Tag: animation tips

Crafting the Perfect Animated Pose

In animation, the significance of well-executed poses cannot be overstated. Posing is the foundation upon which character expression, emotion, and storytelling are built. A carefully crafted pose communicates the essence of a character’s personality and intentions, providing vital visual cues to the audience.

AnimSchool instructor Aleksander Kolev explains how to find appealing poses, and how they can be used effectively in your shots.

Asymmetry
Having both asymmetry in the face and body will keep your poses interesting. Depending on how realistic or unrealistic your shot is, you can push and pull exaggeration in certain places to create asymmetry. This can include subtle changes like raising an eyebrow and tilting a hip, or more extreme changes like stretching the eyes and head. 

Aleksander also mentions that he uses > and < as a guide to dictate directional poses, such as where a character is looking. For instance, if a character looks to the left, the facial features and head will be positioned so that implied angles form in a > shape to drive the character’s action. (See pink draw-over lines below)

Shapes
Shapes help to define and simplify poses. While it may seem like more of a 2D concept, thinking with shapes can be helpful to create contrast throughout different poses, in both 2D and 3D. Aleksander shows an example of a scene he worked on from Hotel Transylvania, in which a round mummy character, Murray, dances. He explains how he pushed the stretching and squashing of the character to imitate vase-like shapes, and posed the arms in such a way to create flow throughout the form. 

Line of Action
The line of action is the most general line of flow through a character’s body. It helps to focus the audience’s attention, give the character energy and flow, and clarify the character’s pose. Tom and Jerry offers some great examples of utilizing the line of action to depict how energy is transferred with clear posing and action.

Silhouettes
Silhouettes are essential in defining a clear idea of who the character is and what they are doing. When the audience can identify the character and action just from looking at the blacked out shape, it means you have a good pose. Oftentimes silhouettes can be simplified into a general shape that defines the flow and overall form, but more complex and less cartoony animations may result in more complex silhouettes as well. Watch out for tangents as poses and silhouettes get more complex with overlapping objects! Keeping readability in mind is key for crafting any pose.

Watch the full excerpt from a live AnimSchool lecture 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/

The Basics of Animation Smears

Smear frames bridge the gap between individual frames, contributing significantly to the illusion of smooth, lifelike movement. These subtle, elongated, or stretched frames create a sense of speed, impact, and energy, enhancing the overall visual experience. By strategically distorting shapes and lines, smear frames add finesse and character to the motion. 

AnimSchool instructor Mitchell Jao explains why smear frames are necessary in standard 24fps film animation. Oftentimes, 24 frames per second simply isn’t enough to capture quick motion, and can result in a choppy-looking animation. However, animators can find ways to use this to their advantage and exploit the frames by adding smears and multiples.

Smear Basics
Smears are used to connect shapes that are spaced far apart, mimicking the idea of a motion blur between them. The degree of motion blur occurs as a result of the shutter speed of cameras; at 24fps, the shutter speed is roughly 1/48th of a second. For something like sports photography, the shutter speed would be much faster to capture the shot clearly and with little to no blur for a “freeze frame” type of shot.

The quick action of smears can also be used to hide mechanics that don’t always logically make sense – Mitchell points out a scene from Ice Age: Collision Course, where a Dino Bird quickly shifts his arm behind his back in a seemingly impossible movement, hidden by the smearing circular movement of swinging another character around.

Multiples and Ghosts
Ghosting can be used like smears, but, when used improperly, can feel like a stuck frame. Ghosts are best used when the movement is so quick that the motion is illegible without them, such as a limb scramble.

Mitchell explains that he prefers to use multiples in a rapid repetitive movement, rather than a singular wipe.

Be careful!
While it is important to utilize squash and stretch, using too much can result in the loss of form, especially if the character or object is meant to be more solid. 

Watch the full excerpt from a live AnimSchool lecture 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/

Walk Cycle Animation Tips

AnimSchool instructor Janel Drewis breaks down the basic steps, and how video reference is used as an aid to achieve believable character movement.
Achieving a natural and convincing walk is deceptively simple. A successful walk cycle animation requires a keen eye for the intricacies of human movement. It involves mastering complex details such as weight distribution, timing, balance, and coordination all while ensuring the character’s movement matches their personality.

Walk cycles do not employ any one specific Principle of Animation – a good walk cycle incorporates each principle in some manner. Because walks are so familiar to the human eye, audiences are extremely aware and can easily identify when a walk looks off or is not believable.

Main Poses of a Bipedal Walk Cycle

  • Contact: front heel makes contact with the ground
  • Down: hips are at their lowest; “bottom” position
  • Passing: back leg passes the front leg
  • Up: hips are at their highest; “top” position

Walk Timing
In a standard walk cycle, the four poses above are spaced evenly throughout. Most people walk “on 12s,” which means they take one step every 12 frames, or roughly two steps every second at 24fps. Animating walk cycles on 16s or 8s was more popular in older 2D animation because animators did not have to split the drawings on thirds like they would have for animating on 12s.

Other Tips
When looking at a reference video, make note of how much the hips drop/rise and how straight/bent the legs are. Additionally, pay attention to the spacing of the feet between frames; this will affect the ease in/out between steps.
To loop your walk cycle, ensure that the pose of your final frame matches your initial frame – you can do this by copying and pasting the initial frame. This will ensure seamless looping. To play this loop continuously, select everything and activate Curves > Pre Infinity > Cycle with Offset and Curves > Post Infinity > Cycle with Offset.

Watch the full excerpt from a live AnimSchool lecture 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/

Animators are Actors

AnimSchool instructor Masha Juergens explores the process of getting into character from behind the camera. 

Acting for animation is a unique art form, where animators bring characters to life not just with the use of technology, but through the use of their own physical and emotional performances. With boundless creativity, they craft compelling personalities that resonate with audiences of all ages, making animated worlds come alive on your screen.

Animators vs. Actors

  • Animators focus on externals in characterization and caricature (facial expressions, body movement, emotional reaction, etc.)
  • Actors, by contrast, learn specifically notto focus on these things because they are “results” – you cannot act results.
  • As an animator, you must understand what your body is doing, what your emotional status is, etc., and translate all of that into a digital space and onto a model.
    • The challenge comes from making your audience feel like your character is alive, not because they are moving around onscreen, but because they are thinking and have a personality that makes them unique!
  • You don’t have to be a physically great actor to be a great actor in your mind, and in turn a great animator!

Becoming a Better Actor

To get better acting in your animations, you must become a better actor. Get into the head of your character – try to figure out and better understand where they are from, what their personality is, what their motivations are, etc. It’s not just about portraying a clear external (happy, sad, etc.) – try to look deeper for an internal feeling, or consciousness. 
Identify the character’s emotional state and use the thought to drive the action, not the dialogue. When there is a change in the character’s emotional state, change the character’s main pose. Be careful here: don’t change poses simply because there is a new emphasis in the dialogue!

Adding Beats in Animation – Emotional Hang Time

When a character is feeling one emotion and something happens to make the character feel something else in the same shot, the character needs to have a moment to process before the emotional change can take place. Building beats into the animation can show that the character is mentally absorbing and processing the events that are occurring in the shot. These moments can be quick, but readability is key.


Watch the full excerpt from a live AnimSchool lecture 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/

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