Although Cinema 4d is well known as a world class motion graphics software, the character animation tools are as powerful and flexible as the most popular packages used in the industry. This video is geared to train everyone and anyone in the Computer Graphics and Visual Effects industries. The principles of animation are well established, and have worked since the early days of animation. If you doubt that you have mastered these principles completely, then this video is for you, even if you do not use Cinema 4D as your tool of choice. This video is extremely agnostic to any particular features, but makes great use of the tools that have earned Cinema 4D its strong reputation in motion graphics.
We will get up to speed with the foundations of rigging, while creating a useful tool for your first assignment. We will be exploring how to create simple geometric object and nulls, and deformers that will help add the important "Squash and Stretch" principle to this simple character.
We will now take the ball bounce rig that we created in chapter 1 and begin to move it in space. We will introduce many of the fundamentals of animation in this chapter, including timing and spacing, and ease in and ease out, as the ball bounces against the floor, and we adjust the interpolation using the F-Curve timeline mode.
In this chapter, we will introduce a second axis of motion, and some rotation to the ball rig, matching each type of motion together. We wil explore some of the tools, including the ability to mute and solo each individual motion channel.
Using Cinema 4D's built-in character rig, we will explore some of the basic Forward Kinematic and Inverse Kinematic controls, and pose the character into a natural, but "strong" pose, with good silhouette and proper weight balance.
Let's begin a basic exercise, and get the character to run, then jump across a ravine. We will set a few basic poses, in what is called the "Blocking" stages, each pose at a critical moment in the overall action. We will spend time making sure there is ample "Anticipation" to let the audience know what they can expect.
We will continue to block out the major moments in the action, and adjust the spacing of the character throughout the action, and get the arcs positioned through the jump. We will be creating the basic poses "on the ones", and ignoring timing for the moment. This will allow us to focus only on the strong body poses, allowing us to scrub through quickly without slushy interpolations.
We will begin to add "breakdown" keys to add some additional arcs to the action, and take care of some of the intermediate poses, in preparation for the polishing phase of the animation process.
Once we have established the basic poses in the animation, we will begin to space out the keys on the timeline to add the proper motion and tempo. We will use some tools to create selection objects in order to make the process much more streamlined.
We will look at each body part individually, and together with the whole character, and begin to add and delet keys, delaying different parts, and adding a more fluid motion to the character. We will add secondary motion, break joints, finesse arcs, and incorporate overshoot to add the final level of finish to the animation.
Born in Sitka, Alaska, Chris started his career as a painter and sculptor. He has been working as an illustrator, graphic designer, and most recently as an art director in Chicago, Illinois. He has been teaching game design and animation for over 17 years. His students now work as animators and professional game designers at Blue Sky Studios, Digital Domain, Aardman/Sony, Microsoft, and as freelance independent artists. Many of his students are now college teachers themselves. He started in the early days with Strata StudioPro, then 3ds Max version 1.0, Maya 2.0, Softimage XSI, and Houdini. Chris still sculpts and paints and teaches full time at Tribeca/Flashpoint Academy in Chicago.
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Born in Sitka, Alaska, Chris started his career as a painter and sculptor. He has been working as an illustrator, graphic designer, and most recently as an college instructor in Chicago, Illinois. He has been teaching game design and animation for over 20 years. His students now work as animators and professional game designers at Blue Sky Studios, Digital Domain, Aardman/Sony, Microsoft, and as freelance independent artists. Many of his students are now college teachers themselves. He started in the early days with Strata StudioPro, then 3ds Max version 1.0, Maya 2.0, and Softimage 3.8. He currently uses Maya, 3ds Max, Houdini, Cinema 4D, Clarisse and Fusion. Chris still sculpts and paints and is the Academic Chair at Tribeca Flashpoint College in Chicago.