Category: Uncategorized Page 17 of 23

Anthea Kerou – Bouncing ball Basics

In AnimSchool’s Introduction to 3D Animation, our teacher Anthea Kerou shows how to properly animate a Boucing ball.

As you may know, Bouncing ball is the first and most important animation that every aspiring animator should do, many times over. Mastering this exercise means that you began understanding Timing, Spacing as well as Arcs.

           

This is clip from AnimSchool’s Introduction to 3D Animation. To view more great class clips, visit and join AnimSchool: http://www.animschool.com

Drawing Class with Sylwia Bomba

In AnimSchool’s Drawing Class, our amazing Instructor – Sylwia Bomba shares some of her tips on how to approach drawing.
Similar to animation, she first blocks out the shapes, and then adds the details.

As many of you already know, drawing is so helpful in animation career. Being able to sketch out the poses or ideas quickly is a big advantage in this industry. Also, while drawing – you train your eyes to see simpler shapes, analyse everything, and what could be more useful to an animator than that?

         

Drawing classes (and many more) are available to all Animschool students for free. In order to enjoy this benefit come and join us at www.Animschool.com

AnimSchool’s Animation Student Showcase 2014

AnimSchool has released our new Animation Student Showcase for 2014!
We would like to salute all our students, recognizing the huge amount of work each one of these assignments represents and the level of talent they are achieving.

The quality of our students, our programs, instruction, and our appealing characters is seen in this impressive showcase.

If you want to recognize their efforts, comment on the youtube section.

To learn 3D animation skills with us, apply at www.animschool.com. Talk to an admissions advisor using our Live Chat, phone, or email.
(The work of AnimSchool’s amazing rigging and modeling students (Character Program) is featured separately in another Showcase.)

AnimSchool Interview: John Paul Rhinemiller

Animschool: Hello John, please tell us a bit about yourself: 

Currently I am a Lead Cinematics Animator at Vicarious Visions, Activision Blizzard. I recently finished work on Skylanders:Swapforce, where I helped develop a cinematic pipeline and worked with the directors and writers to create story driven cinematics from concept to final render. Before VV I was a Lead Animator at Rhythm & Hues and had the chance of working with both creature and character animation. Having both film and game experience gives me a great understanding on a wide range of animation styles. I have worked on titles such as Hop, Yogi Bear, Alvin and The Chipmunks, and Red Dead Redemption.

Did you go straight for an animation job or was your career as an animator more opportunity-based?

I went straight for an animation job. When I was at SCAD studying for my Masters, I concentrated everything I had into animation and tailored my reel specifically toward that.
                                          

What game influenced you the most?

As a kid I think one of the biggest influences on me was Sonic. I was lucky enough to get a Sega Genesis one year for Xmas and it came with Sonic. That was one of the first times that I remember looking at a game and wondering how they made it. It was such an exciting game…still is fun to play.



                     
                                   
                                      Skylanders Swap Force – John Paul Rhinemiller Demoreel


Tell us about your normal work day? What are your responsibilities? What is the best and what is the worst part?
So that question I think has to be answers a few ways, it depends on when in development we are.

During Pre-production and early stages of development its all about Story. So I work with the writer and a small team to break the script down, develop storyboards and put everything together on animatics. This part is always super fun and exciting. It keeps me fresh and always challenges me to think outside the box and really push our ideas


Then during production I have two roles:

1. Manage the cinematics team.
– Making sure they are getting what they need for assets and tech to be able to do their jobs efficiently.
 – I provide a ton of feedback and review sessions to constantly try to push the quality higher and higher.
– I work with production to make sure that we are coming in within budget and that has to do a lot with scheduling.
2. I also keep animating. Probably not as much as I would like sometimes but I always take on shots in most sequences to stay fresh and push myself.


Please share your workflow with us.

– It really depends on the shot but most of the time I start by shooting lots of reference…if I can’t find that I look for it..these days mostly on Pinterest.
– Then I may sketch out a few of the areas, maybe transitions that I still need to wrap my brain around especially body mechanics heavy shots.
– Once I get into 3D I just start blocking out my Key Poses. No timing yet just on like 2s. I can flip back and forth on those keys to see how the flow is working.

– Once I’ve worked all of those out I start to time it out and refine any poses that need it. Then send out for feedback.
– I go back and usually do a blocking plus pass to add in breakdowns, overshoots and even ease ins and outs sometimes depending on the shot. Send out for feedback.
– Then a rough pass – get feedback
– Final Polish pass – in games if we have time for this pass…unfortunately the amount of time and work you have along with a smaller team in games, doesn’t allow for the polish pass that I used to do in film.


You have been in the industry for a long time. How do you stay fresh? Do you have any fears from burning out?

I constantly am looking at other animation and framing through stuff. I think that inspires me alot, because almost every shot is going to be different whether its in film or cinematics. Every new shot seems like its own challenge and I think that will always keep me guessing and learning. Seeing other animators shots at work always motivates me to keep pushing my own shots. Getting feedback a lot always reminds me how I can learn new things and see animation differently.

I think it’s natural to feel burnt out occasionally. Animation is like a roller coaster and there are highs and lows I feel. You can get bursts of energy and motivation that last long stretches in production and then come down the hill and struggle a bit. The key is to figure out ways to help push you through the lows. Getting inspired and getting feedback have always helped me push through some of those times. Trying to strike a good balance between work and life I think can also help you not burn out as much. Its super important to turn off the animator brain occasionally even though I feel that’s easier said than done.

Since you are a Game Animator, we just have to ask – what’s your favorite game character? And while we’re at it, what’s the best character you had a chance to animate?

Well animating John Marston in Red Dead Redemption was a ton of fun, but lately Flynn in the Skylands Franchise has been a blast. He is that quirky cartoony character that always has a ton of fun dialogue. 
– Do you enjoy being a teacher? At AnimSchool, you have your own Game Animation class – how’s that going for 
   you?
I have had a great time so far teaching. I feel lucky to have any part in future a animators career path however large or small that may be.
It has been a ton of fun working with Jarrod on the course and I especially have been having a blast teaching some creature stuff with the new Hellhound character. I think being a teacher has inspired me as well in ways that I wasn’t seeing before I became a teacher at AnimSchool.

                                           John and AnimSchool students at the end of the term

AnimSchool Gaming Interview: Carbine Studios Cinematics Lead Seth Kendall

AnimSchool Gaming Instructor Jarrod Showers interviews Carbine Studios Cinematics Lead Seth Kendall.

Seth tell us about his career journey at Carbine, working on the MMO game Wildstar!
http://wildstar-online.com/en/

Animschool critique time – Manuel Bover

In AnimSchool’s Body Acting class, our instructor – Manuel Bover critiques early blocking of student’s work, pointing
out things to improve in later stages. In Animschool, you get these critiques once per week, and if you need additional directions – you can always head over to General and Animation critiques, offered to our students for free.


          


Students learn to take critique in a positive way, in order to prepare them for real life scenarios where their shots will get changed, edited or even discarded. Students are also encouraged to critique each other, which helps them advance in their animation skills. 

Lecture on smear frames – Jeremy Lazare

In AnimSchool’s Body Acting, Blue Sky Animator Jeremy Lazare talks about smear frames, their advantages and disadvantages.

         

Smear frames are commonly used in animation industry. Our Instructor will point out some of the successful examples. This is just a short take from 2 hours lecture that can be available if you join Animschool.

Come join all the students learning online at AnimSchool: http://www.animschool.com

Buster Keaton – Performance analysis

In AnimSchool’s Body Acting, Disney Animator Tony Bonilla analyzes work of Buster Keaton, the legend of the Silent movies era.

This is a perfect example how overacting can lead to some great and funny scenes (which are perfect for animation)

According to Wiki: “Overacting is the exaggeration of gestures and speech when acting. It is often required for the role and is commonly used in comical situations or to stress the evil characteristics of a villain.”

Come join all the students learning online at AnimSchool: http://www.animschool.com

AnimSchool’s Class – Pose Analysis Tony Bonilla

In AnimSchool’s Class – Animating Characters, Character Animator at Walt Disney Animation Studios Tony Bonilla analyzes some of the best animated works and explains reasons behind every decision. He even shows some of his own professional work.

         

This is just a small sample of the quality of education our students get.
Come join all the students learning online at AnimSchool

AnimSchool’s New Character, Mikey!


For Immediate Release

Orem, UT  United States – June 25, 2014 — AnimSchool
announces today their new character, Mikey. Mikey is a film-quality boy rig. Mikey is exclusively for AnimSchool students.

Like all AnimSchool character rigs, Mikey is designed for maximum
flexibility and appealing poses. Animating with the most refined, advanced
characters allows AnimSchool student
work to stand out among competitors. AnimSchool Character students can
use Mikey and the other advanced character rigs to learn the arts of high-end modeling and rigging.

Mikey has clothing options: two shirts, pants, shorts, shoes, poseable toes, and UV’s for textured rendering.

Student Work: Carlos Rivas and Orkun Sanal

AnimSchool students are using Mikey in their animation assignments, enjoying his natural appeal. They appreciate having access to best rigs and tools available, making their animation work more enjoyable.

Here are some of their comments about Mikey:
“This is quality!” 
“Awesome!!!”
 “He is so cute.“ 
“Oh man!!!! I can not wait to play with this character.”

AnimSchool characters are used by more
than 20,000 users worldwide, and have been used to win numerous
animation contests and for commercial needs. AnimSchool is known as the
most trusted name for appealing 3D characters.

With over 200 students, AnimSchool
was founded in 2010 to bring character-focused 3D animation instruction
to students all around the world, through live online sessions with the best film professionals.

Contact:
Isaac Nordlund
AnimSchool
admissions@animschool.com
560 South State Street, Suite F3
Orem, UT 84058
801 765-7677

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