Welcome Animators or wannabe-animators!


I decided to create this free collection of Lessons, Tutorials and Tips about this AMAZING job, based on what I’ve learned in my career and experience as character animator! 😉
I’ve been working in the Animation Industry since 10 years and before that…3 years of Animation School! I really, really, REALLY love my job, I really do… I love animation and I like to share my passion (and why not? My knowledgments) with other people!
For any questions, topics that you would like to talk about, you can contact me!
If you want follow my Blog, or subscribe to my YouTube channel or Facebook or Twitter! 😛

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About Me


My name is Chiara Porri, I’m Italian and I came from a lovely small town on the sea in Tuscany!

I always had a natural needs to pour out my creativity, I started with drawings, comics, paintings and much more…!  After the High School I attended an Animation Course in Turin, Italy (for 3 amazing years) and from that moment…I never stopped. 🙂
As Character Animator I worked for Tv Series, Movies and Videogames. Here you can find a link to my Vimeo Channel so that you can have an idea of my job as Animator: Chiara – Vimeo Channel

At the moment I’m working as freelance animator and I will try to find the time to add always new contents on this blog 😉

In my spare time I create tv series pitch, short movies, animation tests, ….this blog…, concepts for videogames, comics, I sew handmade puppets, I love cooking,  long walks in the parks and…I love to play with my American Staffordshire Terrier…Evy!evy01

Exercise #5 – Animate a Tail


In the Lesson 09 I explained the principles of Follow-Through and Overlapping and in the Tutorial 09 I show you how animate a ball with a tail, so now you should be able to do this simple and basic exercise to practice with this concepts! 😉

Tutorial #09 – How to Animate a Tail


– HOW TO ANIMATE A TAIL –

How to Animate a Tail RECAP

If you watched my Lesson 9 you should be able to put in practice what Follow-Through and Overlap mean and how to use them

We will start from a very simple example:Follow_Through10

I will use this super simple rig of an head/ball with a fluffy tailTail01

Tail02

To approach an animation like this, I usually start animating the body

In this case…the head/ball, ignoring the tail for the moment

So I hide the tail mesh and I animate the ball up to the refine and polishingTail01.gif

When my animation is finished, I go to animate the tail

At this point you should already know that I’m used to use different shaders to simplify my workflow so I create a sort of rainbow tail assigning different colors to each section of the tail connected to a jointTail04.png

So, I set the first pose for the tail…Tail06.png

…and then I go to animate the first section, the ones directly attached to the ball, that is the leading partTail05.png

that will drag the rest of the tailTail07.png

but in turn, the first section is dragged by the ball headTail08


 

So, following the main action of the ball, I go to animate just the first section that would react to the ball movementTail09

It’s important to determinate if the tail will be just dragged by the ball movement or if will also moves independentlyTail10.png

In my case, the tail is mainly dragged by the ball, but also has an independent movement when needed

For example: at the beginning I want to use the tail to have the “push” for the jump! So, even if the ball has a very small rotation and the squash to gain energy for the jump, I move the tail right and left to increase this push and have more power for the jumpTail11.png


During the jump, when the ball is stretched, the tail must point downward, ’cause it has a delay compared to the ballTail12.png


Also during the spinning in the hair, the tail overlap the main action, the ball rotation. As you can see, here I rotate the tail on the right, dragged by the rotation of the ballTail13.png


When the ball stops his rotation, the tail will stop with a delay of 3/4 or 5 framesTail14.png


For all the time that the ball stays in the air, the tail will continue to move upward, with a very slow spacingTail15.png


When the ball starts to fall, the tail is raised up Tail17.pngand just as before, after the ball landed on the ground, the tail will arrive with 3/4 frames of delayTail18.png

Don’t care about compenetration for the moment, cause we will go to adjust the position when we will animate the rest of the tail!


Then we have the following little bounces so, we go to animate the settle, moving the tail up and down for a couple of time, decreasing the movement up to the complete stopTail19.png

This is the animation of the first section of the tail:Tail02.gif

After that we go back to animate the rest of the tail, one section at the time, and following the order starting from the topTail20.png

Each section will have a delay of 2/3 frames compared to the previous sectionTail21

What you have to remember is that each part would first react to the movement of the part that drag it, moving in the opposite direction

 

Let’s see an example with less tail’s sections:

when this section moves forward…Tail23

…the following part is dragged but it turns in the opposite direction due to the delayTail24

and then it will follow the first section movementTail25

The last part would have the same reaction but it’s dragged by the second section, so at the beginning it would rotate on the right when the second one rotates on the leftTail26


 

Even during breakdowns and in-betweens you have to be extremely careful to create a nice and rounded shape

Avoid straight lines, except when its completely stretched like during the fall, in this cases a straight line is allowed!


Keep attention to the arcs that you will create with the tail action!Tail30

A nice tip is to use maya tools or script to create an onion skin that shows you the previous and following poses or to draw on maya…

…but I prefer the old school transparent/celluloid paper that I put on the screen (that is always attached to the back of my Mac and I easily turn it on when I need it) Tail31.png

Tail32I can quickly draw the arc I want for the tail movement and then, frame by frame I go to adjust the positions, following that path

Tail03.gif


With this simple rules and if you well understood this principles, your final result should be something like this:Follow_Through01So, this was a simple tutorial for a basic tail animation, with a straight ahead approach! 

I will do an other tutorial with a more complex rig but if you are just beginners…

I suggest you to start with a short and simple animation and became familiar with the concept of drag, follow-trough and overlap!

You can follow the Exercise 05 based on this tutorial! 😉

Lesson #9 Follow Through and Overlapping


I had quite busy days during the last month but I finally find the time to create a new lesson … ready to learn how to “section” your character? 🙂

Follow Through and Overlapping RECAP

The principles of follow-through and overlapping will help you a lot to refine your animation and make it more realistic and fluid

Follow_Through01.gif

Behind this principle there’s a simple rule:follow_through01.png


follow_through02.png

Follow-through is the principle that a parts of the body follows the movement of an other part (the leading one), with a bit of delay

Example: when you have a stop a part stop first and an other one has a delay, so it will stop in a different timeFollow_Through02.gif

Overlapping action is the principle that some parts have different timing or speed compared to other parts, so they overlap the main actionFollow_Through03.gif


follow_through07.png

– We can use them to delay each parts of the body:

  • for human characters we can apply this principles on several parts: arms, neck and head, upper chest, legs, hair…

Follow_Through04

All this parts will move with a bit of delay compared to the main part of the body that leads the movement, they are offsetted and they OVERLAP the ACTION

  • for animals or anthropomorphic characters we can also have some different elements like long ears or tails to animate using this principles

follow_through14.png

Is quite simple, if you analyze for one second the movement… you should be able to recognize which part leads the action, here some examples:


When you know which part leads, you just have to delay the other parts

Don’t forget that… at the beginning of the action, this parts react to the movement of the leading one, by moving in the opposite direction!

In this example we have a simple arm movementFollow_Through05.gif

the shoulder and the upper part of the arm lead the movement, so when they start to move forward, the forearm reacts moving in the opposite direction, then we have the same reaction on the wrist and the fingers

When the leading part arrives to a stop, the forearm, the wrist and the fingers stop with a delay and different timing

So the arm and shoulder drag the lower part of the arm and during this movements you can also break some joints and use some deformers to emphasize the delay and the arcs

So… at first animate the upper part, the leading one, then the lower arm, then the wrist and last…add the fingers animation

You can also delay each finger from the others or even the single parts of the finger

To complete the movement you can add a…follow_through20.png

to avoid a sudden stop, keeping a slight bit of motion for all this parts for more frames

Follow_Through06.gif

or add a…follow_through21.pngafter the stop all this parts go back and forth for few times, always decreasing the motion, keeping the delay between a part and an other. The leading part could have just a small and short settle, and the other parts a longer settle

Follow_Through07.gif

or just the…

follow_through22.png

In this Lesson I explain more in detail Moving Hold and Settle


How to manage follow through, overlapping action, moving hold and settle depends on:

  • -the type and speed of the motion
  • -the length and weight of the parts that follow the movement

 

An other situation where you need to apply this principles is when your character has some cloths like: an hat, a scarf, a coat, a skirt, etc…

This elements will have the follow through and the overlap just like the body parts. The body movement drags this elements and they will react in different ways, depending on the type of cloths, the material’s weight and the speed of the movement


A good way to manage and animate parts with follow-through and overlap is to visualize the body as sections

follow_through26.png

In this way will be more easy and fast for you to manage all the delays 😉

Also a tail can be visually split in section:follow_through27follow_through28

the upper part would lead the movement, moving first, the second one would follow this movement, the third one would follow the second one and so on…Follow_Through08.gif

Compared to the main section, the second one has a delay of 1 frame, the third one a delay of 2 frames, the forth one of 3 frames and so on….

in this way your movement would result smooth and realistic! 😉Follow_Through09.gif

Do the same for objects or parts of the character and the practice will help you to naturally apply this principle in the right way!

Follow_Through12.gif

Follow_Through11b.gifFollow_Through10

How I became a Character Animator


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I was the typical super creative and dreamer child, with a wild imagination! I liked to play with conventional toys but….I liked most to play with the ones “invented by me”.

My nick name as child was “Blonde devil”….you can imagine 🙂scansione0003

When I was really young I started to draw (actually….retracing Mickey Mouse books), or…another of my pastime was to re-create the planimetries of the tv shows I was used to watch (I scansione0002ccshould still have the planimetry of the house of Brandon and Brenda Walsh or the cafè of “Saved by the Bell” somewhere….
I was so detail-oriented that I even had the list of menu’s prices! Don’t ask me why! Kids… 😀

Then I started to read comics, especially manga: Ranma 1/2 and Video Girl Ai my favourites! And that’s just stimulated more my creativity… so I started to write and draw my own comics tavo012

I created comics in secondary and hight school (of course, my only readers were my classmates and my sister, but they were always looking for next episodes! 😀

During my Art High School I also discover a passion for paintings and for a small period I was used to withdraw in my “studio”…painting my plywood covered by acrylic colors, sterile gauze pads, vinyl glue and stylized animals and human figures!

Amadeus#03Amadeus#01

During High School I followed a super interesting course in Cinema and that was the time that I became a movies addicted (I think I’ve seen something around 2000 movies in one year :D) I also started to write movies script on my own

Then…was time to decide what to do: University? I wasn’t so enthusiast, no one of the courses was really convincing me… so I started to make researches for some private course or school for cinema (my primary passion at that time) and I found an interesting school (actually was pretty famous in Italy but I never heard about that before) the “The Experimental Center of Cinematography” based in Rome, the oldest school about cinema art, with courses for: directing, photography, acting, scripting etc…

“Ok! This is the school for me! I’ll be a movies director!”

But… there was only one “huge” problem, my age: the Director course had a minimum age limit (I was 19 and the limit was 21…. I should have wait 2 years…)

So…I had a look on the other courses of the same school (with lower age limit) and I found a new course (based in a different city, Turin, in the north of Italy) about “ANIMATION”

At that time I had no idea of what this was about, yes of course…I watched all the Disney classic movies but I never thought to became an animator… but … I decide to apply for the course!

Then… there was another little obstacle: only 1 class per year, max 16 student would have been admitted…

“What???? Just 16 students?? I will never be one of them!!!”

I was a bit negative about my possible admission… I would have to overcame 3 “selections” to pass (the first one was the portfolio) so, I sent my application with my portfolio (some of my drawings and comics) but in the meantime I signed up for a University course in “Art of Cinema”…. just in case…

I was waiting for a response. I went to my first day of University and…just in the way back home I received a call:

“Hi Chiara! I’m calling from the Experimental Center of Cinematography, you passed the first selection, you are admitted to the second one!”

I was in the train and I think I started to cry! 😀 😀 😀

The second selection have been place in the school, it was an interview with the teachers and some test to do. I passed this selection as well 🙂

And then…the last one: the preparatory course, some days in the school with the other students to test our skills and attitudes!

After that…I was officially an Animation Student! 🙂

How the courses were organized? Well, the first year they teached us the History of Animation, the main softwares used, life drawing sessions

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mime/acting class and …of course…the basics of traditional animation (yeah…I animated on a light table for a year 😀

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The second year you had to choose which path to follow: 2D or 3D Animation. At that point I was still more oriented on directing and VFX, not on the animation part, so I chose 3D cause it seemed the one more closed to me and my interests

(me having milk time in the school/bedrooms floor kitchen)1196200303_adc12536df.png

The third year (absolutely the best one) was dedicated to the creation of a short movie, in small teams. My team was composed by me and other 2 classmates. We realized an “horror” short movie named “Rampicante – Hederae Sicarius” – for this short I was responsible for: directing (of course) and animation (I wasn’t really good at that time… :D)

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(me working in the diploma short movie’s room)

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(and … in XMas time)

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Watch “Rampicante – Hedeare Sicarius” here

That were my 3 years of Animation School. The best years of my life…still miss that place! And as any animator…I started to dream to work in Pixar one day 🙂

nip.png

(drawing of me, made by a friend)


Time to find a job!

-First steps in production-

Finished the school I went back home and I started to look for a job opportunity.

I live in a small town, in Tuscany, and I found an animation studio in Pisa, around 1 hour by train, that was looking for animators for a tv series.

I gave it a try! I wasn’t yet sure of myself and my skills, so I proposed me for a stage as 3D generalist

“We need animators! So if you want to do animation we can offer you a one year contract”

I was a bit hesitant, I didn’t feel ready to work as animator (my skills were really poor ’cause in school I focused much more on other aspects of production) and the supervisor of the studio was an animator with 20 years of experience in dreamworks… I definitely was a bit scared but….I accepted the offer!

The series was “Bird Squad”Schermata 2014-05-31 a 00.01.24.png

The protagonists were: a crow, a penguin, a bat, a flamingo, an hummingbird, a lady owl, a woodpecker, a blackbird and 5 ducks!

They fly around the world on a zeppelin to save other animals who need their help!

It wasn’t so easy to animate for a totally beginner, (at that point I was used to animate everything in LINEAR tangents, never touching the graph editor and without knowing the difference between FK or IK …Now I can confess it!! 😀

But… I won the challenge and I animated the series for 6 months with an amazing team of talented animators!

Watch some of my animations for “BIRD SQUAD”

After this series, I started a new one in the same studio: “Taratabong – The world of Meloditties” a crew of musical creatures that communicate through sounds and musicbfa0ecb6d577a1cbf322110c6948bb00

The challenge here was setted a bit higher: characters with no voice, no mouth or eyebrows, no arms… but… it’s still absolutely the project I loved most!

Watch some of my animations for “Taratabong”

This projects and the studio itself will stay in my heart forever, they were the first to believe in me and gave me the opportunity to start to work as animator

nippa_musicilli.jpg

(me and the meloditties made by a friend)

And… I can’t explain it with words but… in that studio there was a unique and great atmosphere…

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(me, wearing the awesome hoodie of the company)

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(playing Ping Pong during a break)

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(me and collegues in a cafè…an other break :D)


During that period I also started to create and sew (100% handmade)foto_chiara a series of puppets and portraits for my friends, you will hear about the PUPPETS again in my story 🙂

IMG_57KJ00 copia.jpg

volkswagen (puppets on the yellow van)

(friends and sister’s portraits)


– Moving in the capital: ROME –

After this second experience I moved to Rome with most of the team of Taratabong, for the production of an Animated Movie about an ogres family


It was my first movie and I had the chance to improve my skills, especially in acting

Unfortunately the production dealt with some problems and the movie was stopped.

But I still have a good memory of that experience!


– Taratabong 2 –

After this production I went back home, with my family. My dad (the greatest and best man I met in my life) passed away and I needed to stay home for a bit

So, I went back to the studio in Pisa for the Second Season of “Taratabong”!

TRUBY.png

(some meloditties puppets I made for fun)

And there, during the production…I met Emanuele 06 (and we are still here, together :P)

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(lunch time on the beach)

(snowy weekend with colleagues)


– Animating Gladiators –

Finished Taratabong 2, someone needed animators in Rome, in the Rainbow studio (best know for the creation of the successful tv series WINX)

Me and Emanuele moved there and we started the production of another Animated Movie “Gladiator’s of Rome”. Set in the ancient Rome, it tells the story of a unusual gladiator!

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Schermata 2017-08-16 a 15.38.55.pngSchermata 2017-08-16 a 15.39.49.png

We worked first on the Layouts and then on the Animations

Watch “Gladiators of Rome” Progression Reel

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(me and my Gadiators Stickers Album :D)

(movie’s posters around Rome)

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(first preview in the movie theatre)

We had great times during the production

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(swimming pool in our residence)

Awesome team, funny moments to remember!


In the sparetime, I started a personal short movie with Emanuele “Felt in the Box”, using my puppets design for the characters

GianfriRoom_Desktop.png

The idea was pretty cool but in the meantime…things started to be a little too complicated and we had to stop the production


-The magic of Winx-

Just after the end of the movie’s production, we started the Season 5 of the very successful tv show for kids “Winx”

First we animated the Transformation Sequence, I made part of Stella and Tecna sequence! Very funny to do! I loved that rigs, so well done, full of controls in order to don’t put limits to an animator’s imagination! 😀

Schermata 2012-10-19 a 20.17.27

Schermata 2014-01-10 a 16.27.53.pngWe were responsible for layouts and animations and the production was like….5/6 months long

Watch “Winx” Progression Reel

And here other Animations I made

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(me and my lovely Winx air mattress :P)

(me and my sister in the Rainbow Magic Land Theme Park)


– First time abroad –

After Winx, I felt to be ready to try an experience abroad and, with Emanuele, I moved to France

We found job in a studio placed in Angouleme, a small town in the Charante

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(my first day of work…under the snow)

The series was pretty complex, “Foot2Rue Extreme”, a lot of human characters playing football, parkour, roller blades and other crazy stuff! 😀

F2R

Watch “Foot2Rue” Animation Reel

Very challenging and tought experience! With a GREAT ANIMATORS TEAM

TRAINCROWD

ExtremeTeam2.jpg


– Back to Italy –

At one point, I felt the needed to go back to Italy and stay close to my family

For a while I stayed home working on a new personal project (again, with Emanuele), a TV series for kids with the Puppets as protagonists

5.5_Screenshot_ColoringEng_004 copy

We created the Opening Theme (whatch it here), the scripts of some episodes, a pilot episode and a super detailed graphic bible

Here a Making Off Video (watch us working :P)

We developed two apps, connected to the series that have been available on the Apple Store for a while. An Alphabet App, a Coloring Book, a Puzzle and an Interactive book

Puppet House_Apps_03.jpg

Here you can watch the Spot of the “Interactive Book” app

(my Awesome Puppets Birthday Cake :P)

And wee also participated to a famous event in Italy “Cartoons on the Bay” to pitch the series, but unfortunately…nothing happened! 😦


So, we went back to Rome, in Rainbow, to work on another successful tv series “Mia&Me” and this time we had to deal just with layouts

The only animation I made was the transformation of the main character, re-used for each episodes

MiaWatch “Mia&Me” – Transformation – progression shot

(colleagues :P)


– The big switch to VIDEO GAMES industry –

We had the chance to apply in a very big company based in Hamburg, GOODGAMES STUDIO in the extreme north of Germany. We had an interview with the head of the studio and we was in the team!KIA01ENG

At the beginning I was a bit scared, I never worked in video games before

But…after some technical issues I just get used to it and I worked for 1 year and half on a puzzle gamesnow1

ALL

(my workstation with the main character puppet made by me)

Watch my “A Little Lost” Animation reel

I was responsible to manage the animation team, we had several little cute animal/fantasy creatures to animate and make them interact with the gameplay

I’ve done so many idle, attack, win and lose animations…..that it’s hard to remember all of them! But I’m extremely proud of the work we have done! 🙂

(findind cooking on my desk in the morning ❤ …for those who don’t understand italian… stronza=asshole, with love of course 😀 )

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(me with Elisa, from the Onboarding team, those who helped us in burocratic stuff and relocation)

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(and our daily match with MARIO KART after lunch time 😀 )

You can watch other pictures about my experience in Hamburg here


– Life changes –

After the german experience, I had to deal with an other family lost, my great mom…. so I went back home to take care of our family stuff, that’s the main reason why at one point of my life I decided to work as freelance remotely

Right now I work as freelance for other italian and foreign studios, and in the spare time…I have this blog!

I was thinking to create this blog since a while but never find enough time to do it! I love this “project”, I like to teach and share what I’ve learn so far with other animators, so… I hope you appreciate it! 🙂

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Chiara

 

 

My Work Experience


For those who wants to know the studios and the project I’ve worked on, here’s my past experiences 😉 MyJob

  • Senior 3D Character Animator

    Company Name: Goodgame StudiosSchermata 2017-08-14 a 15.38.26.png

    Dates Employed: Jul 2015 – Sep 2016

    Location: Hamburg Area, Germany

    Responsible for the in-game animations of the 3D characters of “A Little Lost” – puzzle game. In my role I had to deal with: set a workflow and the animation style, deliver animations for most of the characters in the game. In addition, I was responsible to guide and supervise other animators.

    My first experience in game started with this cute and fun puzzle game! I was responsible to animate the little 3D creatures that help you during the game…it has been a challange to find a way to keep this high quality of animations for this type of game, where you have technical limitations (limited bones, characters interaction with the gameplay, animations in place…) but looking at the result…I can say we have done a great job! 🙂

    We’ve been brave, we wanted to keep a quality comparable to a Tv series animation, and…we won! 😉

    “A LITTLE LOST” – IN-GAME ANIMATION REEL

    ALL.png


  • Senior Character Animator/Layout Artist

    Company Name: RAINBOW CGISchermata 2017-08-14 a 15.48.03.png

    Dates Employed: May 2014 – Nov 2014

    Location: Rome, Italy

    Working as Animator / Layout artist on the Tv series “Mia&Me – season 2”

    Between elves and unicorns! 🙂
    I came back to Italy after the French experience and I worked for several months on the second season of this successful tv series, a Germany / Italy coproduction.

    I took care of the layouts, and I also animated the transformation of the protagonist.

    “MIA&ME” TRANSFORMATION SHOT – PROGRESSION REEL

    Mia


  • Concept / Script / Design / Art Direction / Layouts / Animation

    Personal Project

    Pitch for a TV Series for Kids “Puppet House” I developed with Emanuele Leoncilli

    “PUPPET HOUSE” – OPENING

    “PUPPET HOUSE” – APP SPOT

    “PUPPET HOUSE” – AUDITION

    Bibbia001Bibbia002


  • Senior Character Animator

    Company Name:  2D3D AnimationsSchermata 2017-08-14 a 15.59.58

    Dates Employed: Feb 2013 – Dec 2013

    Location: Angouleme, France

    Working on the Tv series “Foot2Rue Extreme”

    Moved to France for a year, in Angouleme in the region of the Charante, I worked on the most challenging (but really funny) series in my career, the 3D tv series “Foot De Rue Extreme” (produced by Télé Images Productions).
    I won the challenge with “action shots”, also a girl can animate people who play football and do a lot of other crazy acrobatic stuff! (Yeah, ’cause I was the only girl in the team^^)

    “FOOR 2 RUE EXTREME” – ANIMATION REEL

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    Here’s the fantastic ANIMATION TEAM I had the honor and the pleasure to work with, here in Angouleme.

    ExtremeTeam2


  • 3D Senior Character Animator / Layout Artist

    Company Name: RAINBOW CGISchermata 2017-08-14 a 15.48.03

    Dates Employed: Jun 2012 – Nov 2012

    Location: Rome, Italy

    Working on the CGI series “Winx Club – Season 5”

    One of the most funny projects I participated! Yes…the Winx 🙂 
    The Winx are a well-known successful product and, in the fifth season, it was introduced the computer graphics, that we animated! 
    In addition to the episodes, I had the pleasure and honor to animate part of the transformation Sirenix (in my opinion, the most beautiful transformation in the history of winx transformations  ^ ^) I made part of the transformation of Stella and Tecna. POWER OF TECHNOLOGY!! 😛

    “WINX 5” – PROGRESSION REEL

    “WINX 5” – IN SEQUENCE SHOTS REEL

    _winx_club_season_5Schermata 2014-01-10 a 16.27.53


  • 3D Senior Character Animator

    Company Name: RAINBOW CGI

    Dates Employed: Dec 2010 – May 2012

    Location: Rome, Italy

    Working on the project “Gladiators of Rome” Feature Film Production

    I worked on this project for 2 years! 🙂 First as a Layout Artist and later as  Character Animator. Challenging! Funny! Exciting! I grew up a lot thanks to this project! Awesome team! 2 amazing years! 🙂

    “GLADIATOR’S OF ROME” – PROGRESSION REEL

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  • 3D Senior Character Animator

    Company Name: Toposodo Schermata 2017-08-14 a 16.52.01

    Dates Employed: Apr 2008 – Oct 2008 (season 1) / Aug 2009 – May 2010 (season 2)

    Location: Pisa, Italy

    Senior animator for the tv serie “Taratabong – The World of Meloditties – Season 1 & 2”

    Full in love with Meloditties!
     
    I love this TV series! I participated to the first and the second season! 🙂
     
    Animate characters with no voice except for “music” sound was so challenging and interesting! I learned a lot, especially how to give life to characters just through eyes and “timing” and how to animate following precise beats and rhytm of the shot!
     
    LittleGossip: during the production of the second season I knew the best partner that I could meet (at work as in private life ^ ^)

    “TARATABONG” – OPENING

    bfa0ecb6d577a1cbf322110c6948bb00.jpg

     


  • 3D Character Animator

    Company Name: ToposodoSchermata 2017-08-14 a 16.52.01

    Dates Employed: Aug 2007 – Mar 2008

    Location: Pisa, Italy

    3D Character Animator for the tv series “Bird Squad”, Rai Fiction_Toposodo

    We never forget the first series 🙂 
     
    Here’s my first job as animator in the “pretty far” 2007, when I didn’t know that the blood of animator was flowing in me. 😛
    Thanks to this experience and the people in the studio that believed in me, I discovered my “talent”.

 

“BIRD SQUAD” – OPENING

Schermata 2014-05-31 a 00.01.24.png


 And, where’s everything started… my School Diploma, the “horror” Short Movie “Rampicante – Hederae Sicarus”

That I realized in 2006 with other 2 students! (I wasn’t so confidence with animation at that time…. :D)

“RAMPICANTE- HEDERAE SICARIUS” – BLOG

“RAMPICANTE- HEDERAE SICARIUS” – SHORT MOVIE

rampicante.png

Spartacus – tv show


I know… this is a bit off topic 😀  but I’m watching again this amazing tv show, I just love it! Extremely intricate plot and a huuuugeeee font of reference for Actions animations! 😉

I often go to analyze some poses and actions from this show when I need some references! It’s a goldmine for this type of animations! 😛

By the way, yesterday I just had this inspiration and creativity so I’ve done this “tribute” to some of the characters and their most famous quotes!

ps. GANNICUS ♥ deserves two of them! 😀 😀 😀

I really enjoy creating this 2D sketches and comics, I have an entire blog “My life Adventures Book” where I posted some comics of real life’s adventures (most of them are in italian). It’s been a while since I posted the last one, I should add some new comics 🙂

Do you need feedback?


I know…sometimes animators are a bit shy and reluctant to show their animations but feedback are really important to improve your skill. A “fresh eye” can see what you don’t see, to have a more “general view” of the shot and can helps you to improve it where really necessary!

I really enjoy the “feedback” process! (♥)

Usually I have a quick view at the shot “Does it works?” “Did I understand what’s going on?”Could be better with just some little modifications?”

After that I got to check the Poses! I have a thing for poses 😀 I love to see the characters in natural and original posesit’s probably the step where I spent most of my time when I animate! Then I check the Timing/Spacing, the Arcs etc..

When I prepare the image reference for the feedback I always try to keep them as much clear and easy to follow as possible, I don’t want to confuse the animator….I should just help him, not make him frustrated 😛

So, have a look on the feedback I’ve created so far (based on you “colleagues” works) and if you have an animation test or a shot and you need feedback…just use the page “Your Animation”and add a link in the comments! I will provide you with a feedback in a couple of days (usually) 😉

Have FUN! 😛

#iWantToBeAnAnimator #beananimator #animation #learnanimation #animationforbeginners

In a Heartbeat – short movie


The animated short movie many animators (and not only them) were waiting for!

Hey guys! I’m really excited today ’cause I’ve seen this beautiful and touching piece of animation that I want to share with you! 🙂

iNaHeartbeat2017.png

Finally, someone brought up a theme that has never been addressed so directly, so far…

Beth David and Esteban Bravo just did it, and in the more adorable and subtle way as possible.

In their animated short movie “In a Heartbeat” they follow this super cute redhair boy in an internal conflict (not so internal…actually :D) while the boy he likes is walking to school.

“A closeted boy runs the risk of being outed by his own heart after it pops out of his chest to chase down the boy of his dreams” this is the plot… and I just love it! 🙂 (from the official Facebook Page In a Heartbeat – Animated Short Film)
The idea of this little “brave” heart popping out of his chest… is just BRILLIANT!
Or, do we want to talk about the moment when the heart/boy touches his hair….. ? Beautiful…

I found this short really INSPIRATIONAL, you know…. when I see this kind of things I really believe that we do “the best job in world”
Besides this, I really loved the character design, renders and…..the MUSIC! When everything can be told with not a single word…. really well done!

So, all my respect to this two great guys and…Thanks for made me dream today! 😉
I really look forward for new projects from you! 😉

Ok, now… LET’S GO BACK TO ANIMATE!!! 😀

The creators:

EXERCISE #4 Animate a Throw


In the Lesson 08 I explained the Animation Principled “ANTICIPATION” so now, following the corresponding Tutorial 08 you could try to re-do this exercise of a character throwing an object! 😉

Tutorial #08 – How to Animate a Throw


-How to Animate a Throw-


How to Animate a Throw RECAP

In this quick tutorial I will show the main poses, the timing and the spacing to animate a character throwing an object. The tutorial is linked to the Lesson 08 “ANTICIPATION”

I’ll use Ink, the official rig of my channel! Ink has a very simple design to better focus on the poses and animation, and has this flat monochromatic texture with shoulders, chest and hip lines to helps you to create nice and appealing poses for him! 😉

Schermata 2017-08-02 a 11.26.56.png

Let’s create the object he will throw away, a simple ball. We go to create the control for the ball and we parent the mesh to itSchermata 2017-08-02 a 12.10.47.png

I set the camera, with the character on a side and I create a plane to check feet position and compenetration

Schermata 2017-08-02 a 11.27.26


We set the first pose, you can do the pose you want. In my pose he holds the ball with both the hands, he’s quite relaxed, the shoulders are rotated downward, the head is a bit rotated downward like he’s watching to the object and the feet are pretty spread, the weight of the character is more on the left foot

Let’s adjust the finger position, to avoid compenetrations and be sure that the hands are really holding the ball, so keep attention to pose each finger in good and natural pose

Now add a constraint for the ball! Select the right hand control, then the ball ctrl and create a translation and rotation constraint


Let’s create the anticipation main pose, around frame 28

The timing I’m using is just indicative, to give you an idea of the distance between a key pose and an other, but you can do it with your own timing

So, for the anticipation he will move backward with the entire body, stretching the chest, and he also moves back the right foot to balance the weight, raise the hell of the right foot (he’s really stretched in this pose, so he needs to stand on his toes)

Now just one hand holds the ball, the right one and I move it pretty backward, is not completed straight but a bit bended (try to simulate this movement yourself, you will see that the more natural pose is keeping the hand faced towards the area where you will throw it, and you will naturally move upward your shoulder)

The left hand started to move forward and it’s bended towards the body, it helps to maintain the balance and gain more energy


Now let’s move forward in the timeline for the extreme throw pose, around frame 42

The body moves and roates forward. The weight of the character is on the left foot, but the right foot in the air helps him to balance the weight and contrast the power of the throw that moved him forward. Create a nice and pretty relaxed pose for the right foot, with the toes pointing down.

The right hand is now straight and stretched in front of the character, the left arm moves backward, and it’s still bended at this point

The head is rotate upward, contrasting the rotation of the chest, he’s following the ball movement


Let’s add an other little anticipation, around frame 8 with the very small movement upward with the hip and the hands, just before the big backward movement (pose 28)

Practically, we go to create an anticipation of an other anticipation!


Now we add an important breakdown, around frame 15, when he starts to move backward, here we need to slow down the spacing between the pose at frame 8 and the pose at frame 28

The body starts to move down and backward, the left hand is not touching the ball anymore but it’s still pretty close to it, the chest is squashed and rotated forward, and the right foot started to slide backward, I keep it flat on the ground, I just overlap a bit the toes that moves offsetted by 1 frame


Let’s add an other important key to slow down before the pose at frame 28
(we need to keep this pose longer) so let’s add a in-between approximately 5/6 frames before the pose at frame 28

On this new in-between, frame 22, the body is already stretched and ready for the throw (with a pose really close to the pose at frame 28)

So the big movement and change in position is between frame 15 and frame 22


Now we slow down again just after the pose at 28

Add an in-between at frame 34 where he just starts to move a bit up and forward , very small change


On frame 39 he continues the movement up and forward BUT the chest is still rotated backward

Bend backward the right arm so that the hand with the ball don’t moves too much, maintain a position closed to the position of frame 28 (use deformers for the arms and create a very dynamic pose)

The right foot starts to move upward in the air and the hip in this transition moves a bit upward as well


Now we need to add two poses at the end for the SETTLE
On frame 46 the body continues to move and rotate forward, the right hand goes down, the left hand continues the movement upward, and the same for the right foot


On the last frame the body starts to go back, the right foot to go down and forward, and we have a follow trought of head, forearms and wrists


Now that we have all the poses we can switch the curves in stepped to see the result (the ball is still attached to the hand, but let’s ignore it for the moment, we will animate the ball in a second time) throw_BLK


We can now proceed with REFINE, we change again the curves in auto tangent and let’s polish the path of arms and the right foot

We start with the right arm: if you create a motion trail, you will see that the path of action of the arm movement is not so nice, we can do better then this so we go to add some poses for the arms in order to create a nicer path

Continue to polish your curves and when the body is done you can move to the ball

On the frame where you want to turn off the constraint on the ball (frame 41 for me) add a key on the ball control and it will create a blend parent attribute: set it to 0 and add a key

On the frame before (frame 40) add an other key on this attribute and set it at 1Schermata 2017-08-02 a 11.31.23.png

Now the constrain is active up to frame 40, after that you can animate the ball

On frame 41 we move the ball forward following a linear path, it must be already pretty distance from the hand, with a very fast spacingSchermata 2017-08-02 a 11.31.34.png

Add a stretch on it, then move forward in the timeline and place the ball so that it goes out of the screen in very few frames, 3 or 4 frames, keeping the stretch!Schermata 2017-08-02 a 11.31.48.png


That’s it, this is my final resul! 😉Throw_Refine.gifIf you want to re create this throw animation you can do the Exercise #4  following the steps of this tutorial and send me your animation (adding a link in the comments)  to receive a feedback !

Lesson #8 – ANTICIPATION


A new Lesson available! This time talking about ANTICIPATION and the different types of animations that need it! 😉

In the Lesson I’m using my NEW “cute and super cool” (♥) personal and official channel’s rig INK!!! 😛


Anticipation RECAP

One of your first goal, when your are creating an animation, should always be to make something that is perfectly readable! You can create awesome poses and have a great concept, but…if you don’t make it clear and readable… would be impossible to catch the sense of what you are trying to communicate!Anticipation01.png

Anticipation02.png

that’s why we use ANTICIPATION! That, as the word suggest, is nothing more than the “preparation to the action”!

We can haveAnticipation03.png

let’s see some example:Anticipation03b.pngwhen the movement of a body (or an object) prepares for an action

Example #1: if a character throws something far, he would prepares the action by moving back the arm with the object (preparing for the throw)

In this way he will have enough energy but this movement also prepares the users for what will happen. From this anticipation, you already can imagine that he will throw the object!

Example #2: a character running out of the screen, is made more readable thanks to an anticipation of the character moving in the opposite direction and raising one leg!

This helps the user to read a very fast action. Without this anticipation…. the user could have some problems to read the scene!

Example #3: or you can use it for a very cartoon effects…. or for something more realistic, with a much more soft anticipation!


Anticipation09.png

Another way to use an Anticipation is to create a funny effects!
Example: if you see the same run anticipation of the run we’ve seen before, you imagine that he will run away super fast…but…adding a pretty slow run just after this big anticipation…you will create an unexpected result!Run_Fun.gif


Anticipation10Or… you can use it to direct the attention to something that is going to happen or leading the eye in the right screen area.

Example #1: if your character is standing in the middle of the screen and something is going to enter from the right, if you don’t add an anticipation, the users would probably miss the first part (when the second element is entering in the screen) ’cause you are looking at the character in the center.

But…if you add an anticipation of the character looking on the right your attention would be re-directed in the right area, just in time to better follow the action!

Example #2: in case the character is going to take something, a fast look at this object prepares the users to what he’s going to do

Or you can use the anticipation with the hand, holding it in the air for few frames, this is an other way to communicate to the user that he’s going to take the glass!


Anticipation15.png

Example: thanks to the anticipation you can better feel the weight of the character in two different jumps.

In the one on the left he makes a soften anticipation cause he’s pretty light.

In the one on the right he’s bringing an heavy backpack so he needs more energy for the jump, he needs a stronger anticipation, bending and keeping this pose a bit more


Anticipation17.png

depends on the action!

Usually with fast action or big change in position we need more anticipation!

Like for the fast run or the cartoon one, both this examples has big anticipation, and a very fast action just after them!
Or, an angry reaction like, a character smashing a door, would require a big anticipation to enphasize the action and after, the door is closed in very few frames


Anticipation20.pngSome Anticipation must be really subtle!

Example #1: an hand that is going to grab a light object would have an almost imperceptible anticipation! The hand just goes upwards for few frames before going down to grab the apple

Example #2: in a simple take we have a little anticipation, a very small movement with the character moving upwards before the take, few frames of anticipation, is there but it’s not so visible


Anticipation24

Example: the door settle doing little movements back and forward in few framesAnticipation25


Anticipation26.png

You absolutely don’t need an anticipation for every single movements of your character…with practice and experience you will get used to it and you will naturally know when an action need it, as I said, usually we use it before big and or fast action, but also to make the movements more fluid and readable! 😉


Now that you know how to use ANTICIPATION you can follow the Tutorial #08 “How to Animate a Throw” and try to do de Exercise #4 following the steps of the tutorial! 😉

I Like To Present


INK – Character RIG

I want to introduce you the Official Rig for my Channel – INK 🙂Ink_Rig3.gif

I wanted something simple to better show you same basic principles and I love the 2D effect in general!

Finally is ready and I already started to use it for my new lesson! 🙂

(the Rig is not available for download)

How to make the best use of this channel!


Little and quick video with some explanations 😛

Animators Corner #2


– A BLOODY NIGHT-

When an animator creates his own game…

In this second video I show you an indie game created by an animator, Emanuele Leoncilli! It’s a pixel-art action game released on Steam  😉

Animators Corner #1


– Animator’s Survival Kit-

This is the first video for ” Animator’s Corner “ where I will talk about different topics: books, movies, softwares, games…. everything that comes up in my mind connected to the animation industry.
I want to start showing you the masterpiece of the animator books, written by the animator Richard Williams (animation director of “Who framed Roger Rabbit”), and published in 2001 (FF).

 

Tutorial #07 – How to Refine a Shot


-How to Refine a Shot –

PART1: Before start to show my workflow to Refine a Shot I need to do a quick explanation of the main tools of the Graph Editor (for Beginners), here the main topic:

– Introduction to the Graph Editor
– Main Useful Tools
– Create a Cycle Animation
– How to Bake an Animation
– Quick fix gimbal Lock and Flipping with Euler Filter

In the Tutorial I used the “Alya’s Rig” https://www.facebook.com/AlyaRig/

PART2: I will use an animation I made a while ago to show you my workflow when I have to refine a shot! 😉 ANIMATION SHOT

In the Tutorial I used the “Eleven Rig” http://elevenrig.blogspot.it/

—————–

“Refine a Shot – Graph Editor” – RECAP (BEGINNERS)

GE01.png

First of all, it’s not something you have to be scared of!GE02a.png

I know exactly how you feel when you open it for the first time, ’cause when I started this job, I tried to avoid it as mush as possible, I found it too

 

…. “technical”, I had the feeling to lose part of my instinct and I always preferred to work directly in the viewport, like “I don’t care how my curves look like! The animation works so ….it doesn’t matter!” but…in hindsight, now that I’m used to work with it and I know how useful and important is to make beautiful animation, I would like to show you and explain the Graph Editor in the easiest way, so that you can focus on the important aspects and you don’t be too much intimidated by it! GE03

When you have your keys on the timeline, open the Graph Editor

Window –> Animation Editors –> Graph Editor

(I’M USING MAYA 2015, so … if you have other versions you may find it a bit visually different!)

Like any other panel you can click in the button right angle to scale it and adjust it as you wantSchermata 2017-06-22 a 16.57.04

Or, you can change the layout of you view scene by choosing the Persp/Graph option and you will have the view scene splitted in 2 windows: with your camera in the upper part (in this case you have the persp but you can change it with the camera you prefer) and the Graph Editor below. By clicking in the middle you can change the size of the windowsSchermata 2017-06-22 a 16.57.09.png

Select all the controls of your character and … as you can see your animation is visualized in the Graph Editor as CURVESSchermata 2017-06-22 a 17.05.18

Each curve is the rapresentation of the motion of the different axis, that you can see on the leftSchermata 2017-06-22 a 17.05.23

You can select each axis one by one, or select multiple axis by keeping press shift!

To Move in the Graph Editor, just do as with the viewport navigation:

  • Pan: press Alt or Option and middle-drag 
  • Zoom: press Alt or Option and right-drag

To Fit the entire curve in the window: point on the graph editor and press A

If you want to zoom on a part of the curves: select the keys and press F

GE05.png

I’m going to show you the tools you’ll use most of the time from this menu:

_________________________

GE05_cycle.png

When you have an animation and you want to create a cycle (a walk cycle or anything else you need to loop) the first thing to do is to open the Graph Editor and switch on the Infinity to visualize the cycle from VIEW –> INFINITYSchermata 2017-06-22 a 17.23.58.png

then… select the curves and from the menu Curves turn on the cycle on both Pre Infinity and Post Infinity. In this way you will cycle before and after your first and last keys

cycle1

an other type of cycle you can use is the CYCLE with OFFSET, in this case when you have the first and last keys values different (for example like in a walk cycle forward, or in a cycle in place when you move forward the main control with the first and last keys with different values) the cycle starts from the values of the last and the first keys (in a progressive way)

cycle2

If you want to take off the cycle: just select Curves –> Pre and Post Infinity –> Constant

_________________________

GE05_bake.png

in some cases you will need to bake your animation: this means that the software will convert each frame in keyframe (this is useful in case you need to convert in keyframe a cycle or to keyframe a constraint, or to export your animation for a game engine and other cases)
to bake the keys, go on CURVES –> BAKE CHANNEL and open the options:

here you can choose which part of the animation you want to bake: you can decide to bake a range of frames based on your current time slider or to chose a range typing the start and the end.

And the interval between the keys: you decide if have a keys any 1/2/3 or more frames

_________________________

GE05_euler

this is not the only way to fix a Gimbal Lock or a Flipping rotation issues, and it doesn’t work always, but it works in many cases! 😉

so, if you have this type of issues you can try to use the EULER FILTER: you can see in the graph editor the curve with the issue (should be pretty visible :P)

select the keys and go to CURVES –> EULER FILTER! Schermata 2017-06-22 a 17.52.32.png

_________________________

GE05_refine.png

This is my personal workflow when I go to refine an animation.

I’ll use this animation I made a while ago, this is the final version

For a matter of time I’ll show just a little part of the animation and this is the blocking I started fromBLK.gif

If I’m sure that the blocking works well, that everything is readable, that I have the right timing, appealing poses (nice and readable) that perfectly fit’s the character mood …..so… when the biggest part is done, what we are going to see in the shot is already there, I just need to refine the animation: make everything fluid, polish the curves, adjust the spacing, offset some parts and add some details!

I set in spline (or auto tangent) all the keys and…let’s see how it looks likeAUTO.gif

if you have done good blocking (adding the right keys in the right position, with a good timing) when you’ll convert your tangents in spline, the result should be something enough clear and polished! 😉

BUT … if you just started to animate recentlyyou may have something more chaotic the first times! Schermata 2017-06-22 a 18.35.31.png

Some animator tends to add too much key poses during the blocking, two many acting choices or too much breakdowns and in-betweens, and when they convert in spline … the graph editor is a bit confusing! Sometimes they have to delate most of the blocking and re-do the work, so here some tips for your blocking:

so don’t be angry if the first times you will have something more confusing, you’ll get used to it with the experience! 😉

My version already works but the movements are a bit roboticAUTO the character needs life and a bit of love ! (Don’t care about the lip-sync ’cause I just added some poses in the BLK and I’ll try do do an entire lesson just for the lip-sync ’cause it would take too much time)

the first thing I’ll go to adjust is the:Schermata 2017-06-22 a 18.45.10.png

for example: the first movement is too slow, everything starts to move too soon so I want to keep the first pose for more frame. But I don’t want to freeze it, I just go to slow it down!

In the timeline I quickly add keys and move them back or forth to edit the spacing! This will make the process faster, ’cause after that… I’ll go to clean them in the graph editor but I already have the right spacing to work with and is also faster ’cause in this way I can move all the controls at the same time and not one by one

after I worked on the timeline, I go to clean and adjust the curves in the graph editor, trying to smooth the motion.


Now I will adjust the Moving Holds at the end of a movement, slowing down the spacing in the final part! To do that I add an in-between before the last key pose, with a value really close to the final one, so the animation stops more softly.

If you reach the final position too fast and then you don’t keep a bit of motion (a great motion and suddenly a flat curve with no motion at all) the resault will be an abrupt stop and very mechanic motion.

If the stop is too slow (so if we have too much motion at the end) the result is not realistic anyway and would result too floaty


Now I go to add Follow-through and Overlap offsetting same parts, example:

  • offset the upper torso from the middle torso, the neck from the torso, the head from the neck
  • the same for the arm, I need to offset the forearm, from the arm, the wrist from the forearm, and the fingers from the wrist
  • same for the leg, shin offsetted compare to leg, foot offsetted from the shin, and toes from the foot

after the blocking I have all the keys on the same frames, so each part of the body reacts, starts to move and ends the motion at the same time, on the same frame with exactly the same timing!  We need to add variation, ’cause each part would react in a different way and time!

To offset the keys I just select all of them (a controller at the time) and I drag them forward in the graph editor or directly in the timeline as much frames as I need, then I adjust the curves in the graph editor and I add some in-betweens when necessary (adjusting shapes, arcs etc)


Then I add more Breakdowns: I add the blinks where needed or I simply adjust them, I animate the squash for the head and I check my arcs!

I want to be sure that each movement follows a nice path: the arm, the head, the chest…you can use motion trail to visualize the paths of your movements and adjust them to create smooth and nice arcs!
To use the motion trail you have to select the control of the parts of the body you want to check, and in the Animation Tab, go on Animate —> Create Editable Motion Trails and then turn on the visibility from Show —> Motion Trails
the software will displays a red line that is your path of action. Anytime we move the control (so we change the position), the trail changes. You can also turn on the handles to adjust the arc. In this example you can also see a motion trail displaying a figure 8 path, that is very used in animation, for example for the swing of the arms during a walk.
Why arcs are so important? Most of the movement should create an arc in their path of action, this makes the animation more fluid and more realistic!
BUT There some particular cases where straight paths are necessary so … always keep in mind the type of animation you are doing and make your decision based on that.

In the in-betweens and breakdowns you can use deformers to adjust the shapes to better follow the arc.


before the arms stops I added this little settle back and forth ‘cause the gesture is pretty fast and strong, so adding a simple slowing down at the end would take off a bit of power from the gesture, resulting too soft! I already have a smooth and slow movement before, when she moves the pencil while she thinks and stalling before make the question, so… it’s more interesting to break this rhythm adding a faster and stronger movement when she finish the question, also the contrast with the soft bended arm before and this straight rigid line at the end helps to emphasize the acting!
What is a settle at the end of a motion? Some type of movements need to settle after the stop! A sort of soft or strong rebound back and forth
An object reaches a forward position, then goes back and forth 1 or more times!

If the object (or the character) is composed by different parts, they will stop at different time and different way to settle!


Now I add a bit of movement to each part of the body, this because we should always move the entire body!

A human body is composed by parts connected to each other and each part has an influence on the closest one!
So even if with very subtle movements, in most of the cases we should consider that when we animate a part this should affect an other one.
In my blocking I didn’t add any movement to the right arm, it’s totally freezed in position and also there’s no movement to the lower part of the body, the hip, ’cause this parts actually don’t do nothing, but they need to react anyway! Something soft, but enough to make it part of a body in motion, and not a separate object and also to add vitality to the entire animation!

I look throw each poses to be sure that are nice and readable, I use deformers if necessary to adjust arm and legs shapes
I check if there’s some compenetrations with props and environments or with the body itself!

I check the eyes, the more important part to make a character alive, eyes are so important, the look have to be focused on something (unless the character is thinking to something, or…other particular cases where the eyes just stares off) I check the pupils position, when a look is on a side, keep attention to don’t put the pupil too inward, it’s unnatural, and we lose the characters life! So keep at least half of the pupils visible!

I go to add all the little details at the end, like the offset of the prop, the pencil, that must has a bit of delay compared to the hand movement. I add the hair animation and….that’s it!

I hope this video helps a bit to show you how useful the graph editor can be, and how to approach refine to make your animation looks better! 🙂

Let’s share feedback and tips for your Animations!


I created this new session “Your Animations” to give you a space to share your shots, exercises, animation test, cycles… YourAnimationsTitle_Base2.png

I receive a lot of emails and messages with your shots asking for feedback! I’m always happy to help (sometimes it could take some days but I try to find the time to answer to all of you) but … right now it’s a bit confusing ’cause I receive your emails (with your shot’s link) on my emails, facebook, youtube, twitter, linkedin….and can happen that I miss some of them! SO.. 😀 I thought to create this new category to gather all your shots and questions so that everything is more clear and organised and I’ll easily have access to them! 😉

You can use the comments below to share links to your animations or ask questions! In this way also the other people could give their feedback if they want or … help with some questions/topics! 😉 Hope this will make the “feedback process” more easy!

 


Me BMan – June 23, 2017 at 8:06 pm


Brenda Ibarra Ruvalcaba – June 26, 2017 at 5:09 pm

So, in general, your main problems cames from the poses, after that you will also have to adjust the spacing and smooth the curve, right now everything is too linear and there’re a lot of pops/jerks here and there! All this things create the mechanic feeling)!

Hope this helps, and remember to always start with the blocking and create good poses, spend time on this step, it’s super important!! 😉


Ankit Singh  – June 28, 2017 at 17:03:55


Me BMan – June 30, 2017 at 9:34 pm


GLEB45 – July 12, 2017 at 1:48 pm


ROSANA – July 21, 2017 at 5:58 pm

ZAMIR UDDIN – AUGUST 1, 2017 at 8:42 pm

feedback#7


CAIO HIDAKA – AUGUST 5, 2017 at 11:37 pm

feedback#8


ALEXANDRE – AUGUST 6, 2017 at 06:02 pm

feedback#9


BHUWAN SHARMA – AUGUST 8, 2017 at 02:01 pm

-Second Version-


JEACOM – AUGUST 12, 2017 at 04:24 pm

feedback#11


ALEXANDRE – AUGUST 10, 2017 at 02:39 pm


BHUWAN SHARMA – AUGUST 31, 2017 at 09:25 am

feedback#13


THALITA – SEPTEMBER 5, 2017 at 04:32 pm


BHUWAN SHARMA – SEPTEMBER 7, 2017 at 08:04 am


 

Little Update!


I know….it’s been a while since I’ve posted my last video but in this month I had (in order):

  • a RELOCATION ( from Hamburg to Italy )relocation
  • a “PROBLEM” WITH MY RIGHT ARM (unfortunately I’m not ambidextrous) arm
  • And….I also started an EDUCATION COURSE for my little “tank” EVY……evy

so, I was a bit busy.. 😛

BUT! I’m working on some new videos and soon I will post a lesson based on another animation principle “ANTICIPATION“! So, wait for updates! 😉 LessonTitle_ANTICIPATION.png