【正文】 ad were animated. The third time, the arms were moved. Finally, in the fourth and final stage, facial expressions and finger movements were added. Animating in successive passes should simplify the process. Some final stages would be used to clean up or edit the animation. Sometimes the animation switches from one part of the body leading to another. For example, somewhere during the middle of an animation the upper body begins to lead the lower one. In a case like this, you would then switch from animating the lower body first to moving the upper part before the lower one. The order in which one animates can be a matter of personal choice. Some people may prefer to do facial animation first or perhaps they like to move the arms before anything else. Following is a summary of how someone might animate a human. 1. First pass: Move the body and legs. 計(jì)算機(jī)與信息學(xué)院 本科畢業(yè)設(shè) 計(jì)（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(jì)算機(jī)與信息學(xué)院 本科畢業(yè)設(shè) 計(jì)（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