Return-Path: Received: from mail-ob0-f169.google.com ([209.85.214.169] verified) by media-motion.tv (CommuniGate Pro SMTP 4.2.10) with ESMTP-TLS id 4891662 for AE-List@media-motion.tv; Mon, 05 Nov 2012 21:17:56 +0100 Received: by mail-ob0-f169.google.com with SMTP id va7so5469052obc.28 for ; Mon, 05 Nov 2012 12:20:54 -0800 (PST) DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=mime-version:in-reply-to:references:date:message-id:subject:from:to :content-type; bh=r7cBvEkAEZ4ejmuGWuVfu/OP3pS9Jty45vRgAkBO3kQ=; b=DkirXyS3LYY3nSibelPYMSMwWtgsTj9eYaU952HoywADymecKn2VcllLOaKXX8w16k C57Pz/3vcXIAL6zeRfOsyfV0gW2D3xW0JFIGdGHnVTYckq9GceeD2kao8d8veK2MY5Bv 0LxlX6QmU4ENJ53Do31g4haqIl4w3BAZMJkRDUj4OrHeNYsYXsgnJQ/7d0qg3jeGwRxm 48rBpA7ivE3qmG0s8gWNWb43dsSkrDf5jaD+NzEuwvR0g+6sryA1ItgCkm2wuQbFgADl t5IkBUZJHy/OLJRyU1P0ngfWhqK0PZpVSNrCsIgJmEzC4VfSVGkNakxal4UUUJxBWCFG YdnA== MIME-Version: 1.0 Received: by 10.60.1.40 with SMTP id 8mr9027035oej.55.1352146854911; Mon, 05 Nov 2012 12:20:54 -0800 (PST) Received: by 10.60.48.199 with HTTP; Mon, 5 Nov 2012 12:20:54 -0800 (PST) In-Reply-To: References: Date: Mon, 5 Nov 2012 14:20:54 -0600 Message-ID: Subject: Re: [AE] Good Puppet Tool tutorials From: Brian Behm To: After Effects Mail List Content-Type: multipart/alternative; boundary=e89a8f643544f89f2404cdc53813 --e89a8f643544f89f2404cdc53813 Content-Type: text/plain; charset=ISO-8859-1 On Mon, Nov 5, 2012 at 1:45 PM, Teddy Gage wrote: > My advice for first time use is to use as few pins as you can get away > with to make things easier, and play around with it in a new comp to get a > feel. Many people I talk to don't even know about the puppet starch and > overlap tools (click-hold on the puppet pin icon to show them) which are > crucial to getting a mesh to behave the way you want. I also almost always > increase the minimum mesh count for better deformation. > Also, chop things up if you can. If you're using Inverse Kinematics as well, you may already have done this. But it can be cleaner to animate one piece of your character at a time separated from parts that might not distort properly. On Red Vs. Blue season 10 we had to animate an alien Engineer (a floating turtle/snake like creature in the Halo universe) as a card we could project shadow imagery from in Maya. I built it up using parented objects that had puppeting applied to individual pieces. It was much easier than trying to starch certain pieces. One of other super handy things is recording via the command key. hold command down and click one of your pins and use the mouse to animate it over time. You can build up some pretty complex animations pin by pin (and then obviously tweak the keyframes) You can see the finished puppeted creature and the way it looked projected here: https://dl.dropbox.com/u/16889361/Engineer_Puppet.mp4 https://dl.dropbox.com/u/16889361/Engineer_Projected.mp4 Brian Behm Art Director/VFX Artist Rooster Teeth Productions Austin, TX 78749 -- not getting enough of my blather? check out http://flabbyironman.blogspot.com or my portfolio at http://behmcreative.com --e89a8f643544f89f2404cdc53813 Content-Type: text/html; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable


On Mon, N= ov 5, 2012 at 1:45 PM, Teddy Gage <teddygage@gmail.com> wr= ote:
=A0 =A0My advice for first time use is to use as few pins = as you can get away with to make things easier, and play around with it in = a new comp to get a feel. Many people I talk to don't even know about t= he puppet starch and overlap tools (click-hold on the puppet pin icon to sh= ow them) which are crucial to getting a mesh to behave the way you want. I = also almost always increase the minimum mesh count for better deformation.= =A0

Also, chop things up if you can. If you= 9;re using Inverse Kinematics as well, you may already have done this. But = it can be cleaner to animate one piece of your character at a time separate= d from parts that might not distort properly. On Red Vs. Blue season 10 we = had to animate an alien Engineer (a floating turtle/snake like creature in = the Halo universe) as a card we could project shadow imagery from in Maya. = I built it up using parented objects that had puppeting applied to individu= al pieces. =A0It was much easier than trying to starch certain pieces.=A0

One of other super handy things is recording via the co= mmand key. hold command down and click one of your pins and use the mouse t= o animate it over time. You can build up some pretty complex animations pin= by pin (and then obviously tweak the keyframes)

You can see the finished puppeted creature and the way = it looked projected here:
=

Brian Behm
Art Director/VFX Artist
Rooster Teeth Produ= ctions
Austin, TX 78749


--
not getting enough of = my blather?
check out http://flabbyironma= n.blogspot.com
or my portfolio at http://behmcreative.com

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