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The diagram below represents the animation pipeline.
Mocap data is imported in a format compatible with a HumanIK rig.
This data is retargeted to the Metahuman Rig after being filtered with Butterworth to get rid of most of the noise.
After strugling with Human IK and the Metahumna rig though all of the initial animations I set up a system where both HIK and Advanced Skeleton can be used.
Advanced Skeleton works much better with animation layers. This does add a layer of complexity that I do not think Paul will want deal with.
Refining animations involves changing the Character/Source relationships in the HIK setting, (AS/HIK in the scenes oin google drive) baking to the appropriate control rig and refining further. rinse and repeat.
I am thinking of baking all of the mocap data to the Advanced skeleton rigs and removing the HIK entirely. This would simplify things grealty but remove some of the data redundancy.
This is represented by the second diagram below.
p.s If you find the rigs slow to respond set a key on any IK handle and perormance should improve.
SCENE 10 - Animation
A beautiful moving sketch of a three-master ship. On the stern of the ship is the name ‘BELGRAVIA’.
SCENE 11 - Animation
Emaciated prisoners are crowded into the bowels of the ship. Filth swills around their feet.
In one corner Wilson Barker (resembling John) sits alone. He looks down at a locket
in his hand. He pulls against his chains.
The ship lists abruptly, throwing a couple of prisoners against Wilson. He aggressively shoves one
away.
He stares up at the moonlight through the deck grate
SCENE 12 - Animation
Wilson Barker, with a thick beard sits in a jail cell with moonlight gleaming down through a barred
window onto his tired face. He is scratching into the prison wall with a rusty nail.
He slips and rips a rotten fingernail from his finger. He flinches, looks up and out through the
window and screams with rage at the Southern Cross.
SCENE 20 - Animation
Wilson, with a tattoo of a Rose and Thistle coat of arms on his arm, chops into a tree with an axe.
Colonial guards watch over a gang of convicts clearing land next to a river.
He stops and pulls a locket out from his pocket. He opens it and smiles at the photo of his wife
Emily and son James.
A guard drinking rum snatches the locket. Enraged, Wilson punches the guard in the nose and
snatches it back.
A guards holds Wilson’s face down in the mud, trying to prise his hand open to retrieve the locket.
SCENE 21 - Animation
Lying on the ground, Wilson’s face is swollen, bruised, and bloodied from a violent beating. One
eye is closed over. The locket is enclosed tightly in his bruised fist.
He looks over to the carving he has made on his cell wall. A boat is slowly emerging.
A beam of sunlight on the wall next to him catches his eye. Bathed in the light is the smallest of
flowers, growing out of a tiny crack.
He looks back up towards the light source.
SCENE 32 - animation
Wilson Barker lies dead on the floor of his cell. Carved into the wall is the completed image of
the Belgravia and the names Emily and James. The locket is wrapped around his hand.
SCENE 33 - animation
Emily and James stand beside an old grave marker. Emily holds the locket. She sobs but James is
stoney faced.
SCENE 34 - animation
An older James is about to have a sip of his drink at a pub. He is accidentally bumped from behind,
causing him to spill his beer. He is enraged and smashes the patron in the face with his mug.
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