses at the key moments in a sequence so as to clearly communicate the intent and motivation of the character.<BR/><BR/>A lot of time can be spent refining those poses and the resulting blocking pass looks great to tired animation student eyes.<BR/><BR/>But <B>how to maintain those clear poses when the breakdowns and inbetweens are added?</B> Especially when working with a computer program that's always trying to create a mathematical mediocre performance. That's the key question I'd like to pose.<BR/><BR/><B>How to maintain the clear communication of key poses? And also avoid a 'freezing' of a character from pose to pose?</B><BR/><BR/>In 2D we learn about spacing inbetweens to favour poses. In 3D we learn about techniques such as Keith Lango's "stealing a key frame". Our teacher encourages mastery of the graph editor and recognition of appealing curves within it. Then Shawn has also added his wisdom on the subject (Thanks Shawn, that middle paragraph in your post will take a bit of dissecting and digesting :)).<BR/><BR/>Does anyone else have a method of preserving their key poses but not producing animation that is blatant pose-to-pose that works for them?frankhttp://www.blogger.com/profile/12222027220337107714noreply@blogger.comtag:blogger.com,1999:blog-568416200996850535.post-29734256839843354322008-07-11T05:14:00.000-07:002008-07-11T05:14:00.000-07:00Hi Shawn, <BR/><BR/>Please bear with me if the following topic has already been covered in your blog/ebook/notes, but I couldn't hold myself from asking you directly. <BR/><BR/>I was wondering if animators in feature films work with non linear animation at any point? Working on a CG TV production or videogames, were budgets are much tighter, I've been asked several times to build libraries of cycled animations and blend them to get a variety of results, with the conclusion that it speeds up production. However I personally prefer to work in the shot, treat every frame as a drawing and from there build my shot...even if the character is walking/running around. I feel it helps me define a unique animation for that specific shot from scratch rather than using a predefined clip and tweak it, although when we get client feedback, things could get a bit complicated... I always wondered if in features this was the case, or do you rely on animation cycles, animation transfer from rig to rig, etc...?? <BR/><BR/>Hope you could elaborate on this more at some point if possible?? Many thanks for having this great blog!!RVGhttp://www.blogger.com/profile/12064676883728275359noreply@blogger.comtag:blogger.com,1999:blog-568416200996850535.post-51224391257773787382008-07-11T02:12:00.000-07:002008-07-11T02:12:00.000-07:00@nemirc:<BR/><BR/>ure rite they r... :)... i wanted to know their comparitive use...Aparna-Appie!http://www.blogger.com/profile/00430288877774383698noreply@blogger.comtag:blogger.com,1999:blog-568416200996850535.post-77844497786933534392008-07-10T19:05:00.000-07:002008-07-10T19:05:00.000-07:00"i was wonderin whether u cud explain the exact differnce between offset keys and moving holds...n where they r used comparitively..."<BR/><BR/>I'm not good with the tech names most of the time, but aren't moving holds those times where your character comes to a stop, but you still move it slightly so that it continues to have the illusion of being alive?nemirchttp://nemirc.wordpress.com/noreply@blogger.comtag:blogger.com,1999:blog-568416200996850535.post-74856509359738440262008-07-10T12:11:00.000-07:002008-07-10T12:11:00.000-07:00great advice as always shawn!!<BR/><BR/>i was wonderin whether u cud explain the exact differnce between offset keys and moving holds...n where they r used comparitively...<BR/><BR/><BR/>lookin forward to future posts! :)Aparna-Appie!http://www.blogger.com/profile/00430288877774383698noreply@blogger.comtag:blogger.com,1999:blog-568416200996850535.post-41025687550886918482008-07-10T09:34:00.000-07:002008-07-10T09:34:00.000-07:00Awesome Shawn!! very helpful. I'm just about to start my blocking at AM for the week :) so good motivation and a great start hearing your words.<BR/><BR/>Keep up the great work!Mariya Khttp://www.blogger.com/profile/04592385738717468615noreply@blogger.comtag:blogger.com,1999:blog-568416200996850535.post-90243386861022767932008-07-10T07:21:00.000-07:002008-07-10T07:21:00.000-07:00hi Shawn<BR/><BR/>awesome blog, i like every bit of it . i quick question about overlap (successive breaking of joints) do u build overlap in poses or just by offsetting keys.<BR/><BR/>and one more about the newsletter will u also write some random articles and feature some articles by guest writers on the newsletter or those things will be covered in this blog.<BR/><BR/>and please check my last mail (some thing new inside).<BR/>thanks and take care.zohaibhttp://www.blogger.com/profile/08616891450868845181noreply@blogger.comtag:blogger.com,1999:blog-568416200996850535.post-53156367589134197312008-07-09T23:20:00.000-07:002008-07-09T23:20:00.000-07:00Hey Shawn<BR/><BR/>Great advice as always. Just a question when you clean up after you set all your key poses. Let's say for instance there was a section where the hips didn't move, do you remove the keys that was set for the hips as well or just leave them in peace?Francoishttp://www.blogger.com/profile/16415536693760566315noreply@blogger.com