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Animating A Facial Take 【翻译】 Part One

(2006-12-26 19:08:39)
分类: 教程
   Merry Xmas!
   终于可以稍歇口气,上来发点东西。又一年圣诞来临,又一次加班度过,虽然很累很不爽,但今年圣诞节还是有点欣喜的事情。Victor Navone 同意把我翻译的他写的动画教程发表在这里,同时在他的blog上给我做一个链接^_^
   下面我把翻译的那个教程放上来给大家分享,同时有翻译不对的地方请大家指点,另外点这里可以去Navone的blog上看看
VNog, Victor Navone是pixar的动画师,做过超人特工队等一系列pixar的动画,同时他的VNog也是一个非常棒的动画blog,喜欢动画的朋友可以常去他的blog看看。
  
  
Animating A Facial Take

Introduction
Animating a facial "take" (a surprised reaction) seems simple enough in concept, but once you get into it you'll find it requires as much understanding of animation principles as any other performance you might try to create. The human face is a complex system, but you don't want the animation to appear complex) all the parts should react in tandem and yet still feel like they are being controlled by multiple muscle groups. You also want to give the face a fleshy feel, which can be difficult if you don't have a good animation rig with the necessary controls. For this exercise I'm using as an example a shot of Dash that I animated for The Incredibles (above). This shot was a learning experience for me as well, and I was lucky to have director Brad Bird guiding me through it. It was a little daunting at first, but he helped me to understand how to approach the action, and now it all seems obvious to me. Hopefully this tutorial will do the same for you. On with the show!
想象中制作一个“take”的表情动画(这里的take是指惊讶反应这类表情)感觉上不会很难,但当你开始制作的时候,你会发现这同样需要你掌握尽可能多的动画原理和对动作的深刻理解才行,就如同做其他表演一样。人类面部系统是很复杂的,但你可不想做动画时把它搞得很复杂。我的意思是面部所有的区域应该协同运动,但又让人感觉是被面部多个肌肉群落来控制的。当你在没有很好的面部设置(facial rig)的情况下,将更难的表现面部的肉感,让人看得生动而不是有电脑的感觉。在这个练习里我将用一个自己在 the incredibles 中做的(dash的)一个镜头来讲解。这个镜头对我自己来说也是一次很好的学习经历,我很幸运在制作中得到导演Brad Bird的指导。一开始接手这个镜头时候我还有点心虚,但他帮助我去明白如何掌握这个动作,现在对于这些我自己的思路已经非常清晰了。希望这个教程对你也有同样的帮助!好,现在启程!
 
   Animating <wbr>A <wbr>Facial <wbr>Take <wbr>【翻译】 <wbr>Part <wbr>One
Here is a software-rendered version of the shot with no eye mask and some additional markings to clarify what's happening in the brows, eyes and mouth. Note that when I refer to the "eyes" I mean the shape created by the upper and lower lids. I will also refer to the pupil, iris and sclera (or "whites") of the eyeballs. I've also tried to stabilize the camera and I've slowed down the playback so you can see each of the ten frames play back. Now I'm going to go frame-by-frame and explain what is happening in each one.
这里是一张这个镜头的软件渲染版本,它没有眼睛的mask和其他额外的标记去阐明在眼睛,嘴巴,眉毛发生了什么。请注意下面我所提到的“eyes”包括上下眼皮,以及眼睛的瞳孔,虹膜和眼白。我同样要稳定相机同时把这个镜头的回放降低,让大家能看到这10帧动画中每一帧的回放画面。下面我们就要逐帧的来讲解这每一帧到底发生了什么.
   Animating <wbr>A <wbr>Facial <wbr>Take <wbr>【翻译】 <wbr>Part <wbr>One   
Frame 1 - This is the "A" pose or starting pose. The "B" pose would be the final pose, or Frame 10. Dash was happy because he thought he was headed for freedom, but that is about to change as another Velocipod appears before him. The eyes, brows and mouth are all built from simple curves. Note how the shapes of the upper lids echo those of the brows, and how the entire expression is asymmetrical. Also note the slightly dilated pupils, which make the character look a little happier and more appealing.
第一帧――这个是一个开始pose,也可以叫做“A”pose,而“B”pose就是结束pose。这个镜头表现的是当Dash高兴的以为要逃出来的时候,另一个守卫突然出现在他的面前。他的眼睛(上下眼皮),眉毛和嘴巴都呈现很简单的曲线。,注意上眼皮的曲线和眉毛的曲线是形状是相对应的,同时整个表情是不对称的。同样你要注意到放大的瞳孔,它使角色显得更高兴,更具感染力。
 
   Animating <wbr>A <wbr>Facial <wbr>Take <wbr>【翻译】 <wbr>Part <wbr>One  
Frame 2 - The expression change starts in the brows, which are changing shape in addition to lowering. The simple curves in Frame 1 have turned into angular shapes as the inner part of the brow leads the change. We humans have more motor control over our inner brows than our outer brows, so that's the part that moves the most. The mouth is also starting to close and widen slightly; you could say it is trailing the brows by a "half-frame".
第二帧―― 表情的变化从眉毛开始,眉毛除了降低之外它的形状也改变了。由眉头带动整个变化,眉毛由第一帧的单纯曲线转变为带角的曲线。我们人类对眉头的控制相对于眉毛末端要多很多,所以眉头部分会移动更多一点。嘴巴同时开始有闭合的动作,嘴角稍微变大,你可以说是嘴巴比眉毛落后了半帧
 
   Animating <wbr>A <wbr>Facial <wbr>Take <wbr>【翻译】 <wbr>Part <wbr>One
Frame 3 - Now the rest of the face is starting to follow along. As the inner brows start to reverse their curves from Frame 1, the upper lids are now starting to compress, making them feel physically related to the brows. Their curves are still simple, though, to accentuate the roundness of the eyeballs they are gliding over. Notice also that the lower lids and cheeks are starting to push up into the eyes to add to the overall squash. As the mouth closes it also widens, giving it a sense of squash & stretch.
第三帧――现在面部其余的部分也开始跟随发生变化。就像眉毛内侧开始变化成与第一帧相反的形状,上眼皮开始压缩,(让眼皮与眉毛两者在动作上有联系的变化)曲线上还是简单弯曲,为强调眼珠的圆形性质,眼珠被眼皮盖过。注意眼皮降低,脸颊开始上升使眼睛开始有挤压的感觉,同时嘴巴闭得更多但也咧得更开,这样使镜头中挤压和拉伸同时表现出来。
 

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