---
FIRST THINGS FIRST:
Before you go crazy improving any arcs, you must know that you need to work from the root of your character outward (pelvis » spine » neck » head). A slight change in the arc of the root may result in a big change in the arc of your wrist.
There are may ways of improving your arcs so I’ve broken it down to a few sections.
DESIGN:
The beauty of animation is you are the one in control, so why not take control over your arcs. They don’t always have to be your standard arc. Different arcs can have different feelings. So here are some things I like to think about when designing my arcs.
* Arcs should not all be the same. Think of different patterns and how they relate to each other. For instance, if you moved through a squiggly arc and then into a smooth arc, you animation may start off feeling chaotic and then end feeling calm or fluid.
* Like any design, angular shapes and patterns have a rough, rigid and maybe even a negative feeling as apposed to a smooth shapes and patterns may have more of a fluid, organic or positive feeling.
* There needs to be at least three frames (3 points) to describe any curve.
* Arcs can have a thickness to them as well. For example if you move your hand through and arc and your fingers are spread wide at the beginning and in the end, but are close together in the middle that arc will have a feeling of going from thick to thin to thick. When doing this its important to remember volume and anatomy.
DRAWING YOUR ARC:
When I think I have an idea for my arc, I plot it out on my monitor with a dry erase marker (for flat panels I may use a sheet of acetate over the monitor). I first plot out my start and end points so I know roughly how much space I’m dealing with and then I draw my arc connecting the two.
Remember, the more detailed your arc is the more frames you will need. For example, if you wish for your object to follow along an “S” curve you will need enough points to keep it from looking like a “Z” curve.
SPACING:
I think the thing most often forgotten when it comes to arcs is the spacing along the arcs. It's not good enough just to make sure that every frame follows the arc, but the spacing along that arc has just as much value. If the spacing is done incorrectly your arc may or may not read.
As a starting point, I think of my spacing along an arc like the coils in a slinky. If you were to stretch out a slinky along an arc, the coils would be closer to each other at the ends and furthest apart in the middle. When you move through the slinky from the start toward the middle, each coil (spacing) gradually gets further and further apart until it reaches its furthest spacing in the middle. From that point, the coils (spacing) get closer and closer together. Like I said, this is just a starting point, your typical arcs ease out, and moves through a breakdown to an ease in type of spacing. Quite often I will see two random coils in the middle of an arc very close together unintentionally, and even though the object is moving through an arc it still appears to pop because the frames before and after don’t lend itself to that spacing.
DRAG, SQUETCH (Squash and Stretch):
When moving through an arc it's important that any drag, or squetching we do follows that path of action as well. For example, in your standard bouncing test, as a ball stretches on its descent the line of action of that ball points back up the arc where it came from.
MOTION BLUR:
This may be a bit unnecessary to talk about and may even complicate things a bit, but when you get to that big studio it matters. Motion blur is like 5-year-old playing connect the dots. It will only draw a straight line from point to point. It doesn’t know to arc in between the dots. So this may or may not be another factor to the design and detail of your arc.
by Nick Bruno
AnimationMentor.com Mentor
Senior Animator at Blue Sky Studios
--
Wednesday, December 17, 2008
Saturday, November 8, 2008
Wednesday, October 15, 2008
How Do You Go About Timing Out Animation That Can't Be Performed in Real Life?
That's a tough one, and it depends entirely on the style of the project you are working on. The timing is going to be very different between Davy Jones jumping vs. Mr. Incredible jumping vs. Horton jumping. These projects all land at different places on the meter of stylization, and each of those character's movements and timings are dictated heavily by those chosen styles.
If you're working on a more stylized piece, and are creating a performance that you can't find or create reference for in the real world, then my advice would be to use the principle of exaggeration to push the timing and poses that you see in the real world.
You always want to base your animation on the real world while adhering to the rules of the universe that have been set up by the style of the project you are working on. No matter how stylized the motion, if it has zero connection to the world we live in, the audience is going to have a hard time connecting to it, and will likely find it confusing or off-putting. You want to give the audience some anchors - something they are familiar with, and use that as the jumping off point for your stylizations.
As an example, let's say that you are animating a character jumping up into the air, but you want to give them extra "cartoony" hang-time. In this instance, I'd encourage you to study (and maybe even film) the mechanics of how a real jump works. Jump around at your desk and feel what happens in your own body. Study how the whole body squashes on the anticipation, stretches on the launch, squashes at the top of the jump, stretches on the way back down, and squashes on the landing. Just study ALL that stuff about how a real jump works.
Once you know how a real jump works, now you're ready to animate your exaggerated jump. Just take what you've observed and apply your knowledge of the principles of animation to it (including and especially exaggeration, in this case) and you'll be fine! Keep that overall squash and stretch for at least the launch and landing as anchors, for example, and be sure to have a frame where at least one toe is still on the ground with a very straight leg so the character feels like he's pushing himself upward. Maybe get his arms involved, as people do, etc.
With those anchors in there, you will successfully communicate the idea of a jump, no matter what other craziness you now add to the mix. Give him a longer hang time, for example, but try to hang onto those anchors as well. Keeping him on a nice arc would probably be another good anchor, to keep things somewhat rooted in the way the audience understands how our gravity works, but that doesn't mean you can't elongate that arc and keep him in the air for as long as you possibly want to!
Hope that helps! Have fun, and keep animating!
- Shawn Kelly.
Co-founder of AnimationMentor.com and ILM animator.
If you're working on a more stylized piece, and are creating a performance that you can't find or create reference for in the real world, then my advice would be to use the principle of exaggeration to push the timing and poses that you see in the real world.
You always want to base your animation on the real world while adhering to the rules of the universe that have been set up by the style of the project you are working on. No matter how stylized the motion, if it has zero connection to the world we live in, the audience is going to have a hard time connecting to it, and will likely find it confusing or off-putting. You want to give the audience some anchors - something they are familiar with, and use that as the jumping off point for your stylizations.
As an example, let's say that you are animating a character jumping up into the air, but you want to give them extra "cartoony" hang-time. In this instance, I'd encourage you to study (and maybe even film) the mechanics of how a real jump works. Jump around at your desk and feel what happens in your own body. Study how the whole body squashes on the anticipation, stretches on the launch, squashes at the top of the jump, stretches on the way back down, and squashes on the landing. Just study ALL that stuff about how a real jump works.
Once you know how a real jump works, now you're ready to animate your exaggerated jump. Just take what you've observed and apply your knowledge of the principles of animation to it (including and especially exaggeration, in this case) and you'll be fine! Keep that overall squash and stretch for at least the launch and landing as anchors, for example, and be sure to have a frame where at least one toe is still on the ground with a very straight leg so the character feels like he's pushing himself upward. Maybe get his arms involved, as people do, etc.
With those anchors in there, you will successfully communicate the idea of a jump, no matter what other craziness you now add to the mix. Give him a longer hang time, for example, but try to hang onto those anchors as well. Keeping him on a nice arc would probably be another good anchor, to keep things somewhat rooted in the way the audience understands how our gravity works, but that doesn't mean you can't elongate that arc and keep him in the air for as long as you possibly want to!
Hope that helps! Have fun, and keep animating!
- Shawn Kelly.
Co-founder of AnimationMentor.com and ILM animator.
Friday, October 10, 2008
:: Graduation Campaign Updates ::
T-Shirt design submission is open !~ Do design some nice T-shirt (monotone or 2 / 3 colors) for our T-shirt sales , and submit it to Beng / Jared by Sunday~
Theme is based on Love Bomb
T-shirt Template - get from Beng / Jared.
-------
Monday- If you have any 2nd hand stuffs u wanna sell of, do bring them on monday and pass them to Ji Yan =)
--
Theme is based on Love Bomb
T-shirt Template - get from Beng / Jared.
-------
Monday- If you have any 2nd hand stuffs u wanna sell of, do bring them on monday and pass them to Ji Yan =)
--
Thursday, September 25, 2008
Wednesday, September 17, 2008
Friday, September 5, 2008
Thursday, September 4, 2008
Final Term is here !!
The results are out, and thank god, nobody fails!!~ ^_^ aaaaand here's the timetable for the new term :
MON -
TUES - Adv 3d Studio 2 + Final Project Dev 2 // LHL // 3dlab1 // 9am - 6pm ( LOL)
WED - Graduation Campaign // Kelvin + Stephen // AVH // 2 - 4pm
THUR -
FRI -
SAT - Adv 3d Studio 2 // KFC + TCH // 3dlab1 // 9.30 am - 2.30 pm
-------
Good luck to all = =b
MON -
TUES - Adv 3d Studio 2 + Final Project Dev 2 // LHL // 3dlab1 // 9am - 6pm ( LOL)
WED - Graduation Campaign // Kelvin + Stephen // AVH // 2 - 4pm
THUR -
FRI -
SAT - Adv 3d Studio 2 // KFC + TCH // 3dlab1 // 9.30 am - 2.30 pm
-------
Good luck to all = =b
Wednesday, August 27, 2008
Gnomon Tutorials DVDs
Hooi Ling has passed to me quite a few Gnomon tutorial dvds.. anyone who wants anyone of them or all of the DVDs, please tell me~
Below is the list of dvds..
- 2D and 3D Fluids: Maya Fluid Effects Fundamentals
- 2D and 3D Fluids: Maya Fluid Effects - Particle Integration
- Modelling The Human Head Disc 1
- Modelling The Human Head Disc 2
- Digital Set 3 : Rendering and Compositing
- Mental Ray - Global Illumination
- - -
Below is the list of dvds..
- 2D and 3D Fluids: Maya Fluid Effects Fundamentals
- 2D and 3D Fluids: Maya Fluid Effects - Particle Integration
- Modelling The Human Head Disc 1
- Modelling The Human Head Disc 2
- Digital Set 3 : Rendering and Compositing
- Mental Ray - Global Illumination
- - -
Wednesday, August 20, 2008
The Tale of Despereaux (2008)
Coming this Christmas!~
Inspired by the famous children fairy tale book ; The hero of the story is Despereaux Carlos Tilling, a small mouse with large ears, who falls hopelessly in love with the beautiful human Princess Pea. Despereaux was dubbed unusual by the other mice immediately after his birth because he was born with his eyes open, a rather large pair of ears, and a tiny body. The story goes on with Despereaux becoming a 'hero' and friend with the princess and the king. ( -wikipedia.com)
Visit the official site~ :: http://www.thetaleofdespereauxmovie.com/
Inspired by the famous children fairy tale book ; The hero of the story is Despereaux Carlos Tilling, a small mouse with large ears, who falls hopelessly in love with the beautiful human Princess Pea. Despereaux was dubbed unusual by the other mice immediately after his birth because he was born with his eyes open, a rather large pair of ears, and a tiny body. The story goes on with Despereaux becoming a 'hero' and friend with the princess and the king. ( -wikipedia.com)
Visit the official site~ :: http://www.thetaleofdespereauxmovie.com/
Tuesday, August 19, 2008
Working in ILM
How Do You Spend Your Week at Industrial Light & Magic (ILM)?
Honestly, it totally depends on what we are working on, and where we are in the production schedule. But I would say that my general statistics would be working around 45-50 hours per week. I get to work around 8:45, and on a typical day go straight to dailies where our work is shown up on the big screen and we all talk about how to make it better. Then it'd be back to my desk to catch up on my email, phone messages, and a couple hours of animating before lunch. Most of the animators eat together every day in our dining area, and we're a very close-knit family. After lunch, it's hardcore animation for me, and I animate until I go home, generally around 8 p.m. or so.
The truth is that I am crazy blessed with this job, and literally get to just sit in a room with most of my closest friends and laugh all day long. We work hard, but we keep the mood light and fun as much as possible.
-Shawn :)
Shawn Kelly,
Honestly, it totally depends on what we are working on, and where we are in the production schedule. But I would say that my general statistics would be working around 45-50 hours per week. I get to work around 8:45, and on a typical day go straight to dailies where our work is shown up on the big screen and we all talk about how to make it better. Then it'd be back to my desk to catch up on my email, phone messages, and a couple hours of animating before lunch. Most of the animators eat together every day in our dining area, and we're a very close-knit family. After lunch, it's hardcore animation for me, and I animate until I go home, generally around 8 p.m. or so.
The truth is that I am crazy blessed with this job, and literally get to just sit in a room with most of my closest friends and laugh all day long. We work hard, but we keep the mood light and fun as much as possible.
-Shawn :)
Shawn Kelly,
co-founder of AnimationMentor.com
and Industrial Light & Magic Animator
Sunday, August 3, 2008
Workflow for Fully Rigged Character
Shawn Kelly, Industrial Light and Magic Animator, and co-founder of AnimationMentor.com, shares how he works with animating a character. Below are his sharing.
--
In simpler models, I would key everything together at the same frame so I would not be confused when I tried to move things around. Now I'm working with a character with a mouth, eyes, and full facial rig. Do I key the face controls along with the rest of the body, or do you re-block them on their own pass? What is a normal workflow?
Working with a new character is always intimidating (but exciting, as well, as you get to explore how that new character works, puzzle out new solutions for movement, etc.!), and jumping into your first "fully rigged" character is even scarier than normal.
I work just like the above -- I block in the scene in a "pose-to-pose" way, using my reference and planning as a guide, and saving keys on every body controller as I go. HOWEVER, your question raises a great point that I don't think I've mentioned in the past, and that is the fact that I do NOT save any keys on the face at all during this first pass at blocking. I just ignore the face completely, and in my mind, I imagine what the face will eventually look like.
Even with eye darts or blinks -- all that stuff I save for a completely separate pass. I don't know if that's the "normal workflow" or not, as everyone works in whatever way works best for them, but in my experience, doing any facial work in the first pass of blocking has a decent chance of being a waste of time. The body performance/timing might not be really locked down yet, and the facial emotions and thought-process needs to be very integrated with the acting choices, gestures, and body mechanics. You might as well wait until the body is really nailed down and 90% finished before jumping into any facial stuff, because if you end up having to change the overall body stuff, the facial stuff might all have to be scrapped completely as well. It'll save you a lot of headache in the long run, in my opinion, to hold off on the facial stuff.
Remember, the facial animation is the "icing on the cake," and if the emotions, actions, and ideas aren't communicating through the body language and physical performance, that should be a huge red flag for you that the scene is in trouble. The greatest facial animation in the world is not going to save your scene from poor body mechanics or bad body language...
So yes, in answer to your question, I save the face for last, and by the time I'm keying the facial work, expressions, jaw, and lip-sync - at that point, I'm no longer at all concerned with what frames my initial body-blocking poses and breakdowns were on. This is completely separate, and while it's very important to make sure the face is very related to what's going on in the body, it's very normal for the facial keys to be on completely different frames than the body keys.
Shawn :)
--
--
In simpler models, I would key everything together at the same frame so I would not be confused when I tried to move things around. Now I'm working with a character with a mouth, eyes, and full facial rig. Do I key the face controls along with the rest of the body, or do you re-block them on their own pass? What is a normal workflow?
Working with a new character is always intimidating (but exciting, as well, as you get to explore how that new character works, puzzle out new solutions for movement, etc.!), and jumping into your first "fully rigged" character is even scarier than normal.
I work just like the above -- I block in the scene in a "pose-to-pose" way, using my reference and planning as a guide, and saving keys on every body controller as I go. HOWEVER, your question raises a great point that I don't think I've mentioned in the past, and that is the fact that I do NOT save any keys on the face at all during this first pass at blocking. I just ignore the face completely, and in my mind, I imagine what the face will eventually look like.
Even with eye darts or blinks -- all that stuff I save for a completely separate pass. I don't know if that's the "normal workflow" or not, as everyone works in whatever way works best for them, but in my experience, doing any facial work in the first pass of blocking has a decent chance of being a waste of time. The body performance/timing might not be really locked down yet, and the facial emotions and thought-process needs to be very integrated with the acting choices, gestures, and body mechanics. You might as well wait until the body is really nailed down and 90% finished before jumping into any facial stuff, because if you end up having to change the overall body stuff, the facial stuff might all have to be scrapped completely as well. It'll save you a lot of headache in the long run, in my opinion, to hold off on the facial stuff.
Remember, the facial animation is the "icing on the cake," and if the emotions, actions, and ideas aren't communicating through the body language and physical performance, that should be a huge red flag for you that the scene is in trouble. The greatest facial animation in the world is not going to save your scene from poor body mechanics or bad body language...
So yes, in answer to your question, I save the face for last, and by the time I'm keying the facial work, expressions, jaw, and lip-sync - at that point, I'm no longer at all concerned with what frames my initial body-blocking poses and breakdowns were on. This is completely separate, and while it's very important to make sure the face is very related to what's going on in the body, it's very normal for the facial keys to be on completely different frames than the body keys.
Shawn :)
--
Friday, June 27, 2008
Friday, June 6, 2008
Kung Fu Panda CGsociety Production Focus
Kung Fu Panda is one of the best animated film for this year in my opinion~ We were all blinded by the over-exposure of its awesomeness!! XDlol
Read the Production Focus on CGsociety now~ Click Me !!
Tuesday, June 3, 2008
KungFu Panda Outing
POW !!~ Kung Fu Panda is coming to the theaters this Friday, June 6 !!
So i'm thinking of organizing a class movie outing this friday afternoon, to watch this animated movie D: !! There'll be 2 possible showtimes : - 3:20pm and 4:10pm.
Anyone who's interested please inform me asap !! Please confirm your place by Thursday =)
Cheers. kapow !!
Sunday, June 1, 2008
1st Life Drawing Session
Tomorrow, 2 June, afternoon, maybe find an empty class room over at H, I, J, K blocks.. We'll discuss the time in class tomorrow.
If there's anything, please contact me or leave me a msg ~
Thanks
If there's anything, please contact me or leave me a msg ~
Thanks
Tuesday, May 27, 2008
Cracking the Not-So-Tough Maya~
Several people have been telling me that they have problems running maya after installing~ Most of them i'm sure, its because of the MAC address thingy right?
It's actually quite easy =)
1 After installing Maya, go to Start >> All Programs >> Autodesk >> Common Utilities >> FlexLM utilities
2 In the LMtools, under System Settings tab, the Ethernet Address is what you are looking for =D
It's actually quite easy =)
1 After installing Maya, go to Start >> All Programs >> Autodesk >> Common Utilities >> FlexLM utilities
2 In the LMtools, under System Settings tab, the Ethernet Address is what you are looking for =D
Saturday, May 24, 2008
Some helpful Maya Mel scripts
Here are some helpful (i think) mel scripts that we can use..
HoeYi4Steps <-- one button for all 4 commands
MJPolyTools <--- as shown in class in the Gnomon tutorial
http://www.sendspace.com/file/ns1vbs
tested with Maya 8.5
HoeYi4Steps <-- one button for all 4 commands
MJPolyTools <--- as shown in class in the Gnomon tutorial
http://www.sendspace.com/file/ns1vbs
tested with Maya 8.5
Saturday, May 17, 2008
Speed Racer
After the famous Matrix Trilogy, the Wachowski brothers blow the minds of the viewers once again, with Speed Racer.
CGsociety Article: http://features.cgsociety.org/story_custom.php?story_id=4521&page=1
Monday, May 12, 2008
Ironman CG Society Feature Article
For more infos about the article, click here~ http://features.cgsociety.org/story_custom.php?story_id=4510
Saturday, May 10, 2008
Olimpik Di Beijing
Who says Malay songs are uncool~?
This is the official Malay version of the Summer Olympic Song - Olimpik Di Beijing ~
Not only the popular Malay artists are featured (Maya Karin, Jaclyn Victor, Ning Baizura, David Arumugam (Allycats), Faizal Tahir and Pop Shuvit) ... but joining these stars are our overseas based acts - Micheal Wong 王光良, Penny Tai 戴佩妮, Gary Cao Ge 曹格 and Daniel Lee 李吉汉 amongst many others. Yes, these Chinese stars are singing in Malay!
Below are the lyrics if you plan to sing along~ XDDDD
Originial Olimpik Di Beijing lyrics:
Setiap yang bertanding
Berkawan dan seiring
Menanti gemilang detik
Olimpik!
Mendaki puncak cita
Dengan tekun usaha
Tak mudah berputus asa
Di bumi indah ini
Bergemanya Olimpik
Kita berganding tangan
Mengeratkan perhubungan
Chorus:
Olimpik di Beijing
Menyatukan kita
Langit indah Beijing yang terbentang
Menyambut mesra kedatangan
Welcome to Beijing
Dengan hati yang terbuka
Untuk dunia
Yang aman dan sentosa
RAP: Menanti cita-cita walaupun apa sekali halangan dia
Dari manapun kita
Tiada yang berbeza
Semuanya bersaudara
Yang kalah dan yang menang
Jadikan pengalaman
Yang penting semangat juang
Di bumi indah ini
Bergemanya Olimpik
Kita berganding tangan
Mengeratkan perhubungan
Repeat Chorus x3
Welcome to Beijing
Yang aman dan sentosa
This is the official Malay version of the Summer Olympic Song - Olimpik Di Beijing ~
Not only the popular Malay artists are featured (Maya Karin, Jaclyn Victor, Ning Baizura, David Arumugam (Allycats), Faizal Tahir and Pop Shuvit) ... but joining these stars are our overseas based acts - Micheal Wong 王光良, Penny Tai 戴佩妮, Gary Cao Ge 曹格 and Daniel Lee 李吉汉 amongst many others. Yes, these Chinese stars are singing in Malay!
Below are the lyrics if you plan to sing along~ XDDDD
Originial Olimpik Di Beijing lyrics:
Setiap yang bertanding
Berkawan dan seiring
Menanti gemilang detik
Olimpik!
Mendaki puncak cita
Dengan tekun usaha
Tak mudah berputus asa
Di bumi indah ini
Bergemanya Olimpik
Kita berganding tangan
Mengeratkan perhubungan
Chorus:
Olimpik di Beijing
Menyatukan kita
Langit indah Beijing yang terbentang
Menyambut mesra kedatangan
Welcome to Beijing
Dengan hati yang terbuka
Untuk dunia
Yang aman dan sentosa
RAP: Menanti cita-cita walaupun apa sekali halangan dia
Dari manapun kita
Tiada yang berbeza
Semuanya bersaudara
Yang kalah dan yang menang
Jadikan pengalaman
Yang penting semangat juang
Di bumi indah ini
Bergemanya Olimpik
Kita berganding tangan
Mengeratkan perhubungan
Repeat Chorus x3
Welcome to Beijing
Yang aman dan sentosa
Wednesday, May 7, 2008
Term 8 Timetable's out !!~*
Monday
Final Project Development 1 (ST)
A3 9.30am - 1.30pm
Tuesday
Business & Client Management (Sam)
- combination with other majors, but unfortunately this class has been cancelled for us 'cos we took it last term.. so.. ya.. forget bout it~
- so tuesday = no class
Wednesday
Portfolio Presentation (Chong)
ML3 10am - 12pm
Thursday
3D Character Animation (Cheong Hoe Yi)
3dlab1 9am - 2pm (waah murderer!!... )
Friday
Advanced 3d Studio 1 (LHL)
3dlab2 9.30 am - 2.30 am ( X_X )
Final Project Development 1 (ST)
A3 9.30am - 1.30pm
Tuesday
Business & Client Management (Sam)
- combination with other majors, but unfortunately this class has been cancelled for us 'cos we took it last term.. so.. ya.. forget bout it~
- so tuesday = no class
Wednesday
Portfolio Presentation (Chong)
ML3 10am - 12pm
Thursday
3D Character Animation (Cheong Hoe Yi)
3dlab1 9am - 2pm (waah murderer!!... )
Friday
Advanced 3d Studio 1 (LHL)
3dlab2 9.30 am - 2.30 am ( X_X )
Saturday, May 3, 2008
Wednesday, April 16, 2008
Submission of Motion Graphics
Anybody who like to submit their motion graphic please drop ur files in Jared's sharing folder, and he'll burn and pass it to Mathieu by noon.
his msn: iourm1(at)hotmail(dot)com
Thanks
his msn: iourm1(at)hotmail(dot)com
Thanks
Wednesday, March 26, 2008
Storyboard Critique Session
We are to show Christopher our storyboards to him at 2pm this Friday, since he's not free today.
Venue would be at the photography studio. (I'll confirm with u on that day.. ) And most probably after our critiques we might straight away get into class.
Thanks
Venue would be at the photography studio. (I'll confirm with u on that day.. ) And most probably after our critiques we might straight away get into class.
Thanks
Monday, March 17, 2008
Class Cancellation
If you've already receive Sam's email, you'll know that the Business and Client Management class for this saturday (22 March 2008) has been cancelled. Replacement will be arranged, so do reply him =D
thank you
thank you
Wednesday, February 20, 2008
URGENT ANNOUNCEMENT !!
Tammie's class for Adobe Premier will be held in the Video Lab at 2pm TOMMORROW !!
Please pass the message on, thank you.
Please pass the message on, thank you.
Thursday, February 14, 2008
:: Tutorial Links ::
Will update from time to time.. please msn me with ur tutorials' links so that i could post them here, thanks !!~
Rendering Multiple Cameras and Scenes - LINK
Rendering Multiple Cameras and Scenes - LINK
Monday, February 4, 2008
Advanced 3D animation Class postpone
Class tomorrow ( 5 Feb 2008 ) is cancelled. Whole schedule is postpone one week.
Go home early, and have fun. =)
Happy Chinese New Year, Gong Xi Fa Cai~ ^_^V
Go home early, and have fun. =)
Happy Chinese New Year, Gong Xi Fa Cai~ ^_^V
Thursday, January 31, 2008
Snatch Theft in PJS 9
This happened just yesterday afternoon.. my friend's friend became a victim of a snatch theft, and she was injured by the armed snatch thief... just outside her house. She was sent to the hospital..
So i'd advice everyone to be careful while being out there.. not only PJS 9 residents of course.. These things could happen anywhere anytime. Bring along something that u can use as a defensive weapon (eg. pepper spray) when u're out there, and don't always walk alone.
Stay alert for suspicious people and do always take good care of yourselves.
So i'd advice everyone to be careful while being out there.. not only PJS 9 residents of course.. These things could happen anywhere anytime. Bring along something that u can use as a defensive weapon (eg. pepper spray) when u're out there, and don't always walk alone.
Stay alert for suspicious people and do always take good care of yourselves.
- Hikari
Wednesday, January 16, 2008
Announcement, URL, and Tutorial
Yea, as u noticed.. I've changed the URL to our class mascot, ParrotLion . blogspot . com.. lol~ so people please take note~
ANNOUCEMENT:
Please send me your movie feedbacks before Friday ! So that I could compile and burn them, thank you.
----
Here's a link contributed by Chin Horng. U can find tutorials for post-productions.
http://www.videocopilot.net/tutorials.html
Thanks.
--
ANNOUCEMENT:
Please send me your movie feedbacks before Friday ! So that I could compile and burn them, thank you.
----
Here's a link contributed by Chin Horng. U can find tutorials for post-productions.
http://www.videocopilot.net/tutorials.html
Thanks.
--
Hikari.
Monday, January 7, 2008
Editting and Compositing Assignment 1
Here are the files if anyone of u hasnt got them~ =3
http://www.esnips.com/doc/ef8c2e5f-def6-4e00-aede-a65b7015c64e/SanFran-Layers
http://www.esnips.com/doc/ef8c2e5f-def6-4e00-aede-a65b7015c64e/SanFran-Layers
Saturday, January 5, 2008
3D Tutorial Links
www.cgtalk.com
www.cgchannel.com
www.highend3d.com
www.3dtotal.com
www.learning-maya.com
www.3dtextures.com
www.deathfall.com
http://tutorialscentral.com
the above are links to some of the important tutorials we need for this term. From 2nd week onwards, we'll be doing presentations to share about the things we learn thru these tutorials. More details will be given in class. =)
www.cgchannel.com
www.highend3d.com
www.3dtotal.com
www.learning-maya.com
www.3dtextures.com
www.deathfall.com
http://tutorialscentral.com
the above are links to some of the important tutorials we need for this term. From 2nd week onwards, we'll be doing presentations to share about the things we learn thru these tutorials. More details will be given in class. =)
Thursday, January 3, 2008
~~ New Time Table ~~
the new timetable is out !!
Monday
6.00pm - 9.00pm - - Compositing & Editing (Mathieu Sardon)
Tuesday
-
Wednesday
9.30am - 1.30pm - - Advanced 3d Animation (Jason)
Thursday
-
Friday
4.00pm - 7.00pm - - Visual Storytelling (Christopher / Tammie )
Saturday
11.00am - 1.00pm - - Business & Client Management (Sam Tan)
Good luck in our new term =)
Monday
6.00pm - 9.00pm - - Compositing & Editing (Mathieu Sardon)
Tuesday
-
Wednesday
9.30am - 1.30pm - - Advanced 3d Animation (Jason)
Thursday
-
Friday
4.00pm - 7.00pm - - Visual Storytelling (Christopher / Tammie )
Saturday
11.00am - 1.00pm - - Business & Client Management (Sam Tan)
Good luck in our new term =)
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