Wednesday, July 31, 2019

Blocking Plus Workflow - Part 3 (Breakdowns)

















    So you’ve blocked in your poses for your animation - now what? You could hit spline, but you can already imagine the cringey, floaty movement that will come out of it. How about taking another pass at your blocking and getting it to blocking plus?


    If you’re not sure where to start, take a look at instructor Jean-Luc Delhougne’s blocking plus workflow in Maya (from our Body Mechanics animation course). He takes a blocking pass of a jump from basic poses to a well-timed blocking plus pass with arcs and natural movement. In Part 3, he fills in missing information in his blocking animation by adding breakdowns and controlling how his character will move from pose to pose.




If you missed Part 1 (Timing), take a look here:
http://www.animschoolblog.com/2019/05/so-youve-blocked-in-your-poses-for-your.html


Part 2 (Arc tracking) is available here:
http://www.animschoolblog.com/2019/06/blocking-plus-workflow-demo-part-2-arcs.html



    These are the kind of skills you can learn in our online animation classes and animation workshops. If you’re interested in 3D animation programs, check us out at our website link below!






Looking for the best 3D Animation schools? For more information about AnimSchool and our online animation programs, visit us at www.animschool.com

Start your journey today! Fall term begins September 29th.

Wednesday, July 10, 2019

Learning Joint Orientation



In this video from the "Intermediate Rigging" class, instructor Daria Jerjomina shows how to orient joints and why these must be done in a certain way to maximize efficiency.





Looking for the best 3D Animation schools? For more information about AnimSchool and our online animation programs, visit us at www.animschool.com

Thursday, June 27, 2019

Blocking Plus Workflow Demo - Part 2 (Arcs)






So you've blocked in your poses for your animation - now what? You could hit spline, but you can already imagine the cringey, floaty movement that will come out of it. How about taking another pass at your blocking and getting it to blocking plus?


If you're not sure where to start, take a look at instructor Jean-Luc Delhougne’s blocking plus workflow in Maya (from our Body Mechanics animation course). He takes a blocking pass of a jump from basic poses to a well-timed blocking plus pass with arcs and natural movement. In Part 2, he uses arc and angle tracking in different parts of the body to improve parts of his blocking that feel a little off at first glance.





If you missed Part 1 (Timing), take a look here: 
http://www.animschoolblog.com/2019/05/so-youve-blocked-in-your-poses-for-your.html



These are the kind of skills you can learn in our online animation classes and animation workshops. If you’re interested in 3D animation programs, check us out at our website link below!




Looking for the best 3D Animation schools? For more information about AnimSchool and our online animation programs, visit us at www.animschool.com

Monday, May 27, 2019

Reacting is acting



The thought process reveals the feeling. Sometimes it can be shown with a single, held drawing or simple move. Other times there should be gestures, body moves, or full action. Determine which is best in each case.”

(The Illusion of Life, p. 507)


When animation acting shots, many animators struggle when deciding how to pose a character. One of the mistakes newer animators do is to have the character always moving. But sometimes the best acting choice is to let the character react;  to either the situation in the environment, or another character. 

When working on a dialogue shot, animators should think of your character’s reactions, and not just actions. 

“There is an inherent danger in animating scenes of inner struggle, because most attempts to achieve clear, concise communication cause the character to overact badly and lose credibility. “
(The Illusion of Life, p.482)

For a better understanding of how to built up a good reaction, check out this lesson from our Animating Appeal and Entertainment instructor, Mitch Yager.



Wednesday, May 1, 2019

Blocking Plus Workflow Demo - Part 1 (Timing)

















    So you've blocked in your poses for your animation - now what? You could hit spline, but you can already imagine the cringey, floaty movement that will come out of it. How about taking another pass at your blocking and getting it to blocking plus?


    If you're not sure where to start, take a look at instructor Jean-Luc Delhougne’s blocking plus workflow in Maya (from our Body Mechanics animation course). He takes a blocking pass of a jump from basic poses to a well-timed blocking plus pass with arcs and natural movement. Here’s part 1, where he starts out by adjusting the timing of his poses:  








Looking for the best 3D Animation schools? For more information about AnimSchool and our online animation programs, visit us at www.animschool.com

Thursday, March 21, 2019

Quick and Easy Camera Shake


Camera shakes are a nice way to add weight to certain actions within a shot, such as a heavy character hitting the ground or a large object passing by. There are several ways to achieve a camera shake in Maya, but here is Body Mechanics instructor Benn Garnish’s take on it. He shows us his super quick and easy method using an Animation Layer and the Graph Editor to produce a realistic camera shake in just a few clicks of the mouse:  




    Not sure how to use Animation Layers or just need a refresher? Check out our Introduction to Animation Layers post.





Looking for the best 3D Animation schools? For more information about AnimSchool and our online animation programs, visit us at www.animschool.com

Monday, February 25, 2019

Using Blendshapes - Rigging 101
















One of the most essential tools in a rigger’s toolkit is blendshapes. Blendshapes are deformers that allow an object to change its shape based on the shape of a duplicate. Simply put, it’s a way to get your object to change its form at will to look like something else. Some basic examples of where you could use a blendshape are blink attributes for eyelids (the original mesh would have the eyes open, and the duplicated mesh would have the eyes closed), or even the squash for a ball (the original would be the ball object, and the duplicated mesh would be the same ball in a squashed shape).


The workflow for creating blendshapes is quite simple: 
  1. Duplicate the original object you want to alter.
  2. Edit the duplicated object to get the shape/look that you want.
  3. Connect it back to the original object
    • Select the changed object
    • Shift + select the original object
    • Go to the Rigging menu dropdown > Deform > Blendshape > Option box > Create Blendshape

By connecting the duplicate back to the original, you create a blendshape node on the original object that takes values as input (default 0) which let you determine how much you want your object to look like your blendshape. It’s a sliding scale from 0 to 1, with 1 showing the full influence of the blendshape on the object. To see and edit your blendshape(s), go to Windows > Animation Editors > Shape Editor. From here you can make quick edits and reapply them, and key them in your animations as well.


Blendshapes can be used for a variety of cases in which you need specific control over certain parts of your object, such as facial rigging, corrective deformations, and muscle/skin controls. For more information on the characteristics of blendshapes, how they work, and how to apply them, check out this video clip on the basics of blendshapes by our Intro to Rigging instructor, Eriks Vitolins.








Looking for the best 3D Animation schools? For more information about AnimSchool and our online animation programs, visit us at www.animschool.com