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16.03.2015
My feeling is that in the past few years, while there's been great progress technology-wise, the art of acting in animation has been abandoned. In the various internet forums one can find threads concerning software, design, textures - some even talk about movement - but it's rare to read something about acting.
In the following article I have put on paper my thoughts considering acting in animation, which apply to any form of character animation - including 3D. When I ask my students what they think good acting is, the first answer is usually "believable acting".
Believable acting holds a great power over the viewers, because the character they're watching gets a sort of meaning.
Believable acting means that the audience feels that the character's actions are the result of its own inner motives, and not the animator's inner motives; that the character feels, thinks and reacts consistently according to its personality and mood. Reading the above notions, one might think - "hey, all those things belong to the script and storyboard! The storyboard shows a character entering the frame, and looking angrily at another character. In the last step of part 1 we left off by creating several player animations, walk, crouch, hadooken, idle and jump by dragging sprite sequences into the scene view. As the object is invisible, we will want to add a Sprite Renderer to it, so that we can can actually see something in the scene view.
After adding the the Sprite Renderer component  you will need to tell the Sprite Renderer which Sprite to use (it can accept only one sprite). Alternatively if you want a visual aid, you can open the asset panel and visually select an appropriate asset. The controller will tell the animator what animations should be shown and when, so lets now create the Animation Controller. To control the different animations Unity3D has a freaking cool feature called the Animation Controller. When we created our individual animations previously, Unity most likely created animation controllers for each one (in the same folder), we will not be needing those, delete them so that we are left with just the new Animation Controller we created. Double click the newly created Animation Controller to open the animator tab, then drag all your animations into it.
The Animation Control deserves its own tutorial as there are many features and interesting aspects (I’ll write an in-depth guide later).
Mouse drag your animation states so they are layed out in a neat way so can  map transition links between them (you can pan around the animator view with the middle mouse button). At the core of the Animation Controller is the power to map transitions between animations. Then right click the walk animation and create another transition link back to the idle animation. What this essentially means is that in our game, the walk animation can be played from the idle animation and vice versa. This will be the final step (and possibly the most complicated) I will be following with a part 3 covering scripting up keyboard controls to tap into the state manager we have created. This process can be a little tedious and will need need a bit of real time checking later on to make sure its all working correctly.
First of all we need a key to match up which values go with which state, we will also later use these values when writing our player controller code (part 3). Now we need to click on each transition in the Animator window (white arrows) and map our state property to it.
Alternatively you can click the actual animation rectangles to see the list of transitions connected to that state (in the inspector tab) and clicking them.


This tells Ken, if idling, to play the walk animation IF the state parameter changes to 1 (we will change this parameter at run-time using the keyboard). Now go through all the other transitions and set the states based on the key values I listed previously.
Because Unity3d is so awesome, it gives us the ability to review these state changes in real-time without the need for keyboard input (we will cover that in Part 3).
Simply run the scene and change the parameters value in the Animator window to whichever state you want to see and watch the magic happen, you may need to change your window layout to see all the relevant panels.
So that’s it for Part 2,  In part 3 I will be covering user input via the keyboard and linking it to the State Manager.
I would love to have covered the player controls in this post but it’s just way too long and crosses too many sub topics. Hopefully this tutorial has given all the info required to get some animations changing.( I will post the Entire project at the end of Part3 if you have got lost).
I don’t ask for donations and write my tutorials simply to contribute to the game dev community in a positive way, so if this post has been helpful please Tweet it!
Some folks are beginning to realize that classic 2D animation has a charm and visual appeal that is unique.
Classic animation techniques work best with these characters and in evoking the sensibility of the famous E.H. After a hiatus of nearly 50 years, Walt Disney Studios is getting back into the business of producing short cartoons, starting with a Goofy vehicle next year.
Compared with the acting quality of characters such as Shere-Khan (The Jungle Book), Captain Hook (Peter Pan) and others, today's characters are pale, dull, and lack personality. I haven't yet seen a comment saying something like "the animation is good, but the character has no personality". The article is not meant to provide a "good acting in animation" formula - simply because such a formula does not exist. Every man has meaning to us - even if we don't always think about it: If a total stranger sitting next to you on the bus suddenly collapses, you will not be indifferent - because the very fact that he is a flash and blood human earns him that meaning. The aim here is not just to portray clear and defined feelings (happy, sad, etc.) but to look for a kind of inner feeling that we have in us all the time - maybe it can be called "consciousness". Acting is actually more or less a series of reactions - the character reacts to its environment, to other characters, to stimulus. Mood resembles personality - it, too, dictates the character's reactions - but unlike personality, its effect is temporary. You're assigned to the scene, and the questions that should arise are: does the character enter slowly? In other words: to find the character's inner feeling and to "wear" it for a while as if it was his own - so that he can get to know and understand the character.
It is a state manager which lets developers visually assign animation states and define rules which control when and how they play. The default animation will be the first one that plays when the player is shown in the game. This component allows us to add numerous custom parameters which instruct  our player when one animation should transition to another.
When Atomic is checked the transition between the 2 animations listed cannot be interrupted. Something that I might have missed is that when you create the PlayerAnimationController, it should be dragged onto the Controller parameter in the Animator component of the Player object. When you do the hadooken animation it have to get back to the iddle animation when the hadooken finishes right?


If you are still having the issue, download the finished project at the end of tutorial 3 and compare. One of the giants of Disney Animation, Mark Henn, has given an interview about the upcoming 2D animated feature on A.A. The studio has released a few shorts in recent years, but they were more artistic exercises than commercial endeavors. In better cases, an exceptionally interesting voice-talent saves the day (Robin Williams as the genie in Aladdin); but usually the script alone is responsible for providing the characters with some sort of personality.
It seems that the level of expectations is so low, that it's enough for an animator not to make technical errors. Every animator has his personal attitude, every film has needs of its own, and undoubtedly there are other ways of getting good acting. I'm talking about a moment in which you look at the animation you've just created, and suddenly you believe your own character.
This is why we feel sorry when Bambi's mother dies: we believe her and we believe Bambi, and both of them mean something to us. Try to "feel" your character when you create animation, not just move it around according to the principles of animation. A shy character (small, timid movements) that unexpectedly acts in an extroverted way with no clear reason, will suffer great damage to its credibility. Again, we are not necessarily talking about a definite personality such as "arrogant", "grumpy", etc.
For example: a guy who's hurrying to work acts and reacts in a very different way than the very same guy as he calmly walks his dog in the evening. I'm just the animator here, my job is merely to move the character around and make sure there's a lot of anticipation!". It simply gives us an on-screen representation of the player so we arn’t moving around an invisible object.
Ken can do a hadooken from only the Idle state, he cannot however hadooken from the air, while crouching, or while walking. The new cartoons, by contrast, spring from an effort by a new leadership team at Pixar Animation Studios, now a Disney unit, to put the company back at the forefront of animation, with a form that it pioneered. On the other hand, the characters in South Park are anything but believable, which is why there's no problem killing Kenny in each chapter.
Make sure you know what your character is reacting to, and that the reaction is reasonable (in other words: it's reasonable that this particular character will react in this particular way). Try to get to know your character the way you know a family member or someone you work with. And still the animator faces the tough challenge of putting the experience into his animation, keeping the principles of motion. But with me this isn’t happening, the hadooken just repeat it self(i tried to make the Loop Time uncheked but it still the same). With this idea as an axiom, we will try to separately analyze what makes acting believable, and what makes it interesting. It isn't easy, but the reward - that magical moment of believable animation - is worth the effort. What sort of anger is it - helpless (like a child's anger towards his parents), or superior (like a parent's towards his child)?



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