When animating the creatures, the system piggybacks off this idea. This applies to other things like how the tentacle bends or how the torso of the dragon twists. Then I use a series of tools to dictate how much each joint moves during the flaps, whether they stay tight or loose. For example, with the dragon’s wing, there is only one manipulation point, and that is at the point where the wing connects to the torso. You don’t want so many that it overcomplicates things, but still enough to get your idea across.Īfter that, I built a series of tools to dictate how the points manipulate the portions of the creature they control. The key is to find a balance in the number of points. The first step is to design your creature then give yourself the points to manipulate, something like a limb. My process for setting up these animations is set up around the system I created in the first week of my project. That being said, you can recreate these in any engine. Unity is just the engine I always use, but I do like how quick it is to get an idea off the ground and start fiddling. So that’s my advice, just keep adding legs. The first one had 2 legs, then 3, then 4 and I had to adjust the system to account for all these different types of movement. This allows me to stretch the boundaries of the procedural animation system and add new functionality. I also try to have a wide range of creature styles. All the creatures use the exact same primitive shapes, and this forces me to create interesting shape and movement since I can’t That’s another reason why I don’t focus as much on the visuals for the creatures. But I always try to be inventive with how I use movement and shape with my creatures. I think I’m one or two more videos away from Disney lawyers knocking at my door. I definitely take inspiration from film and animation to come up with creature concepts. After that, I pushed myself to improve the system and design unique characters. I spent the first week of the challenge, creating the animation system and the biped mech. So instead I decided to create a procedural animation system to help bring the creatures I design to live. I’m very impatient when it comes to animating characters in the traditional way, and the results are usually not that great. My biggest problem is that I am an absolutely TERRIBLE animator. The project I chose was to design a boss battle every week. The premise was to set yourself a goal with milestones you hit every week. Then I just cancel the script, and it stops moving the legs, essentially turning him back into a ragdoll.It started out as part of this 30-day project held by Day9. If a ray (directed downward from the hips) does not hit anything, we can infer that he has fallen and is on the ground, or has been lifted into the air. THE POSSIBILITIES ARE ENDLESSĮDIT: I also did a raycast from the hips, to check if he has fallen. you shove a walking character, and he stumbles back up and continues walking. I intend on adding scripts to control the arms and merge it with keyframe animation, so say. This seems to work pretty well, but doesn't really apply to any application other than a drunk or zombie character. Because there are equal forces on both the top and bottom, they cancel each other out when the spine is straight, but pull slightly when it is not. if you have a string laying limp on the ground, then pull on both ends, it will stretch to be taut. This basically works like pulling both ends of a string. Then, I put both an upwards, and downwards force on the top and the bottom of the spine in order to straighten it, but still leave it flexible. So essentially, code wise, all you have to do, is define a fixed foot, and a free foot, then interpolate the free foot to two times the vector between the COG and the fixed foot, then alternate which foot is free and which is fixed. It's really simple, because the desired foot position is at the opposite of the first. Where the () are the feet, and * is the center of gravityįrom this, we want to get to a stable position, something like this. I did this by looking at it from a vector standpoint. I created a ragdoll using character joints, then use lerps to move the feet into correct position so that they would technically be stable.
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