Tr?id=215414482218848&ev=pageview&noscript=1
cmiVFX Logo

3DS Max 2D Mograph Character Animation Rigging

Explore an alternative perspective on constructing an entertaining 2D animation from the initial concept to the final animated video by using a flat 3D creation approach.

Length: 7 Hours 8 Minutes 39 Seconds

Price: $59.95

Preview.

3ds max 2d mograph character animation rigging media 1401384727857 0
3ds max 2d mograph character animation rigging media 1401384732692 0
3ds max 2d mograph character animation rigging media 1401384738711 0
3ds max 2d mograph character animation rigging media 1401384742569 0
3ds max 2d mograph character animation rigging media 1401384746159 0
3ds max 2d mograph character animation rigging media 1401384752234 0
3ds max 2d mograph character animation rigging media 1401384779797 0
3ds max 2d mograph character animation rigging media 1401384783509 0
3ds max 2d mograph character animation rigging media 1401384787379 0
3ds max 2d mograph character animation rigging media 1401384791091 0
3ds max 2d mograph character animation rigging media 1401384794759 0

cmiVFX has released a brand new video that guides you through a different approach to 2D flat animation developed within 3D Studio Max. This course is tailored for small to medium-sized studios and motion graphics designers who want to boost their 2D character animation style and use all the power and tools provided by a solid animation software like 3D studio max. The approach offered here will teach you the basic skills necessary to develop your own character based on your creativity and on your client's requirements. We'll bring it to life and motion by using an easy yet powerful workflow that has been should be "widely tested in production timelines. Once you've practiced these concepts, you'll be able to develop and set up your own character in a work day so that you can compose your scene and tell your story as you imagined it. This video will put you on the right path for your next corporate video or motion graphics advertisement. The whole course is based on a hypothetical project commissioned by a client. The character was designed in Photoshop from the starting concept, broken down into rasterized parts, flat-modeled, rigged, animated, and rendered out in 3ds Max. The result is a simple, yet colorful and cartoony 2D animation. The final rendered animation has been composed and finalized as it would be presented to the final client.

Chapter Descriptions

Introduction

Here we will discuss the considerations necessary with flat modeling. Planning your scene is of great importance especially with planes modeling and rigging. It will be shown the final video realized using the techniques taught in this course.

Modeling the character

Scene Setup

We will begin by setting up a proper pipeline between our two primary applications; 3DSMAX and Photoshop. Starting from raster images, they will be broken down into body limb images to be used as textures applied later on onto flat planes in 3dsmax.

Applying Textures

Next we will establish our foundation of referencing using source artwork. Photoshop raster artwork will be used to guide the modeling process. The previous exported textures will be applied to planes and these will be shaped around the body limbs' references we created in the previous step.

Modeling

This very efficient approach to modeling is simple and perfect for small studios and solo designers. Without getting through the modeling of geometries in 3D space, we will show a flat modeling approach to stick to the references created in Photoshop.

Organizing The Scene

Even a simple scene can get quite complex quickly. This chapter suggests a method of organization in layers I have found effective to keep things nice and organized.

Initial Considerations

We must lay our rigging groundwork with 2d animation specific considerations. Rotations and issues with stretchy bones are covered here. Attachment constraints, alignment and look-at constraints are next. Lastly we will discuss IK-FK theory as relates to Planes animation rigging.

Rigging The Head, Legs And Spine

This chapter covers rigging several assets by building the inner structure for both the head, legs and the spine. Stretchy bones will be applied to the bones' chains in order to get a final cartoony effect on the whole body.

Finalizing The Head, Legs And Spine

Here it is time to explore morphs for eye blinks and eyebrows, to give your character the feeling of an alive face. Even on a simple character there might be the need to match the scene's scale. I will teach now to establish connections for controllers and how to get the global scale and rotation working to give the character the chance to scale up and down and rotate consistently.

Rigging The Arm

We will rig the arm with an IK-FK approach in this short chapter. Animators always want to have the chance to control their characters at best. Using an IK/FK switch on the arms combined with a stretchy rig we will give the character enough flexibility to be animated at best of its possibilities.

Skinning The Arm And Connecting It To The Rig

Here we'll apply the skin modifier to the arm geometry and will go further on into the look-at constraint to understand the logic underneath its use. Finally we will setup an attachment constraint to link the arm to the deformation of the body.

Rigging The Right Arm

In this chapter we will repeat the rigging process for the right arm and recreate the bone structures which will guide the IK-FK switch. We will also perform a check on the final names given to the hierarchies and will make tweaks to match the global controller.

Rigging The Ribbon And The Ninja Star

We will use a forward cinematic to rig the belt's ribbon and will create all the position and rotation constraints to give the controllers the possibility to animate the ribbon properly with nice overlapping actions. Finally we will connect this structure we created to the main rig using the attachment constraint.

Animation Test And Final Tweaks

In this step we will make final tweaks to the skin modifier in order to get a clean rendering result and avoid geometry artifacts. We will also add a rotation controller for the Ninja star and perform tweaks on the bend modifier's value range.

About the Instructor

Daniele Pezzella started working as a 3D generalist on Tv commercials and music videos in 2006 and progressively moved his skills to the animation part of the Cg pipeline. In 2011 he studied animation at iAnimate and in 2012 moved to Uk. There He worked for studios such as Passion Pictures London and worked as an animator on AAA videogame titles such as Battlefield 4 and Ryse: son of Rome at Cubic Motion Manchester. After another Uk experience at Kilogramme Animation, he currently works in Rome as an animator on National Tv commercials. His passion for photography, cinema, drawing and visual art in general is the main fuel to feed his artistic curiosity and give him always a fresh and creative approach to apply to every work.

Project Contents

All cmiVFX videos come with all the training materials you can need right from our website. No matter what time of day, your location, or how your feeling, cmiVFX will be there waiting for you!

Availability:

Video-on-demand streaming is available through the website to subscribers. In addition, video files are available for download for those who directly purchase individual titles from their cart.

About Daniele Pezzella

Daniele Pezzella started working as a 3D generalist on Tv commercials and music videos in 2006 and progressively moved his skills to the animation part of the Cg pipeline. In 2011 he studied animation at iAnimate and in 2012 moved to Uk. There He worked for studios such as Passion Pictures London and worked as an animator on AAA videogame titles such as Battlefield 4 and Ryse: son of Rome at Cubic Motion Manchester. After another Uk experience at Kilogramme Animation, he currently works in Rome as an animator on National Tv commercials. His passion for photography, cinema, drawing and visual art in general is the main fuel to feed his artistic curiosity and give him always a fresh and creative approach to apply to every work.