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FundamentalsofHumanAnimation(FromPeterRatner.3DHumanModelingandAnimation[M].America:Wiley,2003:243~249)Ifyouarereadingthispart,thenyouhavemostlikelyfinishedbuildingyourhumancharacter,createdtexturesforit,setupitsskeleton,mademorphtargetsforfacialexpressions,andarrangedlightsaroundthemodel.Youhavethenarrivedatperhapsthemostexcitingpartof3-Ddesign,whichisanimatingacharacter.Uptonowtheworkhasbeensomewhatcreative,sometimestedious,andoftendifficult.Itisverygratifyingwhenallyourpreviouseffortsstarttopayoffasyouenlivenyourcharacter.Whenanimating,thereisacreativeflowthatincreasesgraduallyovertime.Youarenowatthephasewhereyoubecomeboththeactorandthedirectorofamovieorplay.Althoughanimationappearstobeamorespontaneousact,itisneverthelessjustaschallenging,ifnotmoreso,thanallthepreviousstepsthatleduptoit.Youranimationswilllookpitifulifyoudonotunderstandsomebasicfundamentalsandprinciples.Thefollowingpointersaremeanttogiveyousomedirection.Feelfreetoexperimentwiththem.Bendandbreaktheruleswheneveryouthinkitwillimprovetheanimation.SOMEANIMATIONPOINTERS1.Tryisolatingparts.Sometimesthisisreferredtoasanimatinginstages.Ratherthantryingtomoveeverypartofabodyatthesametime,concentrateonspecificareas.Onlyonesectionofthebodyismovedforthedurationoftheanimation.Thenreturningtothebeginningofthetimeline,anothersectionisanimated.Bysuccessivelyreturningtothebeginningandanimatingadifferentparteachtime,theentireprocessislessconfusing.2.Putinsomelagtime.Differentpartsofthebodyshouldnotstartandstopatthesametime.Whenanarmswings,thelowerarmshouldfollowafewframesafterthat.Thehandswingsafterthelowerarm.Itislikeachainreactionthatworksitswaythroughtheentirelengthofthelimb.3.Nothingevercomestoatotalstop.Inlife,onlymachinesappeartocometoadeadstop.Muscles,tendons,force,andgravityallaffectthemovementofahuman.Youcanprovethistoyourself.Trypunchingtheairwithafullextension.Noticethatyourfisthasabounceattheend.Ifapartcomestoastopsuchasamotionhold,keyframeitonceandthenagainafterthreetoeightormorekeyframes.Yourmo