![]() ![]() When the engine falls, I tried to simulate the motion of an object free falling and bounce back. During both launch attempts, I added a wiggle expression to the positions of all the spaceship parts, and created a null object with a slider effect, and pick whipped all the wiggle expressions to that slider to key frame the wiggle with slider so as to have all the spaceship layers wiggle for a few seconds. My part of the animation was the spaceship launching and failing. We also talked about how to slowly reveal an object using pen tool, have objects follow the path of a null object, adding a slider effect to a null object to link to different parameters, and adding expressions to parameters with hand-coded values. We also learned how to animate objects in 3D space, placing the camera, different types of lights, how to cast shadows and having multiple views from different directions or compositions to see reflected changes while animating. Some useful tools I learned are the puppet pin tool to pin the joints of characters to move body parts like arms and legs, as well as following the animation parameters of another object using parent or pick whip. In week 3 and 4 we learned how to import our assets to After Effects as footage and as composition so we can animate individual parts of the assets. I split up each wing into two pieces with a rugged line each in its own layer and have patches on top. I created a spaceship in Illustrator, with the body, engine, flame, and wings in different layers. Under opacity in effects control, we masked the eye contour and motion-tracked the mask as she lifts up her head. In order to make the girl seem like she lost her eyeball at the end of the animation when she lifts her head up, we figured out we could mask out her eye in Premiere, as we combined the scenes. Later I located the curve editor in the sequencer, which is similar to graph editor in After Effects, so I had the eyeball animated following a para-curve. And the last scene is the girl struggling while her eyeball is gone, and zoom in to her face, where the eyeball used to be was a dark hole.Īnother challenge we had was when we first animated the eyeball, it was shooting out in a straight line, and it did not look realistic. The second scene is a close up of the eyeball flying in the air. Our first scene is camera rotating and zoom in to the face of the girl sneezing. So we just focused on the girl sneezing and her eyeball shooting out. We then decided that instead of having a long shot where viewers can see all the action happening at the same time, we could cut the camera and just focus on one animation of one character/object at once to avoid the issue of blending animations. We followed this tutorial on how to blend animations, and we got something like this. However, a lot of the animations we found do not have that option and we couldn't find any good substitutions for the actions we wanted to use. Exporting the animations from Mixamo with the "in place" option clicked and then manually transform position in unreal would solve the problem. We spent an entire afternoon trying to figure out how to combine two animations of a character smoothly without having him/her jump back to his/her start position of the animation. For the guy, we had walking and catching. ![]() In our first version of the animation, for the girl, we found "sitting yell" from Mixamo which looks similar to sneezing, "sitting disblief" similar to pushing eyeball back to head, and picking up object. We created a girl and a guy character in Fuse and exported some animations from Mixamo. I teamed up with Yves and our inspiration came from this Joke - A Pretty Woman Sneezes At A Restuarant. We also learned the basics of Unreal Engine, to create a scene, import 3D objects, upload T-pose skeletal mesh and apply multiple animations to the mesh, then create a sequencer for the animations. From week 5 - 7, we learned how to create our own 3D characters in Fuse, and export and auto-rig the characters and create animations in Mixamo.
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