In this video, we will be exploring the animation of a fight, starting with the basics of human motion. We will be looking first at the anatomy of a punch, working through the different muscle groups and motion through the whole body. As the student of martial arts learns with the first few lessons, the animation student will work the core of the body through the punch, using the whole body to drive the impact. Then, we will move to a part of a fight sequence, using the lower half of the body in a roundhouse kick to the head. You will create the characters yourself, using the Gear animation rigging tools and put them against each other in an unfair fight. We will be exploring the reaction by the opponent as well, animating the impact of the foot. Finally, you the video will demonstrate a fighting attack by a quadruped, with our lioness rig swiping at a stationary ball. This advanced rig was built using the Gear animation system, and is provided with the video. NOTICE TO VIEWERS: This video is for everyone interested in ANY type of motion in their projects. We have designed courseware to span all the software options out there. We are teaching ANIMATION, first and foremost. Softimage is our host application, but the video is designed for anyone using an animation package. (Blender to Maya and everything in between)
Let's get swinging into action! The introduction chapter will take you through the anatomy of a basic punch. Starting as we always do, with the body's core, or "chi", we will first animate the hips, moving the force through the shoulders, arm and finally the contact point. This chapter will illustrate how to use the principles of anticipation and follow through to give your attacks more dynamic flow and energy.
"Every action has an equal and opposite reaction." Nothing could be closer to the truth than this lopsided battle between two opponents. Although one of the two characters in this animation is larger, his lack of combat training shows. His movements are clumsy and rough, while the smaller fighter is well trained, precise and effective. In this example, we will be building the characters used from scratch using Jeremie Passerin's "Gear" rigging system, and using the built in tools to create effective, bone-crunching fighting sequences.
Sweeping attacks, especially ones involving the legs, require particular attention to arcs. During the course of this chapter we will be using the ghosting tools in Softimage to tweak arcs and control the speed of motion through the use of spacing. Timing is also very important, and we will be using every tool available to us, including the dopesheet and Animation Curve Editor.
We will be repeating the basic punching attack, this time with our friend, the lioness. The quadruped poses unique challenges to attack sequences, and we will be addressing one of the most basic. The lioness uses her front paws to carry her massive weight, so transferring weight from one paw to the others allows her to use this paw for a swiping attack. As simple as this sounds and looks, there are many things going on in the body, The core elements, hips, spine and shoulders move together, as well as each of the 4 paws. The head and tail also need to move along with the body. Keeping the motion of all of the parts together is one of the most challenging aspects of quadruped motion, and one we will be "attacking" in this series.
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 15 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 3.8, Houdini, before finally settling on Softimage XSI, beginning with version 4.0 Foundation. Chris still sculpts and paints and teaches part 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.