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Hiya,

I updated my demo reel with lots of my latest work, so I figured I'd share.

http://www.wheretheheck.net/demoreel.htm

Have a good one,

Reed

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In addition to film screenings, the Festival hosts premiere galas, an industry seminar series, and question and answer sessions with filmmakers.
 
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The Festival runs from April 28th to May 5th, 2011.
 
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It's generally best to limit as much counter animation as possible... for any controller.  So lets say you are doing a walk cycle, and you are rotating the hips one direction (assuming your spine is a child of your hips here) you now need to counter animate your spine just to get it back in the pose it was in, let alone the pose it needs to be in.  Its going to be very difficult to get clean transitions from pose to pose.

So yes, in this case I'd recommend using your pelvis control as much as possible.

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Hey guys,

I actually asked this question over at 11 seconds but really only got one reply. I'm wondering if anyone here has a take on it as well. Basically, I'm trying to figure out a good workflow for dealing with the body translates and pelvis rotates on biped character rigs. I've heard that it's really not advisable to rotate the body translate back and forth (x rot, I think), but instead use the pelvis and counter the spine.

When posing a character and shifting the weight, is it better to rotate the body control and then counter the pelvis, or rather rotate the pelvis and counter with the spine.

Sorry if this is unclear, as it's really difficult to explain. I can post images if that would help. I've heard that it's best to keep the body translate alone and work with the hips, but I've seen some animators actually rotate the translate control quite a bit.

Just curious

Cheers

I think the best stuff is somewhere in between. It's great to see dynamic stuff, looks more alive on cartoon characters... but it depends on character design too, and also 2D drawings need more exaggeration, 3D puppets seem to be more at home with subtler movement. but yeah, 3D characters can also be just as zany and exaggerated, and look great. this character design though doesn't lend itself that well to aggressive exaggeration. anyway, if you exaggerate, especially on more realistic looking human characters (meaning they don't look like muppets), make it more natural less abstract. like a monkey bit by a snake... will act very aggressive and exaggerated, I guess, but it will not look abstract.. it will have "proper body mechanics" and "realistic weight"... well, of course, 'cuz it would be a real monkey

I was about to ask - where's the film??... and then I found the play button. you should make that visible... you know? it's pretty important.
love the look/shading, the character design, and of course, the animation. and pretty impressive reel

hihi, this conversation is fun
Hey, samrat, if you're new to animation, first of all, get some books on animation, like The Animator's Survival Kit. you could use that as a manual. it's just an idea, not a rule and look for everything you can on the internet, there are many resources nowadays, if you understand English well enough. including video tutorials. the best video training I could find is Jason Ryan's, check that out. and yes, of course, as an animator you have to master body mechanics. it's your bread and butter. do a lot of bouncing balls first though look at Animation Mentor semester 1 reels for ideas, they do posing, balls, and they get into walks with a very simple rig. take it slowly, step by step. it takes time, patience, and lots of practice have fun!

Pardon?  I have no idea what you what you are talking about?

pretty sick thing I have no idea what the rigger did and how he managed to have all that geometry referenced without it appearing so in the drawing overrides. but! what you can do is go to Display > Drawing Overrides, on either geo or shape node, doesn't matter, and check that. It will set itself to Normal by default and you'll be able to interact with the geometry