LightWave 3D 8 Character Animation phần 1 docx

[...]... step, but it is a first step from 2 Chapter 1: About This Book the point of view of feature-quality animation, and that is what will make all the difference in the world Yes, this book focuses on LightWave, and the sections on character setup show step by step how to use LightWave s Inverse Kinematics (IK) to build strong, dependable setups you can use for any character you envision But even if you are... else in making character setups that do what you’d expect them to do Figure 2. 18 18 Chapter 2: Inverse Kinematics, Forward Kinematics, and IK Booster While it may be tempting to want to have the shoulder or hip joints use IK to solve for all three axes (heading, pitch, and bank), I find that often (though not always) this makes for a loose, “swively,” hard-to-control arm or leg Most often, character riggers... buttons may be different between packages, but IK is still IK What separates 3D packages in terms of those that are good for character animation and those that aren’t is the solidity of the package’s IK engine LightWave has one of the best — quietly and without hype (If you are using another software package, I’d suggest trying LightWave; you might just be pleasantly surprised I’ve used all the major... that demo reel of yours! The exercises in the book will show you how! 5 Chapter 1: About This Book 1. 4 The Exercises This book is full of exercises, from life drawing in 3D to analyzing animation Please take the time to do every one There may be things you’ve already encountered, especially in the chapter on the basics of animation, but treat each exercise as though it were a scene you’ve been assigned... Where 3D animation is concerned, kinematics defines the way in which you manipulate a system of hierarchical (parent/child) items 2 .1 FK (Forward Kinematics) Forward Kinematics (most often referred to simply as FK) is the “old reliable” way of animating It is labor-intensive, but there are no surprises — everything that’s in an animation must be put there, on purpose, by the animator Figure 2 .1 Forward... simply pose a character s hand control, and the character s arm bones do what they need to do to remain in contact with the hand’s base 8 Chapter 2: Inverse Kinematics, Forward Kinematics, and IK Booster Figure 2.3 IK in action, driving the positioning for a character s arm Note: Not all IK is created equal! IK requires very precise calculations in order for it to work dependably In this, LightWave s... right of the decimal point, makes it one of the best packages for character animation Other software may have great salesmen, but LightWave has it where it counts, “where the rubber meets the road.” Thanks to LightWave s robust IK, which is dependable and predictable in every situation, I was able to do nearly ten times the featurequality animation per day as is expected from feature animators using other... feature-quality animation This is a book for feature-quality animators skilled on other software platforms who have a project that requires them to use LightWave This is the book I wish had been available when I was starting out as a LightWave animator This is not just a book on how to set up and point weight characters It is not yet another book that covers the same basics that nearly every other book on animation. .. having your character getting up out of a chair or swinging a baseball bat, give that scene feeling, let your character have a reason for being in that chair at that moment, and let that reason show through in the action Like Degas, show a moment in time Let it seem that your character existed before the scene began and will go on after the scene ends In treating each scene like this, your animation. .. this information on to a 1 Chapter 1: About This Book much larger audience, and by doing so, raise the level of animators and the way others perceive animators all across the board Animation is an incredible art It encompasses so much technical and artistic skill that in my experience, nothing else comes close to the impact it has on the artist or the viewer We’re moved by good animation in a way we can’t . Controls 17 9 8. 10 Foot Controls 18 0 8. 11 Toe Controls 18 1 8. 12 Knee Controls 18 2 8. 13 The Fingers and Thumb 18 3 8. 14 Notes on Modifying the Setup 18 6 8. 15 IK Booster Controls 18 7 Fingers/Toes 18 8 Contents iv Knees/Elbows. Controls 16 9 8. 1 The Model Itself 17 0 8. 2 Root 17 1 8. 3 Pelvis 17 2 8. 4 Spinal Bones 17 3 8. 5 Head 17 5 8. 6 Hand Translation Controls 17 6 8. 7 Hand Rotation Controls 17 7 8. 8 Shoulder Controls 1 78 8.9 Elbow. 376 17 .3 Characterization 3 78 17 .4 Character 379 17 .5 The Animator’s Trust 382 Chapter 18 Advanced Animation Tools 383 18 . 1 Dope Sheet 384 18 . 2 Dope Track 395 18 . 3 Motion Mixer 3 98 Chapter 19