Tag: animation techniques Page 1 of 4

Handling Hands in Animation

Animating a new shot can be an incredibly daunting task. Not only do you have to figure out your staging, your poses, and your story, but in order to have a truly successful shot, you need to find your rhythm. What does rhythm have to do with animation?

Rhythm is how an animator can find drama and excitement in the smallest of actions. It is how emotion and movement can create tension or stillness. By using contrasting beats and a variation of rhythm to guide your character, the viewer is able to follow your characters seamlessly through their story. But how? There is no one way to show rhythm in animation but a great place to look is in body language and in the movement of the hands.

In this lecture, Animschool Instructor Brendan Kirschbaum uses feature film animation to demonstrate the successful use of rhythm to animate the smallest details of the hands. In his frame-by-frame analysis of The Incredibles, he dives past the scene audiences know and love to the complex and detailed rhythmic animation underneath.

The use of hands and body language helps build character identity and bring moments to life. In a particular scene from The Incredibles, Bob is shown entering the scene very casually and relaxed before being surprised by his wife and snapping into a surprised, ninja-like pose. His hands are used to support his poses and punctuate the scene to reveal aspects of his mindset. A seemingly simple gesture, like the way a hand rests or moves, can reveal a lot about how a character is feeling—whether relaxed, intense, or sarcastic.

Later on in the same scene, Helen makes a point to pick something small up from Bob’s clothing. The placement of her fingers in specific poses is deliberately designed to not only draw the viewer’s attention, but also create visually appealing shapes, making the character’s gestures feel more intentional and expressive. Small changes—such as separating a finger or slightly bending a hand—can drastically improve the appeal of a pose and make the gesture more believable.

As Bob and Helen continue to converse, Bob employs a subtle finger spread on the word “fire” to emphasize the seriousness of the situation. Albeit short, taking place over the course of just three to four frames, it accentuates the moment. Similar hand gestures are used throughout to highlight key points and convey nuanced emotions without overwhelming the overall scene – the balance here is crucial, as the overuse of hand gestures can create an unnatural feeling.

Ultimately, hands in animation are not just tools for communication—they are extensions of the character themselves. Whether used to express sarcasm, highlight a dramatic moment, or reveal a character’s inner world, the hands add complexity to animated performances, making them one of the most important elements in conveying story and emotion.

Watch the full clip from an AnimSchool lecture here: 

At AnimSchool, we teach students who want to make 3D characters move and act. Our instructors are professionals at film and game animation studios like Dreamworks, Pixar, Sony Pictures, Blizzard & Disney. ⁠Get LIVE feedback on your Animation from the pros. Learn more at https://animschool.edu/

What Makes an Appealing Pose?

When your shot begins, you have an extremely limited amount of time to introduce your character to the viewer. The first time your viewer sees a character in front of them, they will immediately start to pick up small nuanced details that not only describe your character, but also how they fit into the story. Are they nervous, excited, scared, or calm? It only takes one clear and defined pose to place a character in your story. In this lecture, AnimSchool instructor Brendan Kirschbaum demonstrates how clear posing through Line of Action can be used to silhouette and place a character in a scene. By having a clean and strong line of action you not only show where your character is going, but where they have been. The ability to provide as much information as possible in a single moment not only allows your animations to look good, but also establishes your character in a story and allows the viewer to step into the moment and immerse themselves in a new world.

Before you start posing your character, consider some questions that will help you determine their motivation within the scene and inform your decisions:

  • Who is your character?
  • What are they thinking in this moment?
  • What is the context?
  • Is the subtext of the scene clear?

A crucial principle is the Line of Action, or the flow of energy in a pose. It serves as a guide for the viewer’s eye, directing their attention to the most important part of the image and creating clarity. A well-established line of action ensures that the character’s movement or intention is easily understood even without motion.

Consider these two poses of Tom. In the first, the pose is chaotic and confusing. The angles of his limbs are disjointed, and there’s no clear direction for the viewer’s eye to follow. In contrast, the second pose has a smooth, flowing line of action starting from his toe, moving up his leg, through his body, and to the tip of his newspaper. This clear line makes it easy for the viewer to anticipate what Tom is about to do, adding excitement and direction to the shot.

The Line of Action gives information about direction of force. Subtle cues within the pose allow the audience to understand the physical dynamics at play, even without additional animation or motion. A character’s posture, the orientation of their body, and the direction of their gaze all inform the viewer about the action, giving them a sense of movement and anticipation.

In The Incredibles, we can tell that Mr. Incredible is exerting force on a machine because his pose is fully extended, and the line of action clearly communicates the direction of that force. Similarly, in another scene from The Incredibles 2, Violet is pushed up against a wall, and we can see the direction of the force applied to her, as indicated by her body’s response and the motion of her hair.

The Line of Action can also tell us a lot about the relationship between characters and the emotions at play.

In the scene from Coraline, the mother’s posture dominates the frame, towering over Coraline with a threatening, predatory air. The mother’s higher position makes her seem more in control, while the sharp angle of her arm encroaching on Coraline reinforces her menacing nature. Coraline, on the other hand, is hunched in the corner of the frame, feeling small and vulnerable in contrast to the looming presence of her mother.

This interaction is not only expressed through the characters’ physical placement but through the subtext of their poses. The mother’s spider-like form creates an unsettling feeling, emphasizing her sinister role in the story. The way each character is positioned in relation to the other speaks volumes about their emotional states and the power dynamics between them.

Posing in animation is a powerful storytelling tool. Through line of action, animators can convey force, emotion, and character relationships in a single frame, making it a crucial element in bringing a story to life.

Watch the full clip from an AnimSchool lecture here: 

At AnimSchool, we teach students who want to make 3D characters move and act. Our instructors are professionals at film and game animation studios like Dreamworks, Pixar, Sony Pictures, Blizzard & Disney. ⁠Get LIVE feedback on your Animation from the pros. Learn more at https://animschool.edu/

Student Spotlight: Heather Vidal

AnimSchool graduate Heather Vidal shares her experience working on an emotional scene using audio from the film Good Will Hunting (1997). Inspired by heartfelt stories about the struggles of unhoused people, she explains how she channeled her own hardships into her animation. Her shot was featured in the 2024 AnimSchool Student Showcase.

Vidal explains that she got her idea from YouTuber German in Venice, who interviews homeless people. One of the most common themes she noticed from these interviews was how individuals would often quit their jobs to take care of their loved ones. However, once their loved ones passed away, these caretakers would be left with little to no money between the medical bills and funeral costs, resulting in their current situation. Upon hearing the audio from Good Will Hunting, she remembered these stories and felt inspired to make such an emotionally charged animated shot.

Initially, Vidal mentions, she had only treated the dog’s character as a prop, making him move as little as possible. During development, her instructor gave her the idea to have the dog rest his chin on his owner’s knee at the very end—Vidal was very pleased with how it turned out.

Watch her featured clip here:

Watch the full AnimSchool Student Showcase Livestream here:

At AnimSchool, we teach students who want to make 3D characters move and act. Our instructors are professionals at film and game animation studios like Dreamworks, Pixar, Sony Pictures, Blizzard & Disney. ⁠Get LIVE feedback on your Animation from the pros. Learn more at https://animschool.edu/

Student Spotlight: Fabiana Dell’Aquila

AnimSchool graduate Fabiana Dell’Aquila animated a scene using audio from the TV show “Desperate Housewives” (episode aired 2009), and details all the changes that occurred in her creative process. Her shot was featured in the 2024 AnimSchool Student Showcase.

Dell’Aquila explains that, when starting the shot, she immediately knew that she wanted to work on a funny shot with personality. She got the chance to dive into a character and act as she never would in real life, which she saw as a self-confidence boost.

“I just had so much energy, so much desire to play with a bit of a more funny timing,” she notes.

Initially, Dell’Aquila had started with more of a slouched pose for her character. However, her instructor gave her a quick sketch of a much more dynamic pose, having the character adjust and admire her own appearance in a handheld mirror. From that drawing, she rebuilt the animation and added more dynamic movement within the arms. She mentions that she ultimately had a lot of fun playing with smaller, more subtle animations of the hands and face.

Watch her featured clip below:

At AnimSchool, we teach students who want to make 3D characters move and act. Our instructors are professionals at film and game animation studios like Dreamworks, Pixar, Sony Pictures, Blizzard & Disney. ⁠Get LIVE feedback on your Animation from the pros. Learn more at https://animschool.edu/

Animating Nothing | Create Moving Holds

How do you animate a character that isn’t doing much? Using moving holds! Moving holds are crucial in animation – they provide the breathing space between high energy motions as well as making the characters look alive when they are in the background. AnimSchool instructor and professional animator Scott McWhinnie explains how he handles moving holds, and shows an example from his own shots to illustrate his methodology.

McWhinnie breaks down moving holds into four categories: momentum, breathing, eye darts, and head support, all of which are crucial to consider when animating a moving hold.

Momentum

A common pitfall when animating moving holds is disregarding or neglecting the previous movement and the momentum that leads from that. To avoid this, it’s important to keep in mind the “drift” follows the direction of the most recent momentum shift – it needs to work with physics. Try to keep things simple as a directional and rotational shift, and find a balance between the two to avoid overcomplicating the movements. Be careful not to start the drifting too early into the next movement.

Breathing

Even in stillness, small movements like chest or shoulder shifts suggest breathing. These tiny details make the character feel more grounded and dynamic, helping with transitions between holds and actions. Breathing also impacts the pacing of the animation, and can lead to a buildup of momentum that carries into the next action.

Eye Darts

Small, quick movements of the character’s eyes play a huge role in adding life to a seemingly inactive moment. These subtle shifts of attention can convey a character’s inner world, whether it’s curiosity, tension, or anticipation. Eye darts often signal that the character is aware of their surroundings or preparing to engage with something in the near future, and can help keep the audience engaged in what might otherwise feel like a stagnant moment.

Head Support

Ensure that the head moves in a way that supports the body’s direction – the character’s head should follow the same momentum as the rest of the body to maintain consistency. If a character is holding a pose and their head moves in a different direction without context, it can break the illusion of weight and consistency.

McWhinnie uses a scene he worked on from Ferdinand (2017) to demonstrate how he approaches a moving hold.

Watch the full clip from an AnimSchool lecture here: 

At AnimSchool, we teach students who want to make 3D characters move and act. Our instructors are professionals at film and game animation studios like Dreamworks, Pixar, Sony Pictures, Blizzard & Disney. ⁠Get LIVE feedback on your Animation from the pros. Learn more at https://animschool.edu/

How to Spline Your Shot

As you take your shot from stepped to spline animation, you begin to refine the timing and spacing of each movement – these are critical in ensuring that the character’s actions feel natural and engaging. In this snippet from an AnimSchool lecture, instructor and professional animator Jason Behr works directly on a student’s file to demonstrate his process with the transition to spline animation.

Start by tightening up the timeline and addressing any inconsistent movements. Shift keys to refine the timing and spacing of frames. Pay attention to where the spacing starts to feel “drifty” or “swimmy” and make adjustments to avoid that. Additionally, if a movement feels too even or stiff, play around with the spacing and cushioning between poses. Stretching certain frames can make for smoother transitions and help the overall animation feel more dynamic – avoid robotic and uniform timing.

Next, add in some anticipation and overlap. Pay attention to where small movements can help prepare the audience for an upcoming action and allowing different parts of the character’s body to move at slightly different times or drag behind. For instance, consider adding small shifts or pauses in the character’s spine to allow time for other body parts, such as the head or arms, to react or move. This can help avoid stiff and mechanical motions.

As you adjust the movements of specific body parts, consider how all of the movements are balanced across the body. Pay attention to how each body part moves in relation to the entire character. Leading with the core can establish a strong base for the motion, allowing limbs to follow and creates more organic and fluid movement.

Finally, polish your animation. Begin refining details, such as overlap and arcs. Start with the most important elements, such as the head or spine, and gradually move outward to ensure that the primary movements are clear and defined before adding more layers of complexity. Work to ensure that the movements between each key pose and spacing are as smooth as possible to achieve a polished and professional look.

Watch the full clip from an AnimSchool lecture here: 

At AnimSchool, we teach students who want to make 3D characters move and act. Our instructors are professionals at film and game animation studios like Dreamworks, Pixar, Sony Pictures, Blizzard & Disney. ⁠Get LIVE feedback on your Animation from the pros. Learn more at https://animschool.edu/

Breathing Life Into Your Animation

A key component of bringing animated characters to life is believable breathing. In this demo by AnimSchool instructor and professional animator Neave Lifschits breaks down the process of creating a breathing animation, step-by-step, and focuses on making it look natural by adjusting for character design limitations and fine-tuning various parts for realism.

Step 1: Start with the Basics – Breathing Movement

To create a believable breathing animation, begin by animating the chest rising and falling. For a character standing still, exaggerate the chest’s motion to show heavy breathing. Set keyframes to create a smooth cycle, with the inhale being slower and the exhale faster. Adjust timing for realism by fine-tuning the easing on both actions.

Step 2: Refining Tangents

Use weighted tangents to smooth the transition between keyframes. Modify the “ease in” and “ease out” of the chest’s movement, making the breathing feel fluid. Adjust the timing for the inhale and exhale to balance out the rhythm.

Step 3: Translation & Rotation

Offset translation (moving the chest outward) and rotation (slight torso twisting) to create a natural flow. You can experiment with having either rotation or translation lead, but slight offsets in timing between these actions will add realism.

Step 4: Animating the Upper Body

Shoulders move in relation to the chest. Offset their rotation slightly, making them follow the chest’s expansion and contraction. The shoulders should react after the chest’s movement, not at the same time, for more realistic timing.

Step 5: Arm Movement

Have the arms “drag behind” the chest, reacting more slowly to breathing. Keyframe subtle arm movement so that the arms follow the chest’s rise and fall, but with a slight delay to avoid making them feel stiff or over-exaggerated.

Step 6: Head and Neck Movement

Keep head and neck movement subtle to avoid distraction. Use world space translation for the head and slight rotations for the neck, ensuring they follow the torso without overreacting. This keeps the breathing grounded and stable.

Step 7: Final Adjustments

Smooth the breathing loop by adjusting the first and last keyframes to ensure they match. Scale down any exaggerated movements for a more natural feel. Test the animation, making sure everything flows seamlessly.

Creating realistic breathing in 3D animation is about understanding how the body responds to inhalation and exhalation, and then adjusting the timing, translation, and rotation of different body parts accordingly. By starting with the chest’s basic movement and then refining the translation, rotation, and timing of the shoulders, arms, neck, and head, you can create a breathing animation that feels natural and immersive. The key is to experiment with different timing offsets and to make subtle adjustments for each part of the body, ensuring they work in harmony.

Watch the full clip from an AnimSchool lecture here: 

At AnimSchool, we teach students who want to make 3D characters move and act. Our instructors are professionals at film and game animation studios like Dreamworks, Pixar, Sony Pictures, Blizzard & Disney. ⁠Get LIVE feedback on your Animation from the pros. Learn more at https://animschool.edu/

Student Spotlight: Leticia Lozano

AnimSchool student Leticia Lozano offers insight into how she created an animated shot using audio from the 2023 Netflix film, We Have a Ghost. Her shot was featured in the 2024 AnimSchool Student Showcase.

Leticia explains that she received a recommendation to jump into splined animation right away in order to help see the timing of the slower and more subtle actions, such as in the face and shoulders. While she did complete a blocking pass of her animation, most of the smaller movements are much better seen after a splining pass.

Leticia mentions that she focused greatly on the facial animation, which proved to be a bit difficult as she was trying to keep the entire animation alive with breathing, eye darts, and other supporting actions for her scene. With so many subtle movements and incredible facial performance, Leticia’s scene was a success and ended up as the cover of the 2024 AnimSchool Student Showcase.

Watch her featured clip below:

Watch the full AnimSchool Student Showcase Livestream here:

At AnimSchool, we teach students who want to make 3D characters move and act. Our instructors are professionals at film and game animation studios like Dreamworks, Pixar, Sony Pictures, Blizzard & Disney. ⁠Get LIVE feedback on your Animation from the pros. Learn more at https://animschool.edu/

Student Spotlight: Maria Fateeva

AnimSchool student Maria Fateeva shares her experience creating an animation using audio from Bo Burnham’s song, “Unpaid Intern,” and offers some insight to her animation process. Her shot was featured in the 2024 AnimSchool Student Showcase.

Maria explains that, looking back, she did not end up utilizing her reference footage as much as she would have liked, which resulted in some difficulties capturing the proper body mechanics and the character flow during the animation process. However, she was still able to pull various key poses and ideas from her reference in order to make a visually entertaining and dynamic shot.

Maria also mentions that the biggest challenge she ran into was animating the main character clutching various cups and mugs, especially when he drops one and quickly grabs it again. At the suggestion of her instructor, Alek Kolev, she snuck in an additional cup near the end in order to really emphasize the large amount the character was holding.

Watch her featured clip below:

Watch the full AnimSchool Student Showcase Livestream here:

At AnimSchool, we teach students who want to make 3D characters move and act. Our instructors are professionals at film and game animation studios like Dreamworks, Pixar, Sony Pictures, Blizzard & Disney. ⁠Get LIVE feedback on your Animation from the pros. Learn more at https://animschool.edu/

Cinematic Camera Setup for Game Animation

Setting up a cinematic camera for game animation is a key skill. In this video, AnimSchool instructor and pro game animator John Paul “JP” Rhinemiller explains how to set up a camera for a moving character in a cinematic scene. He also demonstrates an exercise that covers a fundamental step in mastering camera setups.

JP explains that, generally, cinematic camera movement involves one main “key” move in either translation or rotation. In the early stages, it is crucial to ensure that the camera’s main movement feels good and works well in the scene. From there, more layers and complexity can be added.

Camera Setup

JP begins by demonstrating how to create a “slide” cinematic camera. He mentions that starting with the render settings is a good idea to ensure that the aspect ratio is correct and helps you understand the framing of your characters as you animate the camera. The settings he chooses are:

  • Presets: HD_720
  • Width: 1280
  • Height: 720
  • Resolution: 72 pixels/inch

He also adjusts the attributes of the camera to change the gate mask opacity in order to control what can be seen offscreen.

Animating a Slide Shot

To begin animating, JP first sets his first and last key frames for the desired camera and then addresses the curves. He notes that, by default, the camera curves will be set to auto tangent with slow out and slow in. Depending on the shot and what the next cut is, that may not be what you want; in this case, you would need to change those curves further.

For JP’s shot, he explains that he wants it to appear as though the camera is catching up to the character. To achieve this, he adds a few more frames at the beginning to first match the pace of the character’s movement and then have the character appear to pull ahead, making it seem like the character is ramping up in speed. He then further adjusts the position of the keys to get a smoother movement.

JP explains some fundamentals of a typical “slide” shot to keep in mind:

  • Ensure that the character is always in frame
  • The character appears to be motivating the camera to move, or slide
  • The character should not get too far into the left/right third of the frame, where it seems like they are “pushing” the camera (unless there is motivation to do so)
  • As the character slows down to a stop, the camera can keep moving for a few frames after
  • The start and end frames should not be on the first/last keys on the shot – there should be continuous motion that goes beyond the shot, especially in a cut with action

Watch the full clip from an AnimSchool lecture here: 

At AnimSchool, we teach students who want to make 3D characters move and act. Our instructors are professionals at film and game animation studios like Dreamworks, Pixar, Sony Pictures, Blizzard & Disney. ⁠Get LIVE feedback on your Animation from the pros. Learn more at https://animschool.edu/

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