After binding the wheels and steering wheel last time, I have created a controller and bound it to the model, after locating all the parts that can move according to the client’s video.
The first step in locating the part as a whole is to look at the axes, which include rotation and displacement. This involves finding the tangent line on the surface of the part.
Generally I will choose a central point to attach the locator to or a point on the surface and then rotate it to find the direction of the tangent line.
This is done so that the axis of the controller is oriented in line with the object.
Similarly here the spacer would need to be rotated with the steel cannon at its centre then the direction of the axis of its centre point is the direction of the centre point of the cannon and then the Locator is moved to the surface of the spacer.
The size of the locator can be adjusted here.
Note here that the locator must not be named the same as the polygon, otherwise it cannot be mirrored.
Once the locator has been created, it needs to be mirrored.
Select a group of locators to copy, then two groups will appear with the same name. Then change the names from L to R. Click on all the locators on one side and click on Mirror.
Then click on create skeleton.（set_ctl)
The shape of the controller is then edited, usually to match the shape of the part.
Once edited, you can choose to change the controller shape and scale it.
The created skeleton will still need to be mirrored. This step is important.
Then mirror the shape of the controller left and right.
Finally the large controller needs to be created and the outline view collated.
1.2 The origin and rise of ironic animation (historical process)
1.3 Types of irony * Verbal…* Situational… *Dramatic…
What are the three types of irony?
Dramatic irony
Verbal irony
Situational irony
Irony can be sad and tragic, or it can funny and satirical. In other words, there are limitless ways you can wield irony in your stories.
There are 3 different types of irony: dramatic, verbal, and situational. Each has a different definition and function in storytelling.
Let’s move on to some quick definitions of these main types along with a few subtypes or irony that provide even more complexity and depth to ironic storytelling.
What is dramatic irony?
Dramatic irony is when we have more information about the circumstances than a character. When you know a trap has been set and watch someone walk into it. That is dramatic irony.
In The Matrix, Neo and his crew are betrayed by one of their own. If we had learned of this at the moment of betrayal, we certainly would have been shocked but because we learn about it before any of the other characters, we have a nice, juicy piece of dramatic irony.
Within dramatic irony, there is only one subtype: tragic irony. The difference between these two types of irony is slight but it’s an important distinction to make. Basically, tragic irony is dramatic irony with tragic consequences — it’s as easy as that.
There are also distinct stages of dramatic irony, or the order of operations when deploying dramatic irony. Dramatic irony needs to be introduced, it needs to develop over time, and it needs to be released. To successfully incorporate dramatic irony, these stages are essential.
What is verbal irony?
Verbal irony is when someone says something, but means the opposite. When you get an “F” on your term paper and say, “Wow, I did a really good job on my term paper!” That is verbal irony.
In Mean Girls, Cady’s first inkling that Regina George truly is “plastic” comes in this scene. A fellow classmate approaches Cady and Regina, who gives her a glowing compliment on her skirt. But in a perfect example of verbal irony, Regina actually meant quite the opposite.
Here’s the scene as it was written in the screenplay. Follow the image link to read the entire scene in StudioBinder. Within this verbal irony general definition, there are 4 types of verbal irony:
Sarcasm
Understatement
Overstatement
Socratic irony
What is situational irony?
Situational irony is when we expect one thing, but get the opposite. When you buy a can of Coke but it has Pepsi inside. That is situational irony.
A really great example of situational irony comes in Terminator 2: Judgment Day. Sarah Connor is attempting to break out of a mental institution when she encounters the same Terminator that was out to kill her in the first film.
The irony here — this time, the Terminator is there to protect her.
Examples
Verbal Irony
Telling a quiet group, “don’t everybody speak all at once”
Coming home to a big mess and saying, “it’s great to be back”
Telling a rude customer to “have a nice day”
Walking into an empty theater and asking, “it’s too crowded”
Stating during a thunderstorm, “beautiful weather we’re having”
An authority figure stepping into the room saying, “don’t bother to stand or anything”
A comedian telling an unresponsive audience, “you all are a great crowd”
Describing someone who says foolish things a “genius”
Delivering bad news by saying, “the good news is”
Entering a child’s messy room and saying “nice place you have here”
Situational Irony
A fire station that burns down
Winner of a spelling bee failing a spelling test
A t-shirt with a “Buy American” logo that is made in China
Marriage counselor divorcing third wife
Sending a Christmas card to someone who is Jewish
Leaving a car wash at the beginning of a downpour
A dentist needing a root canal
Going on a blind date with someone who is visually impaired
A police station being burglarized
Purchasing a roll of stamps a day before the price to send a letter increases
Examples of Irony in Plot
Irony is extremely useful as a plot device. Readers or viewers of a plot that includes irony often call this effect a “twist.” Here are some examples of irony in well-known plots:
The Wizard of Oz (L. Frank Baum): the characters already have what they are asking for from the wizard
Time Enough at Last (episode of “The Twilight Zone”): the main character, who yearns to be left alone to read, survives an apocalyptic explosion but breaks his reading glasses
Oedipus Rex (Sophocles): Oedipus is searching for a murderer who, it turns out, is himself
The Cask of Amontillado (Edgar Allan Poe): the character “Fortunato” meets with a very unfortunate fate
Hansel and Gretel (Grimm fairy tale): the witch, who intended to eat Hansel ad Gretel, is trapped by the children in her own oven
Why use irony?
Irony is born when “what seems to be” is different from “what is.” This contrast between expectation and reality is what makes irony such a rich device to use in storytelling. Irony adds a layer of complexity and richness to the conflict. Now there is depth to your story that might not have been there before. Writers use conflict to tell stories and irony to make better stories.
Difference Between Verbal Irony, Dramatic Irony, and Situational Irony
Though there are many forms of irony as a literary device, its three main forms are verbal, dramatic, and situational. Verbal irony sets forth a contrast between what is literally said and what is actually meant. In dramatic irony, the state of the action or what is happening as far as what the reader or viewer knows is the reverse of what the players or characters suppose it to be. Situational irony refers to circumstances that turn out to be the reverse of what is expected or considered appropriate.
Essentially, verbal and situational irony are each a violation of a reader’s expectations and conventional knowledge. When it comes to verbal irony, the reader may be expecting a character’s statement or response to be one thing though it turns out to be the opposite. For situational irony, the reader may anticipate an event’s outcome in one way though it turns out to happen in a completely different way.
Dramatic Irony is more of a vicarious violation of expectations or knowledge. In other words, the reader/audience is aware of pertinent information or circumstances of which the actual characters are not. Therefore, the reader is left in suspense or conflict until the situation or information is revealed to the characters involved. For example, a reader may be aware of a superhero’s true identity whereas other characters may not know that information. Dramatic irony allows a reader the advantage of knowing or understanding something that a particular character or group of characters does not.
This time it is binding a character’s skirt and lining. Their request was that the skirt weights be stiffer, that is, in the position of the bone point, and the weights be white. There is also the fact that on each skirt is 6 bones.
The first thing is to create a locator on the surface of the skirt. outside and inside the skirt are 6 bones, depending on the length, the inside skirt has 3 bone points on each bone, and the outside skirt has 5 bone points on each bone.
When the locator is created on the surface of the dress, the axes are tangential to the point, which means that it fits perfectly on the surface of the dress and can be adjusted by adsorption and then rotation. Then the y-axis faces outward, that is, perpendicular to the point.
To do a good job of naming.
All the locators on the left hit the group, then copy one. Select all the locators, click smyye_ctr_local, so that the copied locators will be mirrored and symmetrical.
After creating all the locators, select set cal, and the corresponding bones and controllers will be created, and then duplicated and mirrored.
You can change the color and shape of the controller, blue on the left and red on the right. It is recommended to change the color and shape before mirroring.
Select all the bone points, then add the skirt, click skin-edit influence-add influence, so that the weight will be added to the corresponding bone points.
Select the points in the part below the bone point for full weighting. The remaining three sections of root, spline1 and spline2 above are to be smoothed.
A skeleton spaced by a rotation of the skeleton to swipe the weights.
After removing the top root bone point, look for each segment to de-weight from the top of the first section A.
It’s basically a line centered on the bone point, with an additional selection (shift+<>) for symmetry.
Based on the naming of the bone points the weights of these bones will appear, and then the first subsection of each section is selected for brushing the weights.
Select a row of points in the middle of each segment for scale-0.5 weighting. The remaining two sides go a little bit to be rounded with scale-0.99, and each section is almost even. Do not brush the weight on the line with the bones.
Try to ensure that each section of the skirt left and right shape symmetrical.
This is one of the company projects for me to bind a car.
turn the steering wheel, the front wheels can rotate
move the car, the wheel will rotate, and the wheel rotation angle is generated according to the exact expression of the wheel circumference, etc.
turn the controller of the wheel, the wheel will rotate.
Steps
1 . Create a Locator
2 . Select the centre points on both sides of the wheel and choose to create a cluster
Place the locator P(point) on the cluster and leave maintain offset unchecked to get the position of the wheel’s centre point.
Note that you select the “standard” one that does not need to be moved first, then select the one that needs to be moved and press P.
Place controller P(point) on the locator and leave maintain offset unchecked
Finally put controller P(parent) on the wheel, check maintain offset
The tire will also rotate when the controller is turned in this way. All these steps are to make the shaft of the controller coincide with the tire.
To refresh this exercise, I made myself another simple version of the wheel. The first is to create the wheel and controller method mentioned above.
Then it is to write an expression that the displacement of the wheel is equal to several times the circumference of the wheel which is 23.14R So angle = displacement * 360 / 2 * 3.14 * R The radius of the wheel needs to be measured in the create-measure tools-distance tool
The location of the expression will appear after clicking on properties and selecting edit. Clicking on an attribute of an object brings up the name of an attribute for writing an expression. After writing the expression, add the symbol “;”.
Depending on the direction of displacement to be written on the negative sign or no negative sign
Then to do the drive, the rotation of the steering wheel drives the rotation of the wheels. The process of creating the steering wheel is similar to the above.
Click an attribute, click edit, select set driven key.
Then select the rotation attribute of the steering wheel as the driven body, and select the rotation attribute of the wheel as the driven object.
Click key when both are 0 degrees, click key when the former is 90 and the latter is 60, click key again when the former is -90 and the latter is -60, and then lock the steering wheel’s rotation property with the range of 90 to -90 degrees.
Click on the object, ctrlA to open the properties and find the limit information
Finally, the rotation curve of the control axis expression k-frame is adjusted to a straight line.
After the bindings have been completed, it is important to organise the naming of roles and unify the hierarchy to create a system of eyes. Here you can choose whether you can select objects or just see them as objects that cannot be moved, in case you move them when adjusting the animation.
Bone points with sliced skin and renamed code.
Outline view arranges files, showing less and simple.
Lock or hide attribute.
Role model collation and naming ( outline )
Canonical naming
Hide the skeleton.
Check IK and FK
Pipeline and submit
Bones, polygons, curves, etc. can be selected or unselected
In the process of mirroring, the bone point and other information similar to the right to change to the left, on a click to change the name
modify- search and replace names
Create skeleton at locator location Mirroring Controllers, Bones, Locators
Change controller shape and color to distinguish between left and right.
Irony in film is a technique that writers of all kinds use, sometimes for laughs, to create an outcome that is contrary to what was, or might have been, expected. In movies and TV, these are lines given that directly contradict what we see on screen. A lot of times these can be sarcastic comments, but they’re not always supposed to be mean or snippy.
Sometimes these are self-deprecating, or lines that one character believes, but the audience knows there’s humor behind. Sort of like the “You either die a hero…” line from The Dark Knight. We know that Harvey is describing Bruce’s alter ego. Even though Harvey thinks he’s delivering a sick burn.
What is Irony?
In general, irony involves a contradiction between appearance and reality. In literature, irony is a deliberate gap between the language used and what is being discussed. Irony results when there is a difference in point of view between a character and the narrator or reader. There are four major types of irony: verbal, dramatic, situational, and cosmic.
Irony Examples in Disney Movies:
Snow White’s Apple – Snow White and the Seven Dwarves…
Remy – Ratatouille…
Mufasa’s Death – The Lion King…
Monster’s Inc…
Hercules and the Magic Potion – Hercules…
Numerous Fish – Finding Nemo…
Aladdin’s Wish to Be Rich – Aladdin…
Mr. Incredible – The Incredibles…
Irony is fundamental in storytellingIrony is the opposite of expectation. When what we expect to happen doesn’t happen, it creates conflict. When we know the truth about a dangerous situation and we watch someone else get close to that danger, it creates suspense. When someone says one thing but means another, it creates complexity. All of these elements (conflict, suspense, complexity) are fundamental building blocks in storytelling. You don’t need to be an expert on irony to be a good storyteller. But it sure helps. Let’s define irony before we move on to the various types of irony.
History of political animation
A political animation is a cartoon that makes a point about a political issue or event. You can find them in any daily newspaper, but they won’t be in the comics section. Instead, look on the editorial pages – they’re right next to the editorial columns, and across from the opinion essays. You can also find them in newsmagazines and on political Web sites. Political cartoons can be very funny, especially if you understand the issue that they’re commenting on. Their main purpose, though, is not to amuse you but to persuade you. A good political cartoon makes you think about current events, but it also tries to sway your opinion toward the cartoonist’s point of view. The best political cartoonist can change your mind on an issue without you even realizing how he or she did it.
Cartoonists’ persuasive techniques
Cartoonists use several methods, or techniques, to get their point across. Not every cartoon includes all of these techniques, but most political cartoons include at least a few. Some of the techniques cartoonists use the most are symbolism, exaggeration, labeling, analogy, and irony. Once you learn to spot these techniques, you’ll be able to see the cartoonist’s point more clearly. You should also be aware of any political slant, or bias, that he or she might have. When you know where the cartoonist is coming from, it’s easier to make up your own mind. You might also start watching out for the persuasive techniques used in other media, such as political ads and TV news programs. There are a lot of people out there trying to change your mind – it’s a good idea to be aware of how they’re doing it.
Persuasive techniques
Symbolism — Cartoonists use simple objects, or symbols, to stand for larger concepts or ideas. After you identify the symbols in a cartoon, think about what the cartoonist intends each symbol to stand for.
Exaggeration — Sometimes cartoonists overdo, or exaggerate, the physical characteristics of people or things in order to make a point. When you study a cartoon, look for any characteristics that seem overdone or overblown. (Facial characteristics and clothing are some of the most commonly exaggerated characteristics.) Then, try to decide what point the cartoonist was trying to make through exaggeration.
Labeling — Cartoonists often label objects or people to make it clear exactly what they stand for. Watch out for the different labels that appear in a cartoon, and ask yourself why the cartoonist chose to label that particular person or object. Does the label make the meaning of the object more clear?
Analogy — An analogy is a comparison between two unlike things that share some characteristics. By comparing a complex issue or situation with a more familiar one, cartoonists can help their readers see it in a different light. After you’ve studied a cartoon for a while, try to decide what the cartoon’s main analogy is. What two situations does the cartoon compare? Once you understand the main analogy, decide if this comparison makes the cartoonist’s point more clear to you.
Irony — Irony is the difference between the ways things are and the way things should be, or the way things are expected to be. Cartoonists often use irony to express their opinion on an issue. When you look at a cartoon, see if you can find any irony in the situation the cartoon depicts. If you can, think about what point the irony might be intended to emphasize.
Today I learned a simpler binding pattern, also for layout, which is also a sliced binding.
Steps:
1 . Construct the skeleton, aligning the position, noting that the arms and legs can only have one direction of rotation and one direction of displacement.
2 . Mirror the skeleton and build ADV
3 . Adjust the shape of the controller for easier selection by the animator. Keep the arms fk and the legs ik.
4 . Slicing. There are two ways of slicing, the first is to select the plug-in – cut plane.
First select an object, click on create, a slice will appear in the centre of the world, then by rotating and shifting, click on cut at the point where you want to cut, the object will then be cut along the line.
The slicing will give a straight line to the cut area, so a section like a chest would be suitable. The slicing of the character follows the structure, firstly adding slices at each of the small nodes from the crotch to the chest, and merging the objects between each of the two bone points, that is, merging the clothes, parts and body between them. This method is used for shoulders, chest, arms and legs.
Another way is to cut according to the structure, which is more suitable for fingers and toes. First select a circle of structural lines, hold down shift and slide down the left mouse button, there is a detach components command. After cutting, select the object and execute the seperate command and the object is divided into two parts. This is suitable for objects with structural lines that are not simply cut in two planes.
The slices are not scoped according to their size, they are equivalent to an infinitely extended tangent line, independent of the size of the slice, only of the position and angle.
Finished slices
5 .Select the node to be skinned, then select the object and execute a rename and bind code. Note that before this step make sure that all objects have been merged and that all parts of the same bone point that should be controlled are merged, body or clothes or accessories. The position of all the bone points and controls can be readjusted up to this point. Use Toggle Fit/ADV to adjust the new position and rebuild ADV, waiting for it to run while you rebuild, otherwise it may get stuck.
Finally the outline view of the file is organized, the objects are placed in the middle, the bones are hidden and the eye controllers for the objects are made. Finally, lock all the properties of the object except for the visible. Upload to work pipeline.
This is a character binding for the company, but there is a certain degree of difficulty, so my superiors let me do my best to brush the weight first, and he will modify the later part, because this model has a lot of hard shell, and some models are wired more dense and not merged on the original object but separate.
In fact, drawing weights is a relatively time-consuming but single task, and this is the version I have modified after spending 4 days. Actually drawing weights is to keep the shape while trying to make the bent part not hard.
chest
spine2
neck
scapula
shoulder
Mirror weights can be selected from left to right or right to left.
elbow
wrist
ankle
Later, I will continue to make the leg part to form a IK skeleton.
This time, I did the rigging of soft thing, which is similar to the tail.
Unlike the arm, the tail binding is very soft and flexible, so the smooth command will be the main tool.
Specific steps
Give the cylinder weight section by section, that is, select the point corresponding to the bone point and use the add command to give all the weights
Select the circle of lines aligned with the bone points, and select the scale command. The value value is 0.5, so that it does not move with the standard line. It is green and has an average weight
Select the line around the standard line for smoothing, and continuously expand one cycle of smoothing. It is best to smooth several cycles together. If there is a need for fine adjustment, smooth separately
The tool of selecting a circle of lines and then changing from lines to points is more convenient for selection — Ctrl + mouse to slide to the left
The final effect should be an average soft effect.
About drawing skin weights, I began to get used to using the digital board to operate Maya, which really saves time, and the pressure of the hand-painted pen is more convenient to draw weights.
How to draw Skin Weights The premise of painting weights is that the bones have been bound, but the skin will be distorted when the controller is rotated, so it needs to be rearranged
Select the object and click to draw skin weights
Then enter the point mode, select the corresponding point with the lasso, and click the flood command (add and the value all 1). At this time, the weight will appear.
Select the smooth command to average the weight
When rotating the shoulder, the extreme value is generally selected to draw the weight, for example, enter the rotation value into a 45 degree angle
When drawing the skin weight, it is necessary to maximize and reduce the volume loss. At the same time, do not intersperse, and then ensure that the wiring of the body is uniform and keep the shape of each joint intact
Keyboard B can zoom in and out of the brush
Adjust value to – 1 and 1 to reduce and increase weight
Reduce the opacity value as much as possible, and slowly increase or reduce the weight
The “nail” button can select the joints to be drawn and display them separately to facilitate drawing
When painting weights, the brush should be on points, because for a model, the weights act on points rather than faces or lines
right click — select paint skin weights tool and press keyboard “Q” to quit the command
At the extreme point, proper joint insertion is allowed, because the arm rotation is usually less than 90 degrees, but it can be adjusted as much as possible
Notes
Mirror — select the object mode and mirror skin weights
ctrl shift R make the translate and rotate and scale to 0
