Kali ini, aku pengen mengajak kawan animator semua untuk belajar mengenai alur kerja animasi. Animator-animator profesional menggunakan banyak metode workflow yang berbeda. Kebetulan, beberapa waktu lalu aku menemukan sebuah ulasan mengenai workflow animasi oleh seorang blogger tamu di blognya shawn kelly, animator dan co founder-nya animation mentor. Dia adalah NELSON BROWN.
Nah..berikut ini adalah workflow yang diterapkan oleh sang sesepuh Nelson. Maaf kalo masih bahasa inggris :P
You've probably heard it said that being an animator means being a lifelong student. That couldn't be more true. My workflow is constantly changing. With every shot or task I complete, there's almost always something I end up liking or disliking about the way I went about it. Or, sometimes the technical requirements of a shot will dictate what kind of workflow I'll use. Also, observing the workflow other animators use allows me to pick up new things that I want to try with my next shot or task. The point is, finding a good workflow means trying things out until you find what works for you. I, personally, am still trying things out. However, I'll write down the workflow that I tend to use most often.
Step 1 - Research:- Talking through the shot with the director or supervisor- Checking out the storyboards- Checking out the surrounding shots for continuity- Researching any available information about character personality- Gathering model sheets or other character resources
Step 2 - Planning:- Shooting video reference, trying various takes and editing the best together- Gathering online video or photo reference- Studying reference- Sketching rough thumbnail drawings of major poses to find the best silhouette
Step 3 - Blocking (on the computer):- Blocking major storytelling/acting/action/key poses, most often instepped curves mode, and most often keying the entire character- Blocking in extremes and changes in direction- Blocking in important facial expressions- Blocking in important hand poses- Pushing poses around in time to find the right rhythm for the shot
Step 4 - Breakdowns:- Putting in breakdown poses between major key poses, often still in stepped- Defining rough arcs, overlap and spacing- Repeating for the face and hands- At this point I'm usually trying to put every major idea into a pose- At this point if it's a dialogue shot, I will go through a similarprocess on the mouth and face that I went through with the body
Step 5 - Spline- Hitting that dreaded button to convert to spline curves (or clamped,or linear, or auto-tangent, whatever you prefer to use)- Usually making some slight adjustments to overall pose timing- Shaping and cleaning curves to more accurately define spacing
Step 6 - Polishing- Focusing on details- Finessing contact points, often frame by frame- Offsetting keys as necessary to refine overlap- Layering in minor secondary action, like breathing or eye darts- Doing anything required to make the shot as clear and refined asthe deadline will allow
Step 7 - Watching the shot get pried from your fingers and forcibly taken away- It's rare to feel like a shot is as finished as I'd like it to beOften deadlines come quicker than we obsessive animators would like
One final thought to keep in mind: this workflow is rarely linear.
Getting notes and changes from a director or supervisor can often meangoing back a step or two to blocking or even planning stages. It’s just another part of the crazy process!
Semoga bisa membantu kita buat belajar lagi ya kawan.... :)
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