So again, this is old news by now but I’ve only just got round to writing about it (I am both easily distracted and incredibly slow at composing blog posts), but LittleBigPlanet PSP won!
All the incredibly hard work SCEE Cambridge put into transferring the fabulous world of LBP onto PSP paid off! The game was nominated for both Best Handheld and Best Use of Online and whilst FIFA10 took home the gong for Online, we beat back some tough competition to take home the award for Best Handheld.
The other nominees were: Gran Turismo, LocoRoco Midnight Carnival, Mario & Luigi: Bowser’s Inside Story, Professor Layton & Pandora’s Box and Scribblenauts. You can read more about the event on the BAFTA website.
Congratulations to all the guys and gals at SCEE Cambridge – it was certainly a nice milestone to round off my time at the studio!
I guess now I can say that I’m a BAFTA award-winning games developer?
Here’s all the sketchbook planning I did for Week 1′s assignment. This week’s lecture was conducted by the lovely Jason Schleifer, who is now Head of Character Animation at Dreamworks (a website that my ancient PC does not enjoy visiting!). Regarding the lecture itself… let’s just say I was impressed.
First up, we’ve got the phonetic break-down of the dialogue:
Or rather, the dialogue written according what what mouth shapes are needed to make the sound. For example, you tend not to write things like ‘W’ (as in “what’s the big idea?”) – you actually make the same mouth shape when saying ‘w’ as you do if you said ‘ooo’. It adds an additional layer of complexity/thinking than just writing out the line using phonetics.
I’ve highlighted the most important sounds, these are the ones that I have to hit if I want the dialogue to read clearly, and also made a note of where I think there will be a pretty significant change in mouth shape over a very short amount of time (anywhere there’s a diphthong, for example).
Now it’s time for some terrible drawings!
Amazing, right? I can only apologise! It’s just a basic idea of what expressions I wanted to use over the course of the line. As long as it conveys the emotion, it doesn’t really matter how good (or in this case, bad) the drawings are. As you’ll see, I’ve actually already deviated from this slightly in my blocking phase.
Mario suggested this quick way of nailing down some basic jaw rotations – take the dialogue line and think about how open the mouth will need to be at various points and sounds.
Man, that new Animation Mentor logo thing is really annoying! Anyway, here’s my first pass of the facial animation for this shot – I’ve just tried to block in the main phoneme shapes and expressions. I know the body still requires loads of work – I haven’t touched any of that since last term, mostly because I moved house yet again this week, so I wanted to dedicated the limited time I had to just concentrating on the face. I’ve also included a ‘head cam’ shot so you can take a look at the facial animation without everything else to distract ;)
The curves for the facial animation are all clamped; I haven’t done any refining of those nor have I done anything with the tongue, cheeks or nose yet as I wanted to make sure the basic sound shapes are reading properly first. There’s also almost no eye animation at the moment (I think it works reasonably well already?) and there’s some basic blinking going on.
Thanks for reading! As always questions, comments or critiques are more than welcome!