July 2025 – AnimSchool Blog

Do you ever wonder how an animator can capture such realistic and convincing movements? For most animators, it all starts with good reference. Being able to act authentically and realistically can elevate a scene from unexceptional to awe-inspiring. AnimSchool instructor and professional animator Scott McWhinne breaks down some reference from his friend and mentor, Jeff Gabor, and gives tips on how to capture convincing reference quickly, effectively, and economically.

One strength of a good animator is to extract the essence of the reference footage—keeping what’s useful and discarding what isn’t. Rather than simply copying the reference, push it further to serve the animation, emphasizing clarity, caricature, and believability. A key part of his process is camera alignment. In the example below, he ensures that the framing of his reference matches the intended shot as closely as possible. If it’s a close-up in the animation, he shoots a close-up. This minimizes the gap between reference and final output, making it easier to translate movements and poses accurately.

Jeff also keeps his shooting environment clean and clear. He avoids clutter, wears clothing that highlights body movement, and ensures the lighting is strong enough to clearly see facial expressions and physical shifts. Props are another essential part of his method—if the scene involves a hat, he uses a real hat. If the character is lying down, he lies down too—authentic interaction matters.

What sets apart a good animator during the reference process is taking a deliberate and analytical approach. In Jeff’s case, rather than recording dozens of takes in a row, he records one take at a time, reviews it, critiques it, and then makes purposeful adjustments before shooting again. This iterative method allows for real progress with each attempt. Additionally, he experiments. He’ll do takes where he restricts head movement, or emphasizes a different physical choice, pushing himself to explore a broader acting range and ensuring each take is different. This helps break creative habits and leads to unexpected, sometimes better, performances.

In the end, the goal isn’t just to imitate reality, but to enhance it through animation principles—improving silhouettes, exaggerating weight, and making sure every choice supports the emotion and storytelling of the shot. Don’t just copy the action—focus, analyze, and create something new.

Watch the full clip from an AnimSchool lecture here:

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It’s time to walk the dog… or, at least, the quadruped. Learning how to animate a human on two legs walking is no small feat, much less a creature on four legs! How can we break down a quadruped walk into something more approachable? Luckly, quadrupeds aren’t that different from bipedal or human characters. Simply put, a dog walk cycle is just two bipedal characters walking slightly offset from each other. Animschool instructor and professional animator, Daniel Paul, is here to “walk” us through the doggie steps.

When animating a quadruped like a dog, understanding the underlying structure of its walk cycle is essential. Much like bipedal animation, dog locomotion relies on key poses—contact, passing, down, and up positions—which form the foundation of believable motion. While the specifics differ from human movement, the core principles remain consistent and extremely useful for animators.

In a typical dog walk, think of the front and back limbs as two offset bipedal systems. When the front right leg hits a contact pose, for example, the back right leg is likely passing through a mid-stride position. This offset timing is what gives dogs their distinctive gait, and getting this relationship right helps maintain balance and rhythm in your animation.

The pelvis and spine play crucial roles in this movement. As the legs spread during a contact phase, the pelvis drops downward. It then lifts again during the up position, mimicking a wave-like vertical motion throughout the stride. This “up and down” movement is not symmetrical front to back. The rear hips typically show more vertical bounce due to the strong, springy musculature in the hind legs, while the front chest—weighted with organs—moves with more restraint.

From a top-down perspective, the spine also rotates subtly. The chest twists in the direction of the lead paw, while the hips counter-rotate, helping to maintain balance during stride transitions. While this sounds complex, much of it happens naturally if your leg and pelvis animation is accurate.

Another key point: dog walks are not one-size-fits-all. Breed, size, and personality all influence gait—a large German shepherd is not going to have the same walk as a chihuahua. You must adapt your movement style to suit the anatomy and character of the dog you’re animating. Think of it not as copying a generic walk, but as crafting that dog’s version of it.

When studying reference, a good rule of thumb is to study the motion as it happens in real life. For a dog walk, that may involve finding the nearest pet dog and observing its movement. However, as real footage may become cluttered and hard to track, Paul also recommends studying the Balto pencil test, which breaks down wolf locomotion into clear, color-coded poses. One of the most important insights from the Balto pencil test is how the wolf transitions from contact to passing in just two frames, much faster than a human walking, making timing critical.

A good dog walk animation is about balance, rhythm, and sensitivity to anatomy. Use the foundational poses to block in your motion, study strong references like the Balto test, and then refine based on breed and performance. It’s a fine balance between technical accuracy and expressive storytelling. When done correctly, it brings your character to life, adds charm, and, most importantly, creates believability.

Watch the full clip from an AnimSchool lecture here:

Month: July 2025

Reference Analysis: Capture Convincing Footage

Animating a Quadruped