Tag: animschool instructor

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

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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/