【正文】 本科畢業(yè)設 計（論文） 15 2. Second pass: Move or rotate the spinal bones, neck, and head. 3. Third pass: Move or rotate the arms and hands. 4. Fourth pass: Animate the fingers. 5. Fifth pass: Animate the eyes blinking. 6. Sixth pass: Animate eye movements. 7. Seventh pass: Animate the mouth, eyebrows, nose, jaw, and cheeks (you can break these up into separate passes). Most movement starts at the hips. Athletes often begin with a windup action in the pelvic area that works its way outward to the extreme parts of the body. This whiplike activity can even be observed in just about any mundane act. It is interesting to note that people who study martial arts learn that most of their power es from the lower torso. Students are often too lazy to make finger movements a part of their animation. There are several methods that can make the process less time consuming. One way is to create morph targets of the finger positions and then use shape shifting to move the various digits. Each finger is positioned in an open and fistlike closed posture. For example, the sections of the index finger are closed, while the others are left in an open, relaxed position for one morph target. The next morph target would have only the ring finger closed while keeping the others open. During the animation, sliders are then used to open and close the fingers and/or thumbs. Another method to create finger movements is to animate them in both closed and open positions and then save the motion files for each digit. Anytime you animate the same character, you can load the motions into your new scene file. It then bees a simple process of selecting either the closed or the open position for each finger and thumb and keyframing them wherever you desire. DIALOGUE Knowing how to make your humans talk is a crucial part of character animation. Once you add dialogue, you should notice a livelier performance and a greater personality in your character. At first, dialogue may seem too great a challenge to attempt. Actually, if you follow some simple rules, you will find that adding speech to your animations is not as daunting a task as one would think. The following suggestions should help. DIALOGUE ESSENTIALS 1. Look in the mirror. Before animating, use a mirror or a reflective surface such as that on a CD to follow lip movements and facial expressions. 2. The eyes, mouth, and brows change the most. The parts of the face that contain the greatest amount of muscle groups are the eyes, brows, and mouth. Therefore, these are the areas that change the most when creating expressions. 3. The head constantly moves during dialogue. Animate random head movements, no matter how small, during the entire animation. Involuntary motions of the head make a point without having to state it outright. For example, nodding and shaking the head municate, respectively, positive and negative responses. Leaning the head forward can show anger, while a downward movement municates sadness. Move the head to accentuate and emphasize certain statements. Listen to the 計算機與信息學院 本科畢業(yè)設 計（論文） 16 words that are stressed and add extra head movements to them. 4. Communicate emotions. There are six recognizable universal emotions: sadness, anger, joy, fear, disgust, and surprise. Other, more ambiguous states are pain, sleepiness, passion, physical exertion, shyness, embarrassment, worry, disdain, sternness, skepticism, laughter, yelling, vanity, impatience, and awe. 5. Use phonemes and visemes. Phonemes are the individual sounds we hear in speech. Rather than trying to spell out a word, recreate the word as a phoneme. For example, the word puter is phoically spelled cumpewtrr. Visemes are the mouth shapes and tongue positions employed during speech. It helps tremendously to draw a chart that recreates speech as phonemes bined with mouth shapes (visemes) above or below a timeline with the frames marked and the sound and volume indicated. 6. Never animate behind the dialogue. It is better to make the mouth shapes one or two frames before the dialogue. 7. Don39。到目前為止有些工作極富創(chuàng)意，有些枯燥乏味，但都困難重重。只要你認為能改進動畫，可隨意遵守或打破這些規(guī)則。 身體的不同部位不應該同時開始和停止動作。用力向前推拳直到完全舒展開手臂。典型的眨眼應該如下所述： 第 60 幀：兩眼都睜開。如果你不添加手指動作，手會顯得過于僵 硬?？紤]繪制背景而不是做出場景每一部分的模型。 7. 通過鎖定位置錨定身體的某個部位。除了直接把一只腳或一只手鎖定在地面外，另一種方 法是把需要保持在相同位置的部位手動變成關鍵幀。對于一個比較重的角色，可以讓這個動作重復幾次，一次比一次弱。較重的物體如大象大部分時間都在地面上，而較輕的角色如兔子大部分時間在空中。錄制自己的表演也有很大的用處。 IK 沒有目標的移動骨骼。 11. 添加對話。 圖形編輯器是所有三維動畫師都應該掌握的有用工具。本章后面分步講解的時候將詳細討論圖形編輯器。 不要忘記手腕。 制作動畫的順序取決于個人喜好。 6. 第 6 輪：制作眼睛動作。起初，對話可能是一項極大的挑戰(zhàn)，您連嘗試的勇氣都沒有。 3. 對話期間頭部要不停地擺動。 可以識別的情感一般有 6 種：傷心、生氣、開心、恐懼、厭惡和驚訝。這樣的圖表將非常有用。不同的情緒狀態(tài)影響眨眼的