Cecil Sparks at the Bit Bazaar, photo by Yewbert The Omnipotent
On December 7, 2013, Bento Miso hosted the Bit Bazaar Winter Market. Organized by Jennie and Henry Faber, it was a fantastical! With about 30 game developers, artists and food vendors, and an estimated 2000 visitors over the course of the day, the free event was a huge success.
Christine and me at The Rocket 5 booth at The Bit Bazaar Winter Market, 2013.
We played games! We looked at art, and bought a fair amount of it too! We ate chocolate and amazingly delicious pot pies (Beef! Chicken! Veggie! Lobster!!!!). We drank cool, refreshing, locally crafted beer. AND we showcased The Phantom PI Mission Apparition Beta release all day long!
Christine is the demo queen.
We took local illustrator/mega-talent Rachel Kahn’s advice and decked out our table – Cecil-style! With two stations to play our game at, our booth was always busy. We provided comfy mini-chairs, which ended being a good idea because some folks played through the entire game!
One of my favorite features of The Phantom PI Mission Apparition is the digital collectible cards that the player collects in their Paranormal Investigator’s field guide. The art on them was created by our friends from San Francisco to Toronto and each card is in a unique style. The cards were so pretty that we decided to print them up as a set of 30 cards, and they turned out gorgeously!
The Phantom PI Mission Apparition collectible cards: Marshall Staxx illustrated by Andrew Schneider.
Cathy’s Personal Winter Market highlights:
Rachel Kahn’s cromnulent table, resplendent with gorgeous smelling candles (for sale!) and her awesome (smart, funny, personal, provoking) art. I have a copy of By Crom, and a little bird told me that I’m getting one of her original paintings for Christmas!
Asteroid Base and Lovers In A Dangerous Spacetime: The game gets better and better, and Matt Hammill’s prints are insanely lovely.
Matt Hammill’s gorgeous prints for Lovers In A Dangerous Spacetime
BTW, thanks for the lovely compliment, Asteroid Basers (Jamie and Matt), in your post-Bit Bazaar interview on bigsushi.fm:
Working as an animator on AAA titles and films, I’ve never been allowed to scale joints on a rig. I’ve always been told that the “engine won’t support joint scaling”. This meant, to me, that I’d blow up the game if I tried to scale joints on a rig… since scale is almost always locked, I never missed it.
Until now, that is.
Working on incredibly fast and agile mobile development is changing how I think about ‘pipeline’ and ‘rules’. If it works in-game, and it means we can make things faster and cheaper, then I’m all for it!
Our current game in production “The Phantom P.I.” is far more ambitious than the other games we’ve made thus far, with tons of custom art. We’re a core team of two, Tim and I, so we are always looking for shortcuts that don’t affect quality or concept. We needed a quick way to prototype a Raven flying around in the levels, so we bought this Crow from the Unity Asset Store. The crow worked great; it came with a texture, flight cycle animation and has a skeleton.
I re-painted the textures to make it look like it lived in our world, tweaked the animation to make it more to my liking, and hurrah! A ready-made Raven for our game!
Then Tim wanted it to hop around on the ground. “NO NO NO!” (I like to rant.) “Its wings are open! We can’t close them without a very sophisticated rig! Exporting animations into Unity is very tricky business – what exports? What does not? A complex rig is simply beyond my technical abilities right now!”. At least this is what I’ve always been told.
I had tried out joint scaling before, with our little friend Cecil. He gets knocked on the head – his head compresses as he goes into his ‘squash’ – and we get a nice exaggerated pop-up to animation.
Thinking outside my comfort zone is what makes my work here at Rocket 5 so exciting! Why not scale the wing tips and tuck them back out of site?
Mobile screens are very small, and even on the iPad this kind of detail is not really necessary. And since game-play trumps everything else, why not try it?
It worked! AND it was very easy to just animate on the Raven’s skeleton for additional animation details.
Animating animals is usually fun, but can often be complicated and technical. Figuring out what to do with all those legs can really trip up an animator. We can animate human-shaped characters a lot easier than multi-legged beasts because we have an intuitive knowledge of the way bipeds move. It is easy for an animator to act out a motion when the character moves like us; feeling the action ‘in the body’ helps us understand how to animate it. So what happens when the character is a quadruped and you don’t have that intuitive feel at your disposal? How do you make that movement believable? Suitable reference and a sophisticated media player is the place to start.
Luckily for the animation community, there is a wealth of reference material that can help. I’ll walk you through my process for animating quadruped locomotion and share classic references that will help you deconstruct the fundamentals of the four gaits: walk, run, trot and gallop. I’ll also share an example of my own 3D walk animation and offer technical tips for creating believable quadruped locomotion cycles.
Click the image to see the animation. Horse Locomotion Walk 30 courtesy of www.rhinohouse.com
With a media viewer that can scrub single-frame backwards and forwards, like Quicktime, you can watch the movement frame by frame. Drawing thumbnail images with directional notes helps you synthesize the information. There are now lots of websites out there that put up live-action animal footage, such as the Rhino House Human and Animal locomotion website, which has a built-in player that can scrub their video reference material (click the image on the right to check out their website and viewer). Thanks to the Internet, finding reference and getting into it to see what is going on is the easy part. The hard part is converting that information into something that makes sense to the animator and for the character that is to be animated.
Following a process speeds up your workflow. Before I get into the creative part of animating, I usually have all of my research done. Gathering and absorbing all of the technical details and reference material beforehand frees me up to get into the creative ‘flow’ of animating, with easy access to my reference material. My process is something like this:
Consider what animal most closely resembles the beast I need to animate?
Search for reference material. Here are the sources I find useful:
Analyze the reference material and find the section of the footage that is most useful.
Create thumbnail drawings to assist with my animation, including notes on direction and any unusual qualities I can see in footage.
The Four Gaits
In the course of my career, I’ve learned that there is a surprising similarity in how quadrupeds move, from species to species. Eadweard Muybridge’s photographic works may be a century old, but they are still relevant and extremely useful. In his introduction to Animal Locomotion, he maintains that most quadrupeds – be they dogs, cats, horses or rhinoceroses – follow the same footfall pattern. This is the order in which the hooves or paws strike the ground while moving through the various gaits. Where they differ is in the flexibility of the spine. Visualize a rhino running, as opposed to a cheetah. The exceptions, according to Muybridge, are elephants and animals like kangaroos.
The four speeds of movement, or the four ‘gaits’, are shared amongst most four-legged animals. Almost every quadruped walks, trots, canters and gallops, and their legs move in the same manner when they do it. As you can see in the image below, adapted from Muybridge’s Animal Locomotion, the gaits have been broken down into symbols illustrating which leg strikes the ground in which order, assuming the animal is facing north with the right legs on the right and the left legs on the left.
For example, with the rotary gallop gait, if you start your cycle with the left rear foot striking the ground first, the next in sequence to hit the ground would be the right rear foot, then the right fore foot, followed by the left fore foot. As for the transverse and rotary gallops, I’ve found the rotary gallop more often in reference material than the transverse, which I’ve mainly seen in horse footage. The canter is the roughest gait, with a lot of up-and-down movement. Elephants don’t seem to follow these rules, and should be considered separately.
Once you get the legs moving roughly in the order that is appropriate, you can be creative with the rest of the body.
To save time, you could animate a ‘vanilla’ gait cycle for each gait with the leg movements blocked in on keys and breakdowns only and the body and head having the rough up-and-down motion laid in on those keys. If using a universal rig, this file could then be exported onto any beast (with minimal adjustments, depending on the disparities of beast shape) and be used as a starting point for the animations. Several different types or speeds of walks could also be created from this base file simply by playing with the amount of frames in the animation and the distance between the legs in the stride position or the distance the beast travels in the ‘leap’ part of the gallop.
In the case of the walk gait, the rear left foot strikes first followed by the left fore leg. The rear right leg strikes third with the right fore leg falling last. The walk is the slowest gait and is shared by all quadrupeds. Muybridge breaks down this information into a chart for the walk, trot, canter and gallop gaits in the introduction of Animal Locomotion. Converted into a graphic table, a walk cycle would look like this:
Horses are great animals to study because their legs are so long and slender, creating a easily legible silhouette. Below is an example of a walk cycle broken down into 8 phases:
Image adapted from Horse Locomotion Walk 01, courtesy of www.rhinohouse.com
Once you understand what the feet are doing, it becomes easier to understand what to animate next. Think of the quadruped walk as two offset human walk cycles. I wonder how often studios have used two people in a horse costume for motion capture? Preston Blair’s iconic walk cycle with the “stride” and “passing” key positions is a great illustration of the basics of a biped walk demonstrating the following: fall into the stride and recover and rise up into the passing position.
Adapted from Preston Blair, Animation, 1948
For the quadruped, the hips and chest become two offset ‘bouncing balls’ in the same manner as the hips in a bipedal walk. Consider circled image 23 from the horse walk cycle (below), which shows the fore legs in the “stride” position and the hind legs in the “passing” position. I’ve added circles to show the up and down motion of the hips and chest in that phase of the movement. The head could then be animated as yet another bouncing ball, offset from the hips and chest (follow-through! overlap!).
Image adapted from Horse Locomotion Walk 01, courtesy of www.rhinohouse.com
Animating A Walk
To illustrate this locomotion in 3-D animation, I’ve roughed in a slow 40-frame walk cycle. Cycles must be symmetrical, or there will be a visible hitch in the walk, like a limp or a hit in the animation.
There are almost as many methods of animating as there are animators, but I prefer to approach posing as I would with 2D or Classical animation. Posing out the whole character, rather than starting with the hips or isolating the lower body, and working on the entire character at once when creating the four major poses. Details like toes and tails can be ignored or turned off at this stage. I create the four major keys or poses of the walk: two stride and two passing. I make them as symmetrical as possible, but they don’t have to be mathematically the same.
There is an advantage to keying all major elements on the same frame. At this point, the keys can be slid around easily to change the timing of the walk. It is quick and easy to adapt and manipulate your cycle by figuring out your basic timing to the point where you start to add finishing details like overlap and follow-through. Keys arranged in an orderly fashion are really easy to manipulate in your 3D software package (here I am using the dope sheet in Maya 2011).
Four key poses, JoJo walk, property of Rocket 5 Studios
This is also the break off point where different kinds of walk cycles can be created now that the feet have been appropriately positioned. Variety can be added like floppy overlap or stealthy sneak. The four basic poses can also be used as a starting point for other walks. You don’t have to re-create the 4 basic key poses; you only have to adapt them to your specific purposes. Use the graph editor or tweak by hand, but remember to have each opposite pose match each other.
It is important that your software has a great graph editor. When animating cycles, I spend a fair amount of time cleaning up the graph to get symmetrical movement. Don’t forget to check all channels! The above video has been carefully tweaked to remove all hits and holds. The stage just prior to this revealed a few errors with the arms:
There are several ways to fix errors like this but the easiest for me at this stage is to look at the graph editor and find out where there is a problem with the curve.
note: flat tangents causing slow down at apex of movement
The highlighted motion trail shows other problems that can be solved by the graph editor, such as the linear movement of the arm in the air. Arcs always look more natural than linear paths of action. The solution for the slowdown in the forward progression of the arm is to fix the curve so that it can cycle smoothly, as seen below.
Grab spline handles and move them so that curve looks like it can cycle or repeat.
The next step is to flesh in the walk, adding overlap and follow-through, offsetting the head and making sure there is enough weight in the up and down movements of the hips and chest. When you are pretty sure the cycle is working the way you want it to, animate the feet, hands, fingers and toes. I usually animate the tail last, one rotational axis at a time.
Walks and Runs: In Brief
Walks and runs can be considered a controlled fall with a little acceleration happening right after the passing position, which is similar to a push-off. As with all movement cycles, the forward or Z-translation would be non-linear.
The speed of the walk is dictated by the length of the legs and how far apart the feet are planted in the stride position. There isn’t really a moment where all four legs are off the ground as in the other gaits and the legs can only move so fast without looking ‘sped up.’ Conversely, the speed of gallop is largely determined by the shape and unique qualities of the beast. The faster you need the beast to go, the more flexible the spine will have to be, and the greater the squash and stretch. Look for this when watching reference. As the legs bunch up under the beast (the squash) energy is gathered, preparing for a ‘leap’ or ‘stretch’ where the animal can cover as much ground as its form, weight and strength allow. The tighter the squash, the more extended the stretch and the faster the beast can travel.
Gallop cycle animated by Paul Capon on Nico
Variety in the weight or ‘attitude’ of the walk, trot or gallop can be achieved through the shape and movement in the spine and the amount of overlap and follow-through. The amount of flexibility and motion in the spine is key to defining the differences between a horse and a rhino and a jungle cat.
Personality, the key ingredient in any good animation, comes not only from the shape of the key poses but also from what is happening in between the poses. How the character gets from stride to passing can define the character. Are they high-stepping? Straight forward and no-nonsense? Whimsical? Are they flopping around like a puppy or are they hard and densely muscled like a pit bull? The overlapping elements that you’ve added to the animation and their follow-through shows the audience who the character is and what it is made of.
Image adapted from Tiger Locomotion Gallop 01, courtesy of www.rhinohouse.com
Image adapted from Horse Locomotion Gallop 05, courtesy of www.rhinohouse.com
On the weekend of May 10, 11 and 12, I attended my first ever game jam: “TOJam“. TOJam is an indie game event where about 400 people gather together in one place to hammer out their individual game concepts in just 3 days. It is a hotbed of creativity, inspiration, innovation, cooperation and bacteria. Its a place where you can meet other game developers and eat too much junk food, drink too much caffeine and get too little sleep. If you are extremely organized and very very lucky, you can walk away with a fabulous little prototype to build from.
Caffeine, junk food and sleep deprivation.
Before TOJam I had my doubts about whether spending 3 days in a building with 400+ game jammers would be for me. I like my comfort. I think better in a quiet environment. There won’t be enough women there and it will be weird. I don’t fit in with the culture. I’m not a hard-core gamer, I won’t like it. I’m too old. It will be chaos! It will be a waste of time! After 3 days without washing, it will smell like a rhino cage in there. Gak! What possible benefit could I get out of a game jam?
After TOJam: Absolutely. Amazing. Experience. Craziest way to rapid-prototype a game – EVER. Got SO much accomplished! Incredible creative and energetic environment! TOJammers are inspirational! Hard working! Collaborative! Generous! Conscientious! Talented! Funny! Nobody wants to fit in, everyone is just doing their own thing, but together. With such a flux of positive energy and creativity floating around, one cannot help but be motivated. TOJam 2013? I’m there….can’t hardly wait! Even if it did smell like a rhino cage by Sunday.
We at Rocket 5 teamed up with superstar Mujia Liao to work on a simple adventure/puzzle game: Koloro: The World’s Not Ending. We started TOJam with a couple models built and rigged and Tim had done some ambient occlusion lighting tests for another game we’re developing. We had a rough game idea, narrowed the scope and came up with a tight game plan and asset list by Wednesday. Of course, we didn’t get as far as Tim had hoped, but I was thrilled to have a playable prototype to work with. From an animator’s perspective, the first time you see your character running around in the world is a HUGE thrill. She’s ALIVE!
Rapid prototyping requires a kind of cross discipline flexibility that I had never developed before. Coming to Rocket 5 as a character animation specialist, I had never modeled, textured, or rigged anything before. Switching gears to become a generalist is difficult after so many years as a one-trick pony, but it is super fun and motivating. And being a “specialist” also means being a perfectionist. It was hard to let that side of my personality go. I was working on the cat character and forgot to test the animations in-engine. This was a disaster! The animations wouldn’t export properly, so they look really weird and funky in the game. While this made me die a little inside, I had to let it go. They worked well enough to prototype with. We had to move on.
Here’s a look at the final game, TOJam edition. Our heroine is restoring colour to the world, one kat at a time!
TOJam: the most intensive game incubator I’ve ever seen – hurrah for Jim and Em! And a big huge thanks to everyone that made TOJam 2012 possible.