COVID: Minotaurs Day 2 Animation

Day two of animation and I finished two more runners. The runners get smaller at the start of the scene since they are further down the street. They also line up behind one another so mostly the foreground runner is predominant and the others are half hidden behind his right shoulder. I fully animated them all regardless. I might reuse a few if I want to fill out the crowd more.

After finished the animations, I realized they were in lock step at the end. I decided to hold some of the earlier drawings on 3s and 4s since they were hardly noticeable anyway. That change of timing at the start changed the timing of when each runners foot hit the ground at the end. I will have to keep this in mind as I animate the Minotaurs. I want plenty of chaos in when hoofs hit the ground.

Today I have to animate one runner getting small in the distance, paint that partially hidden runner and add his arms swinging. Then I want to try and finish animating one of the Minotaurs. If I animate the largest Minotaur, I can see how much he blocks views of the human runners. The runs will be animated along a wide sweeping arc that gets smaller in the distance. I suspect much of this will involve full animation and a cleanup pass.

Time to get back to chipping away at this scene.

COVID: Minotaurs

This might be the most complicated scene to animate in the film. I separated out all the characters in the painting and will animate each in turn. The background had to be touched up so that the buildings which were covered by characters in the foreground are now visible. The challenge in this scene is that the minotaurs and people run up the street and then turn the corner passing in front of the viewer.

Since everyone turns this will involve plenty of full animation. I decided to start with the smallest characters which are the people running on the sidelines to avoid the minotaurs like the running of the bulls in Spain. The first person I animated is barely visible in the illustration as he runs off screen.

The second person I animated was simpler but I am flailing his arms. I had to change the arm animation when I look at it with the other runner in the scene as well. I had to avoid the arm from appearing in front of the other runners face or belly. That became distracting.

There are about four other people in this sideline crowd and then I move on to the more challenging minotaurs. There is a good chance that the much larger minotaurs will cover some of this early animation. That leaves me the freedom to play and experiment.

I am teaching virtual classes for eight hours today, so there will be less progress made on the scene.

COVID: Freedom From Fear

After compositing all the layers of the flaming football players, I decided to animate a simpler scene in the afternoon.I figured animating this army nurse offering a vaccine jab would be a simple task. I tried animating the scene at first in Callipeg by cutting the arm into a forearm and upper arm. The plan was to animate those two sections like cutout paper animation. The problem was that Callipeg reduced the resolution of the segments when they were moved into a new position. I suspect that rotating the segments caused the loss in resolution. This is a major drawback for the program and I stopped using it for this scene.

I instead cut out the arm as a single segment and imported it into After Effects. I set up depth maps for the scene minus the arm. The arm layer was then composited on top of the scene which had the parallax effect. I downplayed the parallax effect on the girl and nurse’s head and shoulders.

The yellow dots scene in the shot above are pins which I placed at the joints. The red dots are called starch pins which solidify the bony arm segments. I moved the wrist pin and the elbow pin a tiny bit to key frame the animation. Unfortunately After Effects can not play back the animation in real time because of memory issues. It only plays a few frames in quick succession. I have to render the scene and look at the render to check the animation. I tend to accept some sub par animation because of this technical glitch. I plan to go back into some of the previous scenes to adjust animation timing. I might go back into this scene as well after I figure out how to adjust the memory settings for optimal use in After Effects. Technical shit like this can cause a solid day of digging into memory settings, so I prefer to just keep moving forward.

At first I animated the jab over the course of the whole scene which is just short of two seconds. That was too slow and monotonous. I then cut the animation down by half and held the jab in for the remaining time. That left a somewhat uncomfortable pause but I liked it since I am always uncomfortable when I get a jab.

COVID: Flaming Stadium Day 3 Animation

I finished the Callipeg animation on the eight football players in this scene. Now I need to import the scene into After Effects to give the football field depth and add breath, COVID spatters, extinguisher exhaust and tack flames onto the players and fans on fire.

Maybe I should just stretch the background side to side so it fills the 1920 by 1080 aspect ratio. If it looks distorted I will drop that idea. I suspect the final touches on this scene might be more complicated than I am anticipating. I think I will tackle a much simpler scene next. I am burning out from animating so many crowds.

COVID: Flaming Stadium Animation Day 2

On day one of animating this scene in Callipeg.  I assumed I might finish one runner after finishing my online course with 2 students. For some reason both students were missing in action so I devoted myself to animating all day. I finished animating three runs for the day, although I need to paint a few arms and add a strip to the pants of the runner in the background. That paint will be just a few blobs and stripes since the figure is often hidden. If I can keep this pace up I will have the scene done in two more days.

I have one more big running scene with Centaurs running down the streets of Washington DC. That could be the trickiest scene in the film and might require full animation, with the centaurs running up the road and then turning in front of the camera. This scene is building up my chops so I can tackle that Centaur scene.

I might go back and re-animate scenes I worked on in After Effects. That program makes moving objects easy, but the computer creates very even timing which stands out like a sore thumb. There is an ease in and ease out function but the timing otherwise is monotonous. I will have to go back into those scenes to add some snap the timing. I am using every trick in the book to complete animation quickly but I can’t settle for boring timing.

COVID: Flaming Stadium Animation

I have just started the flaming stadium scene. The shot above shows the first four keys. I am not sure of the distance of the stride but what I have should work. There are eight other figures to animate so this scene will take multiple days to complete. I am setting up the run to happen over 13 frames which is on the slow side, but the 29.95 frame rate makes animation seem faster than the 24 frames per second I am used to.

I should have set up the original premiere pro sequence at 24 frames per second had I known I was going to be doing so much animation. I need to research and see if the entire film can be converted to 24 frames per second but I suspect it might be a very arduous process. I am thinking every single scene would have to be re-rendered at 24 frames per second and there are over 200 shots. Anyway research is needed. I’ll keep pushing ahead regardless since I am so deep into the process.

COVID: Police Funeral

I decided to have the pallbearers walk forward with a slow ponderous walk. I usually put one in-between between the keys but with this walk I put 3 in-betweens which slowed the walk down significantly. A widow clutching a triangular flag is in the foreground and she blocks the view of the left most pallbearers.

I animated the legs of the front two pallbearers and then duplicated those keys to all the legs of the other four visible legs. I decided that this level of military precision was appropriate. Once all the legs were painted, I deleted the line work. My goal is to make these police very transparent so that the cemetery tombstones appear through them.

I had painted the police to make it seem like they were transparent. Now I repainted the background so it will appear through them when I make them transparent. Since they walk forward the tombstones need to stay in place.

My biggest challenge today is to get parallax to work on the widow while she is a separate foreground element. I did pull this off with a black sheep in the first shot of the film but as I recall it caused a crash before I got it to function.

COVID: Tapping Trump

This shot was fairly simple to animate. I finished the animation between students on the weekend. I cut out the former president’s right arm and hand as two separate layers and imported the PNGs into Callipeg. He taps the screen twice in a second. Each tap involved a gradual slow in to the anticipation and then a fast tap on the screen which is done with two frames. I then held the finger on  the screen for four frames each time to imply some press time.

You might notice that the depth map is missing the right arm and hand. Animation overrides the need for a depth map. Motion draws peoples attention more than a dimensional scene. Anyway, I could watch him tap that phone in frustration all day long.

 

COVID: Robo Server

I decided to animate the robot in this scene. To get the robotic effect, I cut the robot into parts, such as an upper arm and lower arm, Upper Leg Lower Leg, and foot. I then posed the robot into walking poses. I realized while working on the scene that this could be a good way to teach students how to animate a walk. The one mistake most students make is sliding the feet forward and backward. With this robotic walk, the feet a cut and pasted into exactly the same spot from frame to frame.

I had animated an extra half of a step but the animation was way too fast for such a lumbering robot. I decided to hold each frame for 3 frames and that slowed it down enough. The three frame animation is probably a bit clunkier than animating the scene on twos, but clunky is what I was going for.

I am now assembling the scene in After Effects and should have it in the final edit later today.

COVID: Two More Walks to Animate

I finished three walks in Callipeg yesterday and have two more to do today. One of the men waves his wand faster than anyone else but it isn’t an impossible movement so I am going to live with it. Two frames in one of the layers shifted out of position with no prompting from me, so the possibility of a random crash seems imminent.

The background will have a parallax effect added in After Effects as the camera pans downward. Once this scene is done I might move on to animating a shot of the former president tapping on his cell phone as he sits on a golden toilet. I will only animate his hand tapping the screen and leave the rest as a held cell. It is a much easier scene to animate than the hazmat walkers above.

I also need to re-render a few scenes which have artifacts from applying too much parallax. I need to assemble a full list next time I view the film. The COVID film now has animation scattered throughout, so it coming together nicely.

For those who are interest a late summer-fall COVID surge has begun. The only way to know this now is through wastewater testing. All other testing has been halted. The nation is going into the next surge blind. COVID has risen by 50% in wastewater nationally and it is estimated that there are now about 350.000 cases a day. Of course an exact count is impossible. Biden has declared the pandemic over, and most Americans a glad to believe him, yet it is still raging for anyone who is paying attention. Arrogance and ignorance are a deadly combination in the ” new normal”.