How to install the script Download the script preset file for Kontakt 2. CProgram FilesNative InstrumentsKontakt 2presetsscripts. Disneys Twelve Basic Principles of Animation were introduced by the Disney animators Ollie Johnston and Frank Thomas in their 1981 book The Illusion of Life Disney. Download Sony Car Radio Iso Connector. Poser Freebies. Id like to say thankyou to the community with some freebies. Ill add to this collection as I make them. Got a request Send me an email or a tweet. Kevin Sydney is a fictional character appearing in American comic books published by Marvel Comics. The Changeling has been depicted as a member of the XMen. In this tutorial we will learn how to morph one face into another using OpenCV. I have chosen to use the photos of the top three American Presidential candidates, but. Xenomorph XX121, commonly referred to as simply the Xenomorph and known colloquially as the. Database updated 12th November 2017 Links checked 12th November 2017 Code updated 10th July 2013. Shadow Fiend earns a frightful new look in Dota 2, ready as ever to let you turn the souls of the fallen against your enemies. Teach your foes the meaning of dread as. If you love bungee jumping, youre the middle school type. Pose Morph Tag Cinema 4d' title='Pose Morph Tag Cinema 4d' />Pose Morph C4d R10Disneys Twelve Basic Principles of Animation were introduced by the Disneyanimators. Ollie Johnston and Frank Thomas in their 1. The Illusion of Life Disney Animation. Johnston and Thomas in turn based their book on the work of the leading Disney animators from the 1. Footwear Design Programs. The main purpose of the principles was to produce an illusion of characters adhering to the basic laws of physics, but they also dealt with more abstract issues, such as emotional timing and character appeal. The book and some of its principles have been adopted by some traditional studios, and have been referred to by some as the Bible of animation. In 1. Pose Morph C4d TutorialThough originally intended to apply to traditional, hand drawn animation, the principles still have great relevance for todays more prevalent computer animation. The 1. 2 Principles of AnimationeditSquash and Stretchedit. Illustration of the squash and stretch principle. Example A shows a ball bouncing with a rigid, non dynamic movement. In example B the ball is squashed at impact, and stretched during fall and rebound. The movement also accelerates during the fall, and slows down towards the apex see slow in and slow out. Animated sequence of a race horse galloping. Photos taken by Eadweard Muybridge. The horses body demonstrates squash and stretch in natural musculature. The most important principle is squash and stretch,4 the purpose of which is to give a sense of weight and flexibility to drawn objects. It can be applied to simple objects, like a bouncing ball, or more complex constructions, like the musculature of a human face. Taken to an extreme point, a figure stretched or squashed to an exaggerated degree can have a comical effect. In realistic animation, however, the most important aspect of this principle is the fact that an objects volume does not change when squashed or stretched. If the length of a ball is stretched vertically, its width in three dimensions, also its depth needs to contract correspondingly horizontally. AnticipationeditAnticipation is used to prepare the audience for an action, and to make the action appear more realistic. A dancer jumping off the floor has to bend the knees first a golfer making a swing has to swing the club back first. The technique can also be used for less physical actions, such as a character looking off screen to anticipate someones arrival, or attention focusing on an object that a character is about to pick up. Anticipation A baseball player making a pitch prepares for the action by moving his arm back. StagingeditThis principle is akin to staging in theatre, as it is known in theatre and film. Its purpose is to direct the audiences attention, and make it clear what is of greatest importance in a scene 1. Johnston and Thomas defined it as the presentation of any idea so that it is completely and unmistakably clear, whether that idea is an action, a personality, an expression, or a mood. This can be done by various means, such as the placement of a character in the frame, the use of light and shadow, or the angle and position of the camera. The essence of this principle is keeping focus on what is relevant, and avoiding unnecessary detail. Straight Ahead Action and Pose to PoseeditThese are two different approaches to the actual drawing process. Straight ahead action means drawing out a scene frame by frame from beginning to end, while pose to pose involves starting with drawing a few key frames, and then filling in the intervals later. Straight ahead action creates a more fluid, dynamic illusion of movement, and is better for producing realistic action sequences. On the other hand, it is hard to maintain proportions, and to create exact, convincing poses along the way. Pose to pose works better for dramatic or emotional scenes, where composition and relation to the surroundings are of greater importance. A combination of the two techniques is often used. Computer animation removes the problems of proportion related to straight ahead action drawing however, pose to pose is still used for computer animation, because of the advantages it brings in composition. The use of computers facilitates this method, and can fill in the missing sequences in between poses automatically. It is, however, still important to oversee this process and apply the other principles discussed. Follow Through and Overlapping ActioneditFollow through and overlapping action is a general heading for two closely related techniques which help to render movement more realistically, and help to give the impression that characters follow the laws of physics, including the principle of inertia. Follow through means that loosely tied parts of a body should continue moving after the character has stopped and the parts should keep moving beyond the point where the character stopped only to be subsequently pulled back towards the center of mass andor exhibiting various degrees of oscillationdamping. Overlapping action is the tendency for parts of the body to move at different rates an arm will move on different timing of the head and so on. A third, related technique is drag, where a character starts to move and parts of him take a few frames to catch up. These parts can be inanimate objects like clothing or the antenna on a car, or parts of the body, such as arms or hair. On the human body, the torso is the core, with arms, legs, head and hair appendices that normally follow the torsos movement. Body parts with much tissue, such as large stomachs and breasts, or the loose skin on a dog, are more prone to independent movement than bonier body parts. Again, exaggerated use of the technique can produce a comical effect, while more realistic animation must time the actions exactly, to produce a convincing result. The moving hold animates between similar key frames, even characters sitting still can display some sort of movement, such as the torso moving in and out with breathing. Ease In and Ease OuteditThe movement of the human body, and most other objects, needs time to accelerate and slow down. For this reason, animation looks more realistic if it has more drawings near the beginning and end of an action, emphasizing the extreme poses, and fewer in the middle. This principle goes for characters moving between two extreme poses, such as sitting down and standing up, but also for inanimate, moving objects, like the bouncing ball in the above illustration. Most natural action tends to follow an arched trajectory, and animation should adhere to this principle by following implied arcs for greater realism. This technique can be applied to a moving limb by rotating a joint, or a thrown object moving along a parabolic trajectory. The exception is mechanical movement, which typically moves in straight lines. As an objects speed or momentum increases, arcs tend to flatten out in moving ahead and broaden in turns. In baseball, a fastball would tend to move in a straighter line than other pitches while a figure skater moving at top speed would be unable to turn as sharply as a slower skater, and would need to cover more ground to complete the turn. An object in motion that moves out of its natural arc for no apparent reason will appear erratic rather than fluid.