Creating a MoGraph Sports Intro Animatic: Pose Morph for Shot Three

Photo of Raymond Olsen

Instructor Raymond Olsen

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  • Duration: 12:40
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  • Made with Release: 18
  • Works with Release: 18 and greater

In this video we’ll animate the logo cap assembly using a pose morph tag, add a camera move and sweeten the look with shadows and SSAO.

In this video we’ll start by grouping all the moving parts into their own hierarchy. Next we’ll apply a pose morph tag and configure a new pose, then use the pose slider to blend between the poses adding a little wind-up using overshoot on the curve like we did on the driveshaft. After that we’ll repeat our simple morph process to add a quick camera move, add shadows and SSAO, then render out a preview for editing.



In this video, we'll move all the moving parts in shot three into their own group. Then we'll play a pose morph tag to the group which will allow us to add the simple animation we need with very little effort. Go ahead and open up our shot three 3DV1. So, here is our logo capsule and all the parts. We already have a cap assembly group that we made for the cap, so now we want to put that along with all the other moving parts into a new hierarchy. So let's just create a null, and we'll call it capsule animation. So, let's put the cap assembly, the left and right crescents and the type all up in here. Now we want a character pose morph tag, so select the tag, and we want position hierarchy which will look at all the objects in our hierarchy and rotation. And that should give us all of the data that we need to accomplish this. If you come over to the tag, you can see we've got a base pose, and we've got a pose zero. So, right now we're in the edit mode, so let's check out our base pose. And for this, I want to put the capsule in place, so this is where we start. And now for pose zero, I want this guy out of here. So, at the beginning of the shot, the caps will be down here, and it will move up. And also, let's spin it a little, so let's give it, like, about a 90 degree spin. And the type, that's probably about where we wanted to end up at the end of the shot, so we'll leave that there, but let's go back to the base pose. Go into wire frame with NG and then just grab that type and pull it down. So, we want it to start out down here. I'm going to go back to hidden line with NF. Let's go back to pose zero, so you can see when we click between them, it's recorded all that data. So, here we are closed and open, and also, when we get to the open stage, I want the crecents to spread a little. So let's keep an eye on the coordinates, move this guy over on X, about 70 negative. So I'll push this guy 70 positive. That's too far. You can see we've exposed the inner wall, so let's just go there and there just so the inner wall is not exposed. So now, if we grab this pose morph tag jump over to animate and just drag the slider down, that's our animation. Looks like we screwed something up because the type isn't coming up, so just jump back over into edit. NG for wire frame. So, that a base pose, okay, that's what it is. So, it's in the same place in both poses, so let's go back down to this pose and just move this guy back up. So, now you can see it's moving, back over to animate, back to hidden line, and let's play with our slider. So, there we go. How easy is that? Now let's set up our camera move. Well, actually, let's go ahead and animate that curve. Start at 0 and pose 0 at 0%. We'll record that, and then just crank it up to 100 at the end and give yourself another key frame. Once again, we'll go into curve editor tab to get to curves. This time I'm just going to hit "Linear," and that'll give us a nice, smooth motion with no easing. So, now we're just going to set up another camera move, so rewind, and we'll start around here. Zoom in a little. I'm going to make a camera. Call it "Camera one." I'm going to look through it. I think I want to drop this down a little bit just to make it a little more dynamic, maybe even closer. Now let's make camera two. I just control dragged. Let's look through him. This time I'm just going to use this set-up here just to pull straight back, and in the coordinates I'm just going to give camera two a little bit of a twist. And let's just see how that looks. So, grab camera one, camera two, camera morph. Select that, the camera morph tag, and we can play with our blend, but we have to look through the camera first. So, looks pretty cool, so let's record the blended frame 0 and add 100. And I twirled this blend curve down, and this looks linear, but because our key frames are defaulting to ease, we're hanging out here way too long. So just jump into the curve editor, grab your pose morph, or, I'm sorry, your camera morph, and you can see this is where the easing is happening. So even though the blend curve was linear, this one is still easing. So, let's grab that, hit that, and now we're pulling back a little faster but still not as fast as I'd like. So, to fix that, all we got to do is I'm going to jump into a perspective view, second perspective view. I'm going to show my cameras. To speed this up, all we got to do is take camera two and just pull it back further. Play that, and then we're coming out pretty fast. I'm going to go and turn my cameras back off. That might be a little too far, but that's the beauty of this workflow. Let's go ahead and jump in to gouraud view with NA and develop this look a little bit more in shaded view. So, in options, let's hit SSAO. That looks better already. This time, though, I'm going to go a step further. Let's add a light, and in this perspective view, I'm going to pull back and over, up as well. So it's in generally the same area as the camera. And then just turn on some shadows. And turn the shadows on here. Let's drop the density down so it's not blacking it out, and let's play that, even better. We don't have a lot of geometry down here, so it kind of looks like a blank space in the inner walls. So let's try and B for gouraud with wire frame, and that's just going to give us a little bit of definition. What we're lacking geometry. I also don't like these caps locks being so bright, so I'm just going to make a new material by double clicking in the materials. I'll go ahead and call it caps locks. Go down into our cap assembly group. Drop it on the locks. I'd actually like it a little bit darker, something like that, and then we'll see how that looks on the wall as well. Now that we are seeing it in a more finished fashion, I kind of want to add a little bit more detail for the crescents. Let's just add some rails for this thing to slide on, and to do that, we're just going to use a couple more primitives. So let's use a cube. Slide it into place, and all my controls are gone because I'm in vertex mood for some reason. So if I click object mode or model, then you get these controls back. So, just scale this guy down to fit him in here, something like that, and let's also make a cylinder, and I'm going to shift create the cylinder which creates it as a child. And then to line it up, I can just zero out these transform values with X and then just scale it down with the R key, something like that. Pull it out, and let's scrub to the end to make sure these are all long enough, okay. That mesh is a little thick, so we're going to take the mesh, drop that to, let's try, 18. That's cool, and let's give it a couple of height segments too, so, five feels okay. I'm going to move it over, control drag to give it a second one. Then it's going to group this cube, and we'll call this rail detail. Then we'll make an instance of that, make it a render instance. Just slide it up in Z. Let's un-group these cylinders, so now everything is just under the rail detail. And we'll add the dark to the cube just to give it some contrast. And rename these "Rail 01," "Rail 02" and "Rail Base," and last but not least I want to give this just a little bit of wind up. Kind of like we did to the drive shaft. Because in the final, there's going to be an arm that kind of comes down here and punches onto this thing. Let's go into our curve editor, Shift F3, Tab to get to the curves. What's cool about these pose morphs is you can actually overshoot them as well, so that takes all of your data, and we'll reverse it. Let's scale that type up just a little bit more, and then I think I'll be happy. Our scene looks pretty clean. I don't think we need any clean up. So I'll just go and save the file to lock in the V1 name. Make sure nothing is selected. Otherwise, you'll get the axis moving around and render. Let's go ahead and just check that out, make sure it came out okay.
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