TGJ4M_3D_drawing3

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=Character Creation=

The moment you've all been waiting for. While it seems like a daunting task, developing a character isn't actually all that hard. The first choice you have to make is what type of character you're making; realistic, or anamorphic (are the proportions going to be correct, or out of proportion). The next decision, what type of character will it be; humanoid, plant, rock, gopher (Allan?).

As with most planning in digital art - the first thing you need to have is a front view and a side view of your character. This crucial step allows you to make reference images within the 3D modeling program of your choice. After that - the steps are easy, choose simple meshes and slowly add extrusions, carefully sewing your creation into a functional 3D mesh. After that, throw some bones in it, and begin the fun of animating it!

We will start by making a low poly-count character, not only because they're a bit easier to make than a more complex 3D character, but also because they'll render faster.



Assignment #11 - Creation of a walk cycle / movement cycle
Creation of a walk cycle using >>>[|THIS RIG]<<<

To achieve this try this: media type="youtube" key="d-wQ8nRWTBs" width="560" height="315"



Low PolyCount Character
To do this assignment you'll need the following resources:
 * 1) The following reference pictures: [[file:jmcintyre/1-torso_front.png|Front View of Character]] and [[file:jmcintyre/2-torso_side.png|Side View of Character]]
 * 2) You'll need to follow my brief introduction tutorial below: //**[note, scale "Front_View_of_Character.PNG" to a scale of 5.5 when putting the image in as a reference image]**// before going on to do Williamson's Low Polycount video

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media type="custom" key="29402493"

//**Note: if you want to make your character a female instead of a male reduce the accentuation of the muscles in the shoulders/pectorals/neck/lateral arms and quadriceps and instead accentuate the hips and breasts. This is probably best done during the process - ask me if you would rather do that and I can help you at key moments when you're creating the wireframe.**//

(rig your objects and turn them into a scene)
Following this project you can put bones into your low poly-count character and get basic motion of the limbs/body. Mind that the character's not the exact same, but it is easily good enough that you can achieve success. Once done create a simple 240 frames of movement (10 seconds at 24 fps) of your character to prove it worked. Submit both the rendered H.264 file as well as the *.blend file please. Note: if Vimeo is slow I have placed both of these video files on the server in the handout folder as well.

media type="custom" key="29402495" If you get stuck on how to paint vertices with weights try following this quickly - there's a lot of power in assigning vertices to vertex groups. media type="custom" key="29402499"

media type="custom" key="29402501"

I would recommend tying together everything you've learned thusfar and include in elements from past projects. An example could include having your polydude jump after a balloon that is floating away from them. The project must have:
 * a minimum of 10 seconds (240 frames) of rendered footage and;
 * evidence of camera movement including;
 * at least 1 dolly shot
 * at least 1 zoom shot
 * also include the following shot types;
 * a closeup. (hint: if you want to change a camera 'scene' from, say, a mid-shot to a closeup, simply keyframe the movement over 1 frame - or change cameras (i.e. have 2 cameras running) - if instead you want it to be a dolly or gradual zoom, make the camera move over several frames).
 * an establishing shot
 * and finally it must contain, at bare minimum, 2 nodes for compositing the final movie
 * it will be rendered at default H.264 quality
 * bring the rendered product into Premiere and introduce a soundtrack for the film (it can have copyrighted content in this particular case)
 * add Foley work **but there should be NO speaking parts**


 * Evaluation:**
 * **CATEGORY** || **4** || **3** || **2** || **1** ||
 * **Cinematography** || Angles and shot choices are well thought out and enhance the content. || Angles and shot choices show a degree of skill but some may lead to distraction away from the message of the film || Camera positioning and movement tracking are not well used to enhance the film. || Camera positioning and movement tracking are distracting and appear happenstance. ||
 * **Lighting** || Key lighting is used correctly to lead to a superior product. || Lighting is used correctly in most instances, yet could be enhanced in others. || An attempt was made to light the subject, but often incorrectly. || Little planned lighting is used, relying almost solely on ambient lighting. ||
 * **Editing** || Clip choices and cuts are well thought out and enhance the content. The story-arc is obvious and well-crafted without pandering. || Clip choices and cuts show a degree of skill but some may lead to distraction away from the message of the film. The story arc is largely obvious and well crafted with few-to-no confusing scene choices || Clip choices and cuts leave a somewhat coherent story behind. The story arc is understandable, but confusing at times. Choices in clips not always complimentary to the story. || Clip choice and cuts distracting and appear random. The story arc is confusing, or barely present based on clip/scene choices. ||
 * **Soundtrack** || The music created adds emotional content to the piece and accents the video || The music created fits the emotional content of the video, but occasionally doesn't fit. || The soundtrack is original, but has enough flaws that it distracts the viewer. || The soundtrack is original, but is difficult to listen to for its flaws. ||
 * **Sound-effects & Foley work** || All sound effects fit perfectly and seamlessly in the piece. All Foley work fits perfectly enhances the piece || The occasional sound-effect is mistimed or is too loud, but the work is largely successful. The occasional Foley-work is mistimed or is too loud, but the work is largely successful || Sound effects largely work, though volume or timing occasionally distract the viewer. Foley-work is acceptable, though volume or timing occasionally distract the viewer || There are many flaws in either timing or volume which lead the viewer to disengage. There are many flaws in either timing or volume which lead the viewer to disengage. ||
 * **End Product** || The resulting short is a masterful fusion of planning, camera-work, editing and sound || The resulting short is successful, but the occasional directorial/editing choice leave the piece short of perfection. || The piece contains many poor choices in camera work, editing, and/or sound. The viewer is often lead to distraction. || There might be a story, but it is lost in a morass of errors and lack of forethought. ||
 * **Use of Time** || Used time well during each class period (as shown by observation by teacher, and documentation of progress in journal) with no reminders. || Used time well during most class periods (as shown by observation by teacher, and documentation of progress in journal) with no reminders. || Used time well (as shown by observation by teacher and documentation of progress in journal), but required reminders on one or more occasions to do so. || Used time poorly (as shown by observation by teacher and/or documentation of progress in journal) in spite of several reminders to do so. ||