【正文】 人類大約有 80%的時(shí)間花在注意他人的眼睛和嘴上，而只有 20%的時(shí)間關(guān)注他人的手和身體。 現(xiàn)實(shí)中面部表情的變化是非常有限的。使用音素組成單詞，而不是試圖拼出單詞。頭向前伸可以表示生氣；低頭可以表示傷心；猛然抬頭可以表示吃驚。 在制作動(dòng)畫前，使用鏡子或 CD 之類的反射面來觀察嘴唇動(dòng)作和面部表情。這種像鞭子的行為在現(xiàn)實(shí)生活中也可以看到。 2. 第 2 輪：移動(dòng)或旋轉(zhuǎn)脊骨，脖子和頭。 可以在最后幾個(gè)階段清理或編輯動(dòng)畫。 隔離要移動(dòng)的區(qū)域意味著您可以分步尋找要移動(dòng)的身體部位，一段時(shí)間只集中精力于一個(gè)部位。如果圖形編輯器中的默認(rèn)引入曲線被設(shè)置為弧線而不是直線，有時(shí)圖形編輯器中的曲線會(huì)彎到 0 以下。公司了解，要制作擁有對(duì)話的動(dòng)畫，需要付出加倍的努力，擁有一流的技術(shù)。 如果上身不需要任何與環(huán)境的 互動(dòng)，那就考慮 IK 和 FK 兩者都用。一個(gè)骨骼可被旋轉(zhuǎn)移動(dòng)到想要的精確位置和程度。站起來，實(shí)際表演一下動(dòng)作，會(huì)給動(dòng)畫注入活力。 移動(dòng)與正在移動(dòng)的實(shí)體接觸的物體或讓其振動(dòng)是另一種顯示質(zhì)量和重力的方法?？梢允褂脦追N方法來實(shí)現(xiàn)。這樣可阻止不必要的滑動(dòng)。飄 逸或柔和、沒精打采的動(dòng)作是通過分布稀疏的關(guān)鍵幀制作的。 如果胳膊叉到了腿里但攝像機(jī)視圖中看不到，就不用費(fèi)心去更正。 第 64 幀：右眼完全睜開，左眼半睜。這會(huì)使動(dòng)作有一個(gè)回彈而不是馬上停止。 3. 任何一個(gè)動(dòng)作都不會(huì)戛然而止。在動(dòng)畫的持續(xù)時(shí)間內(nèi)只移動(dòng)身體的一部分。 雖然動(dòng)作是很自然的表演，但它即使不比之前的準(zhǔn)備步驟更復(fù)雜，也極具挑戰(zhàn)。s head. The hands will appear stiff if you do not add finger movements. Too many students are too lazy to take the time to add facial and hand movements. If you make the extra effort for these details you will find that your animations bee much more interesting. 5. What is not seen by the camera is unimportant. If an arm goes through a leg but is not seen in the camera view, then do not bother to fix it. If you want a hand to appear close to the body and the camera view makes it seem to be close even though it is not, then why move it any closer? This also applies to sets. There is no need to build an entire house if all the action takes place in the living room. Consider painting backdrops rather than modeling every part of a scene. 6. Use a minimum amount of keyframes. Too many keyframes can make the character appear to move in spastic motions. Sharp, cartoonlike movements are created with closely spaced keyframes. Floaty or soft, languid motions are the result of widely spaced keyframes. An animation will often be a mixture of both. Try to look for ways that will abbreviate the motions. You can retain the essential elements of an animation while reducing the amount of keyframes necessary to create a gesture. a part of the body. Unless your character is in the air, it should have some part of itself locked to the ground. This could be a foot, a hand, or both. Whichever portion is on the ground should be held in the same spot for a number of frames. This prevents unwanted sliding motions. When the model shifts its weight, the foot that touches down bees locked in place. This is especially true with walking motions. There are a number of ways to lock parts of a model to the ground. One method is to use inverse kinematics. The goal object, which could be a null, automatically locks a foot or hand to the bottom surface. Another method is to manually keyframe the part that needs to be motionless in the same spot. The character or its limbs will have to be moved and rotated, so that foot or hand stays in the same place. If you are using forward kinematics, then this could mean keyframing practically every frame until it is time to unlock that foot or hand. character should exhibit weight. One of the most challenging tasks in 3D animation is to have a digital actor appear to have weight and mass. You can use several techniques to achieve this. Squash and stretch, or weight and recoil, one of the 12 principles of animation discussed in Chapter 12, is an excellent way to give your character weight. By adding a little bounce to your human, he or she will appear to respond to the force of gravity. For example, if your character jumps up and lands, lift the body up a little after it makes contact. For a heavy character, you can do this several times and have it decrease over time. This will make it seem as if the force of the contact causes the body to vibrate a little. Secondary actions, another one of the 12 principles of animation discussed in Chapter 12, are an important way to show the effects of gravity and mass. Using the previous example of a jumping character, when he or she lands, the belly could bounce up and down, the arms could have some spring to them, the head could tilt forward, and so on. Moving or vibrating the object that es in contact with the traveling entity is another method for showing the force of mass and gravity. A floor could vibrate or a chair that a person sits in respond to the weight by the seat going down and recovering back up a little. Sometimes an animator will shake the camera to indicate the effects of a force. It is important to take into consideration the size and weight of a character. Heavy objects such as an elephant will spend more time on the ground, while a light character like a rabbit will spend 計(jì)算機(jī)與信息學(xué)院 本科畢業(yè)設(shè) 計(jì)（論文） 13 more time in the air. The hopping rabbit hardly shows the effects of gravity and mass. 9. Take the time to act out the action. So often, it is too easy to just sit at the puter an