Return-Path: Received: from mail-gh0-f169.google.com ([209.85.160.169] verified) by media-motion.tv (CommuniGate Pro SMTP 4.2.10) with ESMTP-TLS id 4892252 for AE-List@media-motion.tv; Tue, 06 Nov 2012 12:52:15 +0100 Received: by mail-gh0-f169.google.com with SMTP id r1so31127ghr.28 for ; Tue, 06 Nov 2012 03:55:15 -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=KFQZlmdnSWXQNAL5BKVN1j1uI1fYSu9yVbBG4myKJ80=; b=cCKxVQvrnqqOQjzK8PrB8/7hpPgaGb8WEo+jRcJFmz8o6GBVv1ibmMRH16E21wI+BI CstqbWMhkE5QgKQRu9r9nrbpseWGJcg76CRZXy/nmLVjLYcGlwWPbFrYuS11KqN0qjEY kK4broKroS5WmZh+Fcj/vLJwys3KJ5Q8LtyDOVPWOUi5vTxZXu47muIlH4NMtgPMk8fc hvfQ0Jlq0Xo9lb+WmpVj2anEnUTbKfYXvfvDKwTwEw9lJGavxzfAgzh2kdfbCgLOemeM BTvq5er5TjOWj7Yr21v2lXzjXO5zHjNN8V/hWik59/jXXaaiX3+Z2LVoMqyZiXC6sEf6 MG+A== MIME-Version: 1.0 Received: by 10.236.136.132 with SMTP id w4mr678466yhi.33.1352202915037; Tue, 06 Nov 2012 03:55:15 -0800 (PST) Received: by 10.146.113.14 with HTTP; Tue, 6 Nov 2012 03:55:14 -0800 (PST) In-Reply-To: References: Date: Tue, 6 Nov 2012 11:55:14 +0000 Message-ID: Subject: Re: [AE] Good Puppet Tool tutorials From: Darren H To: After Effects Mail List Content-Type: multipart/alternative; boundary=485b397dd1076a40dc04cdd2464d --485b397dd1076a40dc04cdd2464d Content-Type: text/plain; charset=ISO-8859-1 Thank you all for the links and tips! Thanks Chris for the code (and also for your intro to using Audition with AE which I came across. I'll be using Audition from now on I think. Looks like a useful tool). I'm going to break my model into limbs and use DuIK to create the IK. Have to say Teddy, DuIK looks amazing! Currently it looks as though you can only apply Pins to a layer that doesn't move or scale though. Slightly confused by this. Can I pre comp each limb, apply DuIK then apply Pins successfully? D. On 5 November 2012 20:20, Brian Behm wrote: > > > > 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 > > --485b397dd1076a40dc04cdd2464d Content-Type: text/html; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Thank you all for the links and tips! Thanks Chris for the code (and also f= or your intro to using Audition with AE which I came across. I'll be us= ing Audition from now on I think. Looks like a useful tool).

I'm going to break my model into limbs and use DuIK to create the = IK. Have to say Teddy, DuIK looks amazing!=A0
Currently it looks = as though you can only apply Pins to a layer that doesn't move or scale= though. Slightly confused by this. Can I pre comp each limb, apply DuIK th= en apply Pins successfully?=A0

D.


On 5 November 2012 20:20, Brian Behm <= ;flabbyironman= @gmail.com> wrote:



On Mon, Nov 5, 2012 at 1:45 PM, Ted= dy Gage <teddygage@gmail.com> wrote:
=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'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 se= parated 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 creatu= re 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 in= dividual 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 h= ttp://flabbyironman.blogspot.com
or my portfolio at http://behmcreative.com


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