That is a very loose walk cycle. It is great for showing the s-curve and follow through but would the s-curve be the same if it was another kind of motion? You might say that this was a swish motion. Would it be the same if it was, say, a dab motion, or a flick motion, stab motion? How would you apply it to an emotion that wasn't relaxed?
I think your questions require complex answers. The 'dab motion, etc' are great ways of thinking about animation, but ultimately they're a way of abstracting parts of a cycle for discussion purpose. Sometimes it's good to step back from the tech aspects and look at the broad picture. How hard is the character walking. How much sway to the hips. How is the character leading the motion...these are the things that inform the motion.
The interesting thing is that almost all walks have the same core mechanical structure.
On a somewhat different yet related note - if you ever saw the output of a flute sound in an oscilloscope, it is always a perfect sine wave. I relate to that a lot when I work with walks, if we 'frame-all' the character controls in graph editor and look at how the curves cluster together - it's almost as rhythmic as sinewave variations of a flute recording.
Oh! Ok. I'll wait for class to understand where I'm wrong. But just to be clear I didn't mean to say all curves move up and down at the same time and the same amount like a sine wave.
That is a very loose walk cycle. It is great for showing the s-curve and follow through but would the s-curve be the same if it was another kind of motion? You might say that this was a swish motion. Would it be the same if it was, say, a dab motion, or a flick motion, stab motion? How would you apply it to an emotion that wasn't relaxed?
ReplyDeleteGood observations...
ReplyDeleteI think your questions require complex answers. The 'dab motion, etc' are great ways of thinking about animation, but ultimately they're a way of abstracting parts of a cycle for discussion purpose. Sometimes it's good to step back from the tech aspects and look at the broad picture. How hard is the character walking. How much sway to the hips. How is the character leading the motion...these are the things that inform the motion.
The interesting thing is that almost all walks have the same core mechanical structure.
Very helpful! Thanks for sharing :))
ReplyDeleteOn a somewhat different yet related note - if you ever saw the output of a flute sound in an oscilloscope, it is always a perfect sine wave. I relate to that a lot when I work with walks, if we 'frame-all' the character controls in graph editor and look at how the curves cluster together - it's almost as rhythmic as sinewave variations of a flute recording.
Not true! Details in class
ReplyDeleteOh! Ok. I'll wait for class to understand where I'm wrong. But just to be clear I didn't mean to say all curves move up and down at the same time and the same amount like a sine wave.
ReplyDelete