For this task, we had to create a key-frame animation in Maya using three different 3D primitives.
To begin, we set the animation settings to ‘Realtime’ and ’24’ fps, via Windows-> Settings/Preferences -> Preferences. Ensuring that ‘weighted tangents’ was selected, as well as the default set to linear, we were then able to begin the task.
Creating 3 different polygons, cube, sphere and cone, I spaced them relatively evenly apart. Ensuring that the attribute editor is open, I selected the cube and first frame on the time slider. I then navigated to the channel box and right-clicked on the ‘translate X’ option, of which allowed me to click on ‘Key selected’. You are notified of a created key-frame once the box has gone red.
I then moved the time-slider to frame 24, and moved the cube across to the opposite side of the grid plane. I then repeated the earlier process of creating a key-frame, selecting ‘Key selected’ for translate X.
Dragging the range slider to frame 48, as well as repeating the key-frame process for the sphere, allows me to move this object at half the speed of the cube. The same process is repeated for the cone, but this time its end point is reached at the 72nd frame.
Moving the cube back to the start of the grid, a key-frame is created at 48 frames. Moving it to the end again and creating another key-frame, this time at 72 frames, concludes, for now, the animation regarding the cube.
The sphere, at frame 72, is moved to the middle of the grid via the changing of its X translation to 0. Once positioned correctly, a key-frame is created.
Going back to the cube, a key-frame is created at frame 1 regarding Rotate X set at 0. At frame 72, another key-frame is created for Rotate X, however, this one is set to 1080. This configuration causes the cube to spin while moving across the grid.
For the Sphere, a similar process is used. However, Rotate Y is used instead, with the settings at frame 72 being 360 instead of 1080.
For the cone, Rotate Z is used. With the end number for Rotate Z on the 72nd frame being -90. This causes the cone to tip forward as it along the grid.
Navigating to Windows -> Rendering Editors -> Render View will allow you to apply shaders and textures to your objects, of which is the next stage of this task. Selecting Lambert from the Surface shaders is the next step, of which then has a colour applied to it via the menu on the right hand side of the screen. The material is then assigned to the cube via right clicking the material on the top right of the screen and selecting ‘Assign Material To Selection’.
This process is then repeated with various different shaders, materials and colours for the other objects.
We were then tasked with creating three separate animations, tied together via intertwined animation principles and processes.
The three tasks were thus; animate a heavy ball being dropped/bounced, animate a football rebounding off of a wall, and animate a ball bouncing down stairs.
In order to animate the heavy ball falling and bouncing, I had to consider the physics of such an occasion, as well as the possible materials that the ball would be made of. The conclusion was thus; the ball would drop and barely bounce, rebounding shallowly several times in quick succession before settling down.
The process I used comprised of creating a sphere, selecting the first frame, editing the Translate Y and Translate X co-ordinates, and right clicking them to select ‘Key Selected’ in order to create a key-frame. This process was repeated multiple times for all three animations, rather similar as to how the animation earlier in this post was created.
Utilising various animation principles, I planned out and executed the theory or ‘Squash and Stretch’, manipulating the size and rotation of the sphere as it moved through the air and made contact with other surfaces.
The graph editor was used to smooth out the animation, utilising the ‘Break Tangents’ option for finer control.
Heavy Ball Animation:
We then moved onto another task, this one being lighting-based. We had to apply materials and lighting to a supplied model of a robot. In order to do so, we had to create and place several light sources, and then manipulate said light sources. Changing the distance, intensity and colour of these lights allowed us to create primary, fill and edge lighting, as well as different atmospheres and emotional responses.
Moving on-wards, we did some more animation work, this time experimenting with a rig for a human character. We applied a rig to the supplied model and then manipulated it, moving the skeleton and nodes via Reverse Kinematics and key-frames in order to create an experimentation in animation.
Fuse Modelling/Model Editing Experimentation:
In this exercise we composed and edited a 3D model using a variety of preset modular elements and sliders, using our own faces as points of reference for the character. After creating and editing the character, we clothed it via picking from more preset options.
Finally, we uploaded it to a Mixamo Autorigger, allowing us to experiment with a variety of different preset animations that have already been created for open source use.