Tag: animschool instructor

Cartoony 3D Animation – Tips & Tricks

Animation is a unique medium; not only does it allow the artist to breathe life and feeling into a character, it also enables the artist to accomplish anything no matter how farfetched the idea. An animated character can break every bone in their body without issue, run across the map in two seconds flat, fly without wings, or even eat a sandwich the size of their body and immediately snap back into shape. Typically, this type of out-of-this-world animation is referred to as “cartoony” style animation, but how is it created? The hardest thing to tackle when it comes to creating something so wild is losing a realistic point of reference. Instead, new ideas are being introduced to the audience on the spot. The role of the animator lies in finding the balance between aiding the audience to follow the action while simultaneously creating an entertaining piece of storytelling. In this clip from an AnimSchool lecutre, instructor Justin Weg gives discusses some key tips to animate in a “cartoony” style.

When considering cartoony movements, two main techniques should be utilized: squash and stretch and multiples. These techniques enhance the animation’s dynamism, allowing characters to exhibit extreme emotions or actions, such as Scrat from Ice Age. His animation demonstrates how exaggerated stretching and quick movements can bring a character’s energy to the forefront. For instance, by tracking the eyes as a focal point, animators can help the viewer follow fast, chaotic movements without getting lost in the transition. The eyes serve as a reference for the viewer’s attention, anchoring the action as the character moves through space.

Another essential technique in cartoon animation is the use of multiples, especially when depicting fast motion. This method is designed to convey the speed of a character’s movement. When deciding to use multiples, treat them as if combining two or three frames into one. Typically, arcs are also utilized in the placement of the multiples, easing into the final position. Through this approach, animators can create fast, fluid actions that capture the viewer’s attention, like when a character’s limbs or eyes stretch out at high speed.

Moreover, squash and stretch is a technique that involves the physical distortion of characters, emphasizing their elasticity. This is evident when a character is compressed into a small form (squash) and then dramatically stretched (stretch) to indicate force or impact. This technique, along with well-timed follow-throughs and ease-ins/outs, makes the animation feel weighty and believable, even in the most exaggerated scenes.

By carefully combining these techniques, animators create a sense of exaggerated motion, while maintaining visual coherence. The focus on tracking key elements like the eyes ensures that viewers can follow the action, even in the midst of chaotic or comical movements. Ultimately, these principles help to keep animation lively, engaging, and full of character, providing the foundation for the expressive world of cartoon animation.

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/

Choosing Between FK and IK

When considering whether to animate using forward kinematics (FK) or inverse kinematics (IK), many factors must be taken into account. It is crucial to understand what FK and IK are and how either, or both, can be used in an advantageous way within animation. In this snippet from a live AnimSchool lecture, instructor Ayoub Moulakhnif demonstrates the benefits and applications of both FK and IK.

What is FK (Forward Kinematics)?

In Forward Kinematics (FK), the process of animation starts from the base of the limb, like the shoulder or hip, and works its way outward to the end, such as the hand or foot. This means when you rotate a joint, you start with the main body part and rotate the subsequent joints one after the other. Think of it as a “forward” motion from the origin to the end. For example, if you want to move the arm using FK, you would rotate the shoulder first, then the elbow, and finally the wrist. Each joint’s movement affects the next, creating arcs of motion, which is often desirable for smooth, organic movements like swinging arms or walking.

What is IK (Inverse Kinematics)?

Inverse Kinematics (IK) is different because it works the opposite way—starting from the end of the chain, such as the hand or foot, and working backward toward the base of the limb. So, when you move the foot or hand, the rest of the limb will adjust accordingly to maintain the correct position. This technique is typically used when the character interacts with surfaces or objects, as it ensures that limbs stay in place without constant readjustments. For instance, when a character’s foot is on the ground, animating in IK keeps the foot locked in position while the rest of the leg adjusts naturally. It’s ideal for animations where precise foot placement is important, like walking or running.

Choosing Between FK and IK

Both FK and IK have their specific uses:

  • FK is ideal for natural movements where limbs swing freely, such as during a walking or swinging arm animation. It is easier for creating arcs and organic motion.
  • IK, on the other hand, is best for scenarios where the character interacts with a surface, like placing a hand on a table or stepping on the ground. IK ensures the contact point stays in place while the rest of the limb moves accordingly.

Switching Between FK and IK

Sometimes, a character’s movement requires both FK and IK, especially if they transition from interacting with a surface to swinging or walking. It’s common to start with FK when the limb is in motion and then switch to IK when the limb makes contact with a surface.

To switch seamlessly:

  1. Keep FK until the moment of contact (e.g., when the character slaps a surface).
  2. At the exact frame of contact, switch to IK to lock the hand or foot in place.
  3. Make sure to do the transition in a single frame for smooth animation.

In Moulakhnif’s example of slapping the character’s hand down onto a surface, he first adds a key on the frame prior to the impact, and then on the frame of impact itself. He uses the FK2IK switch in the AnimSchool Picker on the frame of impact to make the change.

Mastering the use of FK and IK is essential for realistic and efficient animation. FK is great for natural movement and arcs, while IK is crucial for interactions with objects or surfaces. By understanding when and how to use these tools, you can create more dynamic and believable character animations.

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/

Flexibility, Force, and Energy in Animation

In this snippet from a live AnimSchool lecture, instructor Neave Lifschits offers his keen eye for detail and explains how animation, at its most basic level, is about forceful energy that pushes a shape change to deliver the idea of motion. Even simple lines can deliver a powerful performance and evoke an emotional response. After all, what is motion but an exchange of energy?

Lifschits uses an example from an animator who creates many compelling animations using simple lines and shapes to depict characters within an emotionally charged story. Though the animator neglects smaller details such as facial expressions, micro shapes within the body, etc., the gestures and overall shape language are enough to convey the artist’s message.

Lifschits also discusses Mike Mattesi’s book, Force: Dynamic Life Drawing, and relates the concepts back to animation. In the example from Mattesi’s book, different types of shapes with force are shown; this is similar to line of action, and simple vs complex shapes and poses within animation.

When animating a character in motion, consider what kind of force is being applied and in what direction. These forces can be physical, such as the body rolling over, or more abstract and emotional, like anger or tension. After determining the type of force and the direction, the poses can be fine-tuned to support that idea.

Shape change is the key to showing energy, strength, speed, and direction.

Lifschits explains that animators should always strive for some sort of shape change within a shot in order to avoid feeling rigid and add fluidity. Good shape change comes from paying attention to where contrast may be needed, as well as how the forces at play cause the change.

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/

Camera Tips for Film and Games

ames

In the world cinematography, every choice, from the way a scene is shot to how the camera moves, plays a critical role in telling a story. In this clip from an AnimSchool lecture, AnimSchool Instructor John Paul Rhinemiller goes through the basics of cinematography and illustrates how film and videos games use camera movements to create a specific emotion and feeling. JP addresses the importance of having motivated camera movements that have a purpose and also add to a character’s personality or story.

One of the most subtle yet effective tools for filmmakers is the use of a “locked-off” camera, which stays in one place without movement. The key purpose of a locked-off camera is to create stillness, focusing the viewer’s attention entirely on the subject or scene at hand. However, despite the growing trend of fast-paced, dynamic shots in modern filmmaking, sometimes the most powerful storytelling comes from controlling the camera, rather than letting it move.

Ensuring that any camera movement (or lack thereof) has a purpose is key. Whether the camera is panning left to right, following a character, or offering a point-of-view shot, every movement must serve the story. For instance, moving the camera in a specific direction can subtly indicate unease or tension. Left to right feels more natural due to the way people read in Western cultures, whereas moving in the opposite direction can suggest that something is wrong or unsettling. In contrast, a stationary camera can communicate a sense of control and deliberation. This is especially important in dialogue-focused scenes where unnecessary movement may detract from the characters’ performances or the emotional depth of the conversation.

JP offers some camera tips:

  • Moving the camera during dialogue can be distracting
    • This is why the camera cuts many times during dialogue
    • Always focus on the person speaking
  • Never use longer than 50mm when two characters on screen (no limit with one character)
  • Lead and follow
    • Lead through a scene to suggest that the scene stays somewhat equidistant
    • Follow through a scene – common in 3rd person

In this example from Full Metal Jacket, JP explains that the camera moves backwards as the sergeant steps forward, creating a sense of unease and tension within the scene, reflecting the discomfort of the recruits.

In this example from God of War, JP points out how the camera is consistently equidistant from the character, with some flexibility in zooming in at different parts to emphasize the action, such as attacking.

Another camera technique is “rack focus,” which shifts the focus of the lens from one subject to another, is used to draw attention to a specific element within the frame. This subtle shift guides the audience’s gaze, highlighting important details and directing the flow of the narrative.

An example of rack focus from The Incredibles.

Ultimately, camera movement, when used with purpose and intent, becomes a vital tool in shaping the emotions and experience of the viewer. Whether through subtle shifts or deliberate stillness, the camera can profoundly impact how a story unfolds, making it an indispensable element in visual storytelling.

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/

Push Your Animation Poses

Creating clear and dynamic poses is essential to conveying character and emotion. In this clip from a live AnimSchool lecture, instructor Garrett Shikuma demonstrates how to move away from rotoscoping video reference and push the character’s silhouette and line of action to be better than the reference. He also emphasizes the importance of remembering to make intentional acting decisions while posing the character.

When refining poses and moving beyond rotoscoping, one critical element is improving the silhouette. A pose can be adjusted to make limbs and the body more distinguishable—particularly by adjusting the position of hands or arms that might otherwise get lost within the character’s body. Equally important is the angle of the character’s head. The way the character is positioned relative to the camera should communicate the right emotions and make it easy for the audience to read the character’s intentions. The right head tilt can direct the audience’s attention and set the tone for the scene.

Shikuma also touches on breaking a character’s body into three zones: top, middle, and bottom. By shifting these parts intentionally, animators can emphasize certain actions. For example, pushing the head or torso to imply a character’s internal state, like anticipation or conflict, can transform an otherwise static pose into one with deeper meaning.

From Walt Stanchfield’s Drawn to Life series

This principle also extends beyond full-body poses. In close-up shots, the same “push and pull” method can apply to minor movements, like a character’s head tilt or subtle gestures. For instance, in The Incredibles 2, Mr. Incredible’s poses are minimal yet powerful. While his body remains relatively still, small movements, such as a slight head nod, hold significant weight, which adds a layer of emotional depth to his character’s journey.

Ultimately, when designing poses, the goal is always to improve clarity, silhouette, and line of action, ensuring that each pose communicates exactly what the character is feeling or about to do. By pushing poses thoughtfully, animators can enhance not only the visual appeal of their work but also the emotional resonance it delivers to the audience.

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/