How to Clean Mocap

Here are some easy steps to remember how to select a loop cycle, clean up mocap, and correct your speed.

• Nice tip when selecting your loop cycle from Raw Mocap data
• Separate the movement cycles.
• Make sure beginning and end frame pose are relatively the same.
• Create new layer and bracket the middle frame.
• Copy pose from the in-between beginning and end pose.
• Paste it on the beginning and end.
• Go through your selections and pick the best cycle

• Cleaning up Mocap for movement cycles
• Check fingers
• Check Spine, does it bounce to much?
• Delete the X-rot curve to reduce the noise on knees.
• Smooth out the trajectory on the knees.
• Add a little symmetry and balance to upper torso, on another layer.

• Correct your speed
• Calculate how far your character need to travel in a given time.
• Move your world bone, to correct location.
• On another layer, plant feet by eye balling the ball of the foot.
  

The History of the Uncanny Valley

http://gizmodo.com/5680409/the-history-of-the-uncanny-valley

This is an article talking about the evolution of realism in gaming.

Uncanny Valley - The boarder lines of a Realistic Human Figure 3d/robot, where they are missing elements to the human figure/movement/behavior. Which, throws the viewer off, and they do not believe in the realism.

• 10 years ago gaming companies discovered new ways to bring life into game. 3D low poly characters, with breaking through motion capture, with minimal human AI behaviors. The only problem was we did not have the technology back then to get the 3 pillars, up to a realistic human stand point.
• Now we do have the technology, and video game companies attempted to improve the realism in their characters, but they always seem to be missing something. For example Mass Effect 2, Bioware made improvements to their models and face animations, but there was something odd about the teeth that stood out, which took away the realism.
• He addressed the problem of the 3 pillars and talks about how Art Departments need to step it up. We have the technology and its proven to have the realistic quality, like movies such as Lord of the Rings and Benjamin Button. If movies can do it, games companies can do it too. But, which game company will attempt to cross that Uncanny Valley they speak of.
  

Toastmaster - Ways to Get Over Anxiety Before a Speech

We've all laughed about the old advice on how to relax before giving a speech: Imagine the audience in their underwear. However, one in four people suffer from speech anxiety, according to University Center Rochester, so it's a very real problem. Finding techniques to get over anxiety before a speech can help you feel confident and relaxed for your big moment.

Preparation
One of the best ways to get over your speech anxiety is to make sure your speech is fully prepared and researched. Nothing can throw you off like forgetting parts of your speech or realizing that some of your research isn't right. If you know that you have a speaking engagement coming up, do what you can to prepare to deliver your speech succinctly. Avoid flowery language that you wouldn't normally use. Instead of memorizing your speech word for word, jot down the key points, quotations and elements, and ad lib what you can. Trying to memorize a speech will give you extra anxiety, especially if you realize that you've forgotten something.

Practice
See if you have a family member or friend who can sit and listen to your speech as you run through it for practice. They can be helpful in pointing out places where you seemed less than confident, or times when you repeated yourself. Practice your speech so that when it's time to deliver it, it seems familiar and easy to go through. If you can, invite the family member or friend to sit in the audience, in the center near the back. You can maintain eye contact with that friend, and you just might forget about anyone else in the audience.

Stay Calm
If it helps, write notes right on the speech text, telling yourself to slow down and breathe. A person who gets nervous while talking tends to speed up, which can make you fumble over words and cause even more anxiety. Remember that the speech is not a race, and make a concerted effort to slow down. Before you even begin to speak, try taking a deep breath. Remember that just about everyone has some degree on anxiety when it comes to speaking in public. Rely on your preparation, research and credentials, and trust that they will speak for you.

How to Set the Style for a Speech: Teaching English | eHow.com
How to Prepare a Speech: Teaching English | eHow.com

Finally, relax. This is easier said than done, I know. But here are some ways to psyche yourself out to get rid of some of the anxiety.

• Take deep breaths. You'll be surprised at how well this works. If you know some special breathing techniques, use them, but all you really need to do is breathe deeply in and out for awhile.
• Do some simple stretching exercises before class.
• Avoid caffeine or any food or drink that makes you jittery. Drink something that relaxes you, like decaffeinated tea.
• The night before, close your eyes and visualize yourself giving the speech and everything going well.
• Make friends with your classmates, and you'll feel better about speaking in front of them. Make friends with your teacher too.
• Keep things in perspective. You do much more dangerous things every day, like driving a car or crossing the street. Chances are you've already gone through some stressful or dangerous experiences in your life, and you made it through, right?
• Keep in mind that everybody is nervous. You're not alone.
• Keep in mind that you rarely come across as nervous as you really feel. Unless you're shaking and stammering, the audience probably won't know how nervous you are.
• Just do it. Speak. Speak more. The more experience you have with public speaking, the less nervous you will feel.

Social anxiety disorder treatment #1: Reducing physical symptoms of anxiety
Many changes happen in your body when you become anxious. One of the first changes is that you begin to breathe quickly. Overbreathing throws off the balance of oxygen and carbon dioxide in your body — triggering additional physical anxiety symptoms such as dizziness, a feeling of suffocation, increased heart rate, and muscle tension. Learning to slow your breathing down can help you bring your physical symptoms of anxiety back under control.
Practicing the following breathing exercise will help you decrease the physical symptoms of anxiety and stay calm:

• Sit comfortably with your back straight and your shoulders relaxed. Put one hand on your chest and the other on your stomach.
• Inhale slowly and deeply through your nose for 4 seconds. The hand on your stomach should rise, while the hand on your chest should move very little.
• Hold the breath for 2 seconds.
• Exhale slowly through your mouth for 6 seconds, pushing out as much air as you can. The hand on your stomach should move in as you exhale, but your other hand should move very little.
• Continue to breathe in through your nose and out through your mouth. Focus on keeping a slow and steady breathing pattern of 4-in, 2-hold, and 6-out.

Public Speaking Tips

http://www.youtube.com/watch?v=W2iOft2wEQE&feature=PlayList&p=7CC2588915E156A2&playnext_from=PL&playnext=1&index=3



http://www.youtube.com/watch?v=8OclPRzUaeE&feature=PlayList&p=D687A1F532B3FBF2&playnext_from=PL&playnext=3

Run Cycle Tutorial

http://rodri.aniguild.com/tuto_run/run_en.php

Run Cycle
Autor: Rodri Torres | Date: Agosto 2.005 | Translation: Francesco Campobasso | Revision: 0.4

This document explains how to create a run cycle using animation curves. The workflow can be used in any 3D software able to work with animation curves.

The axes mentioned in this document can vary depending on the software used. Although I have used Maya to do this tutorial, I have also shown the axes for 3d Studio Max.

The time (frames) used for this exercise are 20 (10 frames per stride). The time of the software should be adjusted to 24 fps (film).

We will be using 20 frames just to simplify the exercise, since the main poses will correspond to frames 0 – 5 – 10 – 15 – 20.

Introduction

I know of two main ways of animating cycles of any kind: posing and animating each body part independently.

This tutorial is based on the second one, animating each part of the body independently to create cycling movements.

If you have never animated a cycle like this, and if, as I was, you too are used to the pose to pose method, doing cycles this way can be a little strangee.

Once you understand the process of creating a cycle in this way the results are quite good.

It goes without saying that the author of this document hasn't developed this "technique" of creating cycles, which is well known by professional animators.

To complete this tutorial it is recommended having medium/high knowledge of the use of the animation curves.

Timing/Spacing.



Rough curve in TY. To achieve good timing you will likely need to key more frames creating little holds ...


We begin by animating the up and down movement of the hips on the corresponding axes. (TZ 3DsMax – TY Maya).

It's the most important aspect, and the part on which the whole cycle rests... just imagine that the hips are a bouncing ball that to give weight and rhythm to the cycle.

We should tweak the curve until we are satisfied with the appearance without killing yourself. Later, we will need to tweak this curve so that it better corresponds with the rest of the cycle.



The skates

Once we're satisfied with the hip motion we can go on to the feet. Just like it was a walk cycle...



This curve is the TZ of one foot. The other foot should have the same curve but in opposition (i.e., when one foot is forward the other foot is back).


... we animate the translation of the feet in TZ, or the one that corresponds to your animations software.

With a bit of imagination, when you finish this step, you should be able to see the rhythm of the cycle.



High Pose & Passing

At this point you should save your work. If we do something wrong, (Which is normal at when starting out), we can recover the work already done.



This next step can't be done with curves. We have to adjust "by hand" the poses. We have to create poses that look like the ones in the image and must be keyed in the shown frames.

The frames 0 – 10 – 20 are the ones where the character is in his High Pose, and just when he starts to fall.

The frames 5 – 15 are the Passing Poses, when the character slows down the fall and just before he starts going up.

Since we are only adjusting the shown frames (High Pose & Passing). It's important not forget what's happening in the other frames.

All of this is done by hand. Don't forget to key each pose.



Contact Pose



Now we have to tweak the pose where the character touches the ground (Contact).

We should tweak the hip's animation curve, so that the contact pose begins when the foot is just in front of the body. That is, depending on the curve, it can happen that the foot touches the ground a little bit late (that it is directly under the body).
This makes the cycle to look very weird.


Take a run up



The important thing now is that during at least one frame we can see the foot pushing the body up.
This must do by hand.

The simplest way to do that is just moving through the frames until you can find the one that gives us a straight leg if we rotate the foot to the ground.

Unfortunately, I don't know any may to make this process quick or easy. Just keep adjusting by hand until it looks good.


Finishing the legs

At this point we have to try to make some arcs in the legs trajectory when they go from rear to front.



Almost all of a human movements are in arcs/curves.
The image above shows an example of how the trajectory should look.

If we use “Show Trajectory” in Max, or “Motion Trail” in Maya, we might see some some straight lines. This is likely due to the lack of keys in the trajectory. There is no rule for this. So when trying to figure the right trajectory always look at the inertia of the legs and feet.


The feet

The most important thing now is that the feet show the weight that the leg is applying to them. This makes the inertia visible. The image below shows some rough poses of the rotation and translation of the feet...




The toes

The toes are an important step in any cycle, we should take care when animating them.
They give agility to the cycle, and stop the legs and feet from looking stiff.


Contact frames showing the movement of the foot to the ground. These are rough and just references for our purpose.


We should animate the toes throughout the cycle. Making them how we want depending on the foot pose.

The animation is driven by inertia. If the foot is moving forward, the toes should appear to slow down (rotated backwards)... If the foot goes down (like in the image), the toes are "dragged" by the foot. We should rotate them up.

The image above shows the contact pose of the foot with the ground.
The movement of the toes in relation the foot should be slower - they should overlap the foot movement. The number of frames can vary but it should be around 2 or 3 frames.


Arc movements of the feet

Right now the feet probably will have a straight trajectory when they leave the ground, this means that they come and go through the same path. Once again we have to avoid the straight movements, so the perfect thing to do is to take out the feet from the body in the passing pose.

The image below shows the arc that the foot should follow. Obviously when the foot is on the ground there has no side movement.



Top View


Rotating the feet to the outside

This point is really simple, during the whole animation you should rotate feet a little towards the outside. This is how most people run... You can of course rotate them inward if that's what you want.




Moving the feet out in the Passing Pose


It's possible that we have to rotate the feet even more to the outside during Passing so that the foot does not pass through the ground.

You can avoid having the foot pass through the ground in two ways:

- Lifting the leg to create more room.
- Rotating the foot even more.




More animation in the hips...

Right now the hips only have vertical motion (up and down); the rhythm.
To finish with this part of the character we'll have to animate a little more .

Left to be done...

* Translation from left to right side (TranslateX in Max and Maya).


The TX curve should looks like this ...


* Rotation from left to right side - ( RotateZ in Max) – (

RotateY in Maya).




* Left and Right Rotation Vertically - (RotateY in Max) – (RotateZ in Maya).





The spine


The whole spine animation is done through rotation. You have to animate all three axes (RX, RY, RZ).

* Forward and backward rotation - (RotateX in Max and Maya).

RX curves overlap. I recommend that you overlap the curves once you've finished the whole spine animation.


The more curved pose is the passing pose. The less curved one is in the high pose.
Once you have done the overlapping. The more and less curved poses will be a bit delayed in time.


* The left and right rotation vertically - (RotateY in Max) – (RotateZ in Maya).


* The left and right rotation horizontally - (RotateZ in Max) – (RotateY in Maya).


In this step and the previous step, the spine has to be adjusted "in parts". That is, the chest should rotate more than the lower parts. So it's important to have different rotations depending on which part you are animating (low-middle-high).





It's important to note that the rotation of the body always follows the forward foot.


The head

The head should be animated as an extension of the spine, and should therefore be rotated to follow the spine.

Generally the head has less movement than the spine. It's a common mistake to over-animate the head, and that will give a "crazy" look to the head...

Again we should look at body's inertia and fit the heads movement to the inertia of the body's movement.
In a simple run and walk cycles the head usually looks forward.

The head, just as with the spine, should be animated in all three rotation axes (RX, RY, RZ).


* Up and down rotation- (RotateX in Max and Maya).


It's best to begin by posing the head looking forward in the frames (0-5-10-15-20).





* Left and right rotation - (RotateY in Max) – (RotateZ in Maya).





* Left and right rotation - (RotateZ in Max) – (RotateY in Maya).





In the previous steps we are trying to make it so that the head remains looking forward, but without appearing rigid.

Another method that can produce better results is to key the frames at 0 – 10 – 20 (High Pose) so that the head looks just off of straight forward.
Ideally, we should be able to play with the head's animation curves to find result we want.


The arms

The arms are the easiest part to do. We will animate them in much the same that we animated the legs: starting with main poses.

We'll need only two poses to begin with:

Frame 0 and 20 : Pose 1
Frame 10 : Opposite to Pose 1





It's important that the arm's rotations are the similar in both poses. You can just copy the rotation values from an arm to the other.




The wrists initially should be posed as in the image above. In the front arm they are rotated a little up and inward. In the rear arm you have to rotate the wrist backwards and inward.

Overlap (of curves).

Though you could have already done this, overlapping the curves is something that you should probably do at the end for organizational reasons.

We have to overlap the curves in the spine, arms, and head to achieve a smooth and realist movement.
What we are trying to do in this step is have smooth transitions between each part of the body throughout the whole cycle.



Polish

It's possible that some parts need more attention. To polish we should try and improve the arc movements, and smooth the motion over the whole body by overlapping curves, and tweaking values.


The Last Review

At this point we should take another look at all the curves of our cycle to ensure that everything the way we want it.
It's not usual to forget to put a curve in cycle, smooth out a few keys or leave one out. At this point we should check everything - play the animation, examine the curves of each part, etc.


Remember to not render the frames 0 or 20, since these frames should be identical. If you don't do this then your run will appear to pause when it loops. You don't need to remove the key-frames, simply use the timeline to not show the first and last frames.

More Animation

In this document I have not included comments about other things we could/should animate to improve the cycle.
There are a lot of details that we could animate to improve, such as...

- Animating the face.
- Squash & stretch in the body and/or face.
- Animating the fingers.
- Animating the shoulders.
- Etc etc ...


Main differences between walk and run cycles


1.- In the walk cycles there is always one foot on the ground. Where as in a run cycles both feet are in the air a specific moments.

2.- The timing/spacing are different in the run cycle.

3.- In the run cycles the arms moves in a more energetic way (the most in cartoony cycles).

4.- The body leans forward in a run cycle.

Ref.: The Animator Survival Kit


Final notes

This will be of little to no use if all you do is follow the steps without thinking about and trying to understand what is important about each step, and why we doing each step.

The author of this document is open to any comment, critique or suggestion that anyone can give.


Special thanks to...

>> To Emiliano Martínez for the great italian translation. Thanks Emiliano!
>> To my good friend Francesco Campobasso for this translation. Gracias mil :)
>> To Blake Withers by their contribution.

...all those that directly or indirectly has collaborated with writing this document.
...the Aniguild members for their contributions and comments.
...the DeathFall staff for the support and help.
...the team at ArsAnimación, without them, all this probably will not exists.


To Highend3d.com, 3demotions.com, 3dvf.com, 3d-station.com, 3dmaxer.dk, codepixel.com, maxarea.com, maxforumns.net, sinefx.com and other sites for their support.

SWTOR - Video Documentary #4 - Combat Developer Diary

Here is a video of me talking about animation.

James Zhang - CEO of Concept Art House

http://www.conceptarthouse.com/

So I just had lunch with one of Mookie's longtime friend from Ringling. James Zhang, he is a concept artist from Massive Black, with video game and movie experience. He left that company to form his own, called Concept Art House. Company has been in operations since 2006, and he is doing really well and still growing. He is here in Austin to do business with Mookie's Company called Gemini, another art school that is trying to go online based.

He seemed like a great guy with positive attitude, didn't seem like a selfish bad ass or a bragger at all. Seems like a very hard working guy, who built his company from he ground up. Now he has a studio in San Francisco and Shanghai. And been working with a lot of big clients.

His work was amazing, he has a ton of verity in his company portfolio. Check out the website and you will see what I am talking about. His company is always working with with other IP's and is planning on working on their own comic book series.

I am going to have to find the comic book, because it has sold out in china. Some of his stories is talking about the ancient history of China.

Composition Shot

So here are some good websites I found that talk about how to set up great camera shots to tell your story.

http://www.csus.edu/indiv/s/starkj/Faculty/coms27/cinematography.htm
http://www.demontv.co.uk/shot_composition/shot_composition.php
http://www.billselak.com/educ514/
http://www.davidbordwell.net/blog/?m=200804&paged=2

Maya - Setting Up Renders

How to Change Background color

Maya Introduction

Maya Introduction Using Manipulators from Nick Zuccarello on Vimeo.

Learning Maya 3_4

Learning Maya 1_2

Kotaku Talk Radio – PODCAST – Greg Zeschuk

http://chataboutit.com/kotaku-talk-radio-podcast-greg-zeschuk-episode-2/

Great clip, of Mass Effect.

The Making of Avatar

• James Cameron wanted to work on a film in 1995, but the visual effects want ready to make what he had in mind.
• I really enjoyed this movie and here is the making of this film. The character development was really thought out.
• And every arching point in the story was visually epic.
• The whole environment was created with a freedom to explore a new planet "Pandora"
• Their goal was to make a planet so creative they, made a planet visually from scratch.
• They spent a long time looking for the right acting talent.
• All the actors were motion capture to their characters. Thier Motion capture studio was "Giant Studio"
• I have gone to this studio to mocap Swtor, in 2006-2007 and the time I was there, they were filming this movie in another studio.
• They used motion capture to capture the face, so that they will have life like quality.
• Wow they have a really cool tool where they have a virtual camera where it films on stage and track the space environment in the Pandora world. This makes it easier to have great camera work.
• When they film a shot, they will take a moment and take a look of what the camera captured in the Pandora world, actors will get into a pod and watch their selves acting in the Pandora world, This was mind blowing for all the actors.
• There is so much new technology that went into developing this film.
• The editing for this film took place, during pre production. This has never been done before but, it gave so much time for the editors to make the movie great. They used a lot of the camera reference that they filmed on set.
• After all the acting ws done, they went to Wetta to get the 3D visuals to come into place.
• They also talk about sound, and how they use sound from today and manipulate it to a unique sound effect.
• This was a revolutionary experience in Hollywood.

I work for EA

 I got the opportunity to put my name out there, through the EA website. They interviewed me and posted my picture on their website.

https://jobs.ea.com/success_stories/usa/Francisco/

What is your educational background?

When I was a kid, my favorite hobbies were drawing cartoons, playing Video Games, and coming up with great adventures with my G.I.Joe toys. It wasn’t until High school I realized I wanted to make a career out of my 3 hobbies. Thanks to my parents, they made it possible for me to attend Art Institute of Houston, where I graduated with an Associates of Applied Science in 3D Animation.

What do you do at EA? And what are your main responsibilities?

I am a Senior Animator working on Bioware’s Star Wars the Old Republic. Mainly I focus on creating highly innovative combat animations for our player characters. I also play a major role in researching new game play ideas for our MMO.

What do you love about your job?

My Job brings a lot of excitement to my life. I am always looking forward to being creative and to work with talented people in the gaming industry. Best of all, it’s very rewarding to see something you did come to life.

Why did you choose to work in gaming?

At first, I wanted to work on 3D animated movies. But after graduating college, I took great interest in working on next gen games. I realized the gaming industry is on set path of reaching CGI movie standards, and I want to be part of that growing evolution.

Why did you Join EA?

EA Bioware has a reputation for delivering excellent story telling in their RPG games. They are consistently setting the bar for game play and cinematics. I wanted to work for a company that takes great pride in what they do to please their fans.

Describe life at EA?

EA has definitely opened new doors and gave me the opportunity to work on great games. I am constantly learning new things and accomplishing challenging tasks. I do have my good days and bad days, but over all it’s been satisfying to develop on what first starts as an idea into a game that I enjoy playing.

What are your future career ambitions?

My career ambitions would be to shine in the company, with hard work and having a great personality. I want to have a perfect balance between my work life and personal life. So if your reading this, my nick name is Kiko, I am a game developer during the day and a ninja by night.

What are your favorite games and entertainment?

I can’t stop playing Team Fortress 2. I enjoy Holding a Wrench, Hitting Baseballs, Juggling Grenades, Eating Sandwiches, Speaking Scottish, Ninja Vanishing, playing Ax Band, being Uber Cool, and of course Boom Headshots

Animating in Curves

Shows you why Andrew Gordon and other animators harp on the importance of working in the graph editor...

Pose Design with Andrew Gordon

Purpose of Pose - How to get a pose to look good

• Focus on how a character is standing
• Feel the weight and anatomy of your character and build the pose from that point
  
• You want your single pose to tell a story, Like a man looking at a shoe, NOT a man kicking something off the ground.
• A Golden Pose should tell the story of the scene
  
• Stay away from stiff poses, and symmetrical standing poses

Staging and Poses - What goes into good design?

• Pixar designs a shot by using color scripts
• Focus on using shapes to design all your poses
• Silhouette with nice Curves are used for calm and happy
• Silhouette poses with angles represents evil mad or surprises
• A calm girl sitting on the floor should be rounded
• An angry man should show off angles

Posing issues in Rattattoui

• In this movie they first designed all the mice to stand like humans. After approving the pose they found out that mice acting like humans was not appealing to the eye.
• So the went back to the beginning an change the pose for the mouse to stand like and mouse and to hold objects like a mouse
• This pose caused a chain reaction to their production where the animators had to fix all their animations based of the new pose.

Audience's Eyes

• Polar express is a bad example of eye poses and animation, watching the movie you can tell that the eye has no life.
• Eyes can be a guide to the viewer on where to look. If a the character’s eyes are going to look left, then the viewers eyes will be guided to the left of the screen. Which means in the next scene the object that the character was looking at should be on the left screen, this will only help the viewer pin point that target.
  
• How to control the viewers’ yes in an action scene. Example: Monster Inc. Sullivan ran into the locker room and his body moved to the right of the screen, in the next shot, the locker that he was running to appeared on the right of the screen.
• Elevator Scene – Building contrast with motion, 7 people standing in an elevator 2 people talking to each other. We want the audience to focus on the 2 people talking and use the background characters to give the scene some life. One guy listen to music, a lady that doesn't care, 2 people listening to the conversation, and one looking down minding his own business.
• Great staging leads into good acting.
  

12 Principles of animation with Andrew Gordon

Squash and Stretch

• Used for adding additional shapes
• Hit a pose, but have a small bounce
• It should be felt not seen
• Don’t over do it
• Reference – Don Bluth Movies

Arcs

• Dancing patters have nice arcs and movement
• Pole Vaulting, the body moves in arcs and the Limbs move in a pattern
• Head Turns have arcs, if you attach a ball to the end of the nose or limb you can see the arc pattern

Anticipation

• Used for localization, Ex: Stand/Squat/Jump or BuildUp/Run
• Used for acting, in a video clip I saw 7 anticipations in the acting shot. The character scratched/picked/walk/stop
• Anticipations in acting will prepare the audience on what’s going to happen next.
• Large vs. Small Characters, Large creatures have slower anticipation, while smaller creatures are faster
• Best to have an intro to an action, when getting ready to show the primary action.

Drag and Follow Through

• Used for anything flexible like a ball with a tassel
• Gravity and the weight of an element describe how heavy or light something could be.
• When moving the arm in walk cycle, the wrist will drag
• Breaking the joint, Is used for more extreme arm movement "Flicking a Rock" You want to break the joint of a wrist and arm in-between poses to get illusion of speed and drag
• What Not To do - Some movies added to much follow through like chicken little, or to little follow through which creates a stiff object. This will become noticeable in a bad way, you want to have a nice balance in your drag and follow-throughs, so people don't see it they feel it.

Timing and Spacing

• Timing is everything
• Video Ref - Character pointing in a direction and saying, “He’s over there, he’s over there”. He made 9 different poses that were timed differently from each other. 1-2--3----4-------5---------6-----7---8-9
• Fast-Fast-Slow-Med-Fast-Fast, For every pose, Andrew animated using the spline curves for all the in between.
• Its all in the spline curves
• You want to have a nice rhythm, hang on to the beats and have a nice texture to your shot.

Slow in and Slow out

• Used to improve natural movement, and ease in when getting into a pose
• Slow in and out is very important on so many levels
• Heavy vs. Light Animal, Rhino takes time to accelerate, but can also have the same speed as a lighter object. When a Rhino move it’s feet, the amount of drag may be 1 frame drag-time on the ground. Rhino walking, the heavy foot spends more time on the ground. Lighter creature walks spend more time in the air

Secondary Animation

• Used more for acting proposes.
• Video Ref - A man talking and making primary actions and gestures to deliver his line. Secondary action, he brushes himself off, this help make this character seem more believable to the audience

Staging

• Used for presentation for the idea
• We want the viewer to understand what the scene is all about and where to look
• Having lights set up correctly on the targeted character will help guide the eye there
• Video Ref - Full metal Jacket Bathroom scene says it all.

Appeal

• Used for psychological ways of gesturing the face or fingers
• It's the understanding on how to control the audience by using simple shapes
• Exaggerate by pushing the idea
• Video Ref - Monster’s Inc. Dumpster scene, the way Sully reacted to the death of the little girl Boo

Pose to Pose

• You want to get good poses to help design the idea
• Blocking Pose to Pose Method, Start out with strong poses, and fix all your timing. Make sure the root of the animation is well thought out, this will only help down the road.
• Layering Method, Set up all your poses, by posing only the root and spine, Then animate the limbs one by one. Flesh out the details.