#animtip

[animatorisland]

Zombies! 🧟⚰️ Learn

Zombies! 🧟⚰️ Learn how to animate like a voodoo master: http://amp.gs/vBkj #animtip #inktober #2danimation #animation2d #toonboom

[ferdinand-creanimo]

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A post shared by Ferdinand Engländer (@ferdimator)

Animating in After Effects with the Animation Composer from Mr. Horse🐴 Very handy tool. #animation #animtip #aftereffects #mrhorse #animationcomposer #artistlife #motiondesign https://www.instagram.com/p/Bntvd2Tlehl/?utm_source=ig_tumblr_share&igshid=ze0343vyrtfm

[gradeafun]

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A post shared by Grady (@gradeafun)

#30dayanimationchallenge day 1. You always #learn something #new when you go back to the #basics. #animtip #animation #12principles #practice #skillbuilding

[riggingdojo]

riggingdojo

RT @TOAnimate_: We just uploaded one of our new in-depth lectures on "How to Animate Brows", up on YouTube for free! 👀 If you're only going to watch ONE video on brows, it should be this one! 👉 https://t.co/PS3fDhgZCz 🔁 RT is much appreciated ♥ :) #b3d #animtip #animation #toanimate https://t.co/x3FNDMFaJk https://t.co/TY5sGrKvVX

[creatureanim]

Detailed demo for using Anim Bot. Though best way is to add it to your workflow and let it slowly merge with your existing workflow but this video will give you a great headstart and some great tips to use Anim Bot to its best powers. Check it out!

[ahblock]

so much truths, mainly about the insecurities we faced being an artist with some additional gold about animation work. last one especially harsh lol! raincloud: “everything is your fault”

[ung]

Frank Abney (@iFrankAbney)

I was gonna take the summer off, but decided to teach another Online Animation class. I have 8 spots left for my summer expert class!! Sign up! * *https://www.animsquad.com/expert-animation * *#Animation #Education #Teaching #AnimTip

faved by your 1 friend and 1 other

[str9led]

"Powerful Pantomime" Lecture Series - Shot Render (Mandolin) from Ken Fountain on Vimeo.

The "Powerful Pantomime" Lecture Series now availabe!

splatfrog.com/product/powerful-pantomime-lecture-series/ …

Last year I became too busy to continue teaching this #animation workshop. So I’ve released the set of lecture #videos on the SplatFrog store. Meet Mandolin. He helped me teach the class :) #animtip

[moonbotstudios-blog]

Now Hiring: Animator

Job Title: Animator Job Hours: Full-Time, 45 hours/week Reports to: Animation Department Lead Job Summary: The animation team specializes in 3D character animation in a variety of styles and formats. The animators are also responsible for doing layout, and, as skills allow, to contribute to 2D animation, storyboards, motion graphics, editing, rigging, modeling, FX, and project development. We are a studio that thrives on creative passion, flexibility, strong fundamentals, and a trail-blazing mindset. As a medium-sized studio working on multiple projects simultaneously, we put a high premium not just on talent, but on collegiality and adaptability.

Skills/Abilities/Education:

Must have experience in 3D computer animation, including extensive experience in Maya

Ability to take animation experience/skills and apply it across multiple mediums/formats, even if you have no experience in that medium (if you only want to work in film animation, or game animation, or have no desire to ever animate on an app, then this isn't the studio for you).

A solid demo reel showing excellent body mechanics and acting skills

Experience with 2D animation, character design, storyboarding, layout, modeling, rigging, lighting, color, texture, compositing and/or motion graphics is a plus.

Ability to multi-task, work under pressure, hop from project to project, and meet deadlines required

Ability to work in a collaborative environment and to interact positively and successfully with other artists, technical colleagues and directors

Excellent self-management and self-discipline, with the ability to take direction and to be a self-starter, depending on the needs of the department

Adaptable to new software and specialized production tools created by our programmers

Must be flexible. Moonbot Studios is a growing venture working in cutting-edge and highly creative technologies. The Moonbot animation team’s primary role is layout and animation, but an Animator will often wear multiple hats. Our employees approach their jobs in a serious manner but in an environment that is conducive to free expression and creativity.

Must be currently legally authorized to work in the United States and willing to relocate to Shreveport, Louisiana.

Submit resumes & links to reels to Moonbot: Via email at recruiting@moonbotstudios.com

Moonbot Studios is an equal opportunity employer and considers all candidates for employment regardless of race, color, religion, sex, national origin, citizenship, age, disability, marital status, military or veteran’s status (including protected veterans, as may be required by federal law), sexual orientation or any other category protected by law.

[jdublish]

(Another question from Vimeo.)

“I saw your animation demo reel and it looked pretty cool. This might be a little substantial for an email though I was wondering if you would be able to share your animation workflow and how would you approach to a final shot ? I know it changes in some shots but what is the workflow you mostly rely on? also I just wanted to know you prefer weighted tangents or non-weighted tangents? why?

Really appreciated for your response!”

Hi [name redacted] and thanks for the compliment!

Correct, my workflow can change depending on the needs or the complexity of the shot, but I usually default a certain workflow. After I've been issued a shot or string of shots from the directors, where they've outlined to me the emotional beats they want the characters to hit and other directives, I start with:

1) Quick thumbnails.     I'm not an extensive thumbnailer, but if there are expressions or main key poses I'm thinking of, I like to quickly sketch them. I like having my first take of a shot come from a few simple, graphic shapes to get me started.

2a) Shoot/find reference.     If the shot is something I can shoot reference for, I shoot it myself. If the action is something much more challenging than I'm capable of, then I try to find reference of it online (animals, hyper-athletic stunts, inanimate objects, etc.)

2b) Sometimes you simply won't be able to shoot or find reference for a shot (example: basically everything we did on the just-annouced Inner Workings) and you just need to jump right into the computer.

3) Stepped-key blocking (most of the time).     I like to block in stepped keys. I like to focus on clear, appealing poses first. When I'm blocking my first pass, I try to use as few main keys as is necessary to get the point of the shot across. I never want to spend too much time blocking my first pass before the directors ever see the shot, which is why I try to be selective with the amount of keys I set on the first pass. However, I never want to have to describe to anyone what the point of the shot is at this stage either. I hate having to do that. So I aim for the balance of not having too many keys, but all the keys are completely describing my idea and my intention.

4) Breakdowns, still in stepped-keys.     After I’ve shown my first pass to the directors and supervisors, I start to add more breakdowns to my shot. I'm still using stepped tangents, but successively adding more descriptive keys to the shot. -For the face and body, all together. (Sometimes younger animators save the face for later which is a BIG no-no. Work the whole pose together.) Eventually I'll have keys on 2s or 3s (a key every two or three frames). If a character is in a moving hold, I might have keys on 4s or 6s or maybe even 8s. While I'm adding breakdowns, I'm also making slight adjustments to my timing within the stepped keys.

5) Convert to auto tangents and start polishing.     Once my shot is on 2s or 3s, I convert my tangents to auto tangent. Some call this an intermediate stage between blocking and polish, but for me, once I'm refining curves, it's all polishing from then on out. I start with the hips/root of the character and channel by channel, I refine the curves. Start from the core of the body and work your way out to the extremities. Hips then chest then head, etc. I'm a big believer of "spend more time getting it right in blocking and the conversion to spline tangents will be much easier." People often dread converting from stepped to spline, but I think if you take the time to describe your eases, overshoots, moving holds in stepped, you'll find hitting the spline button is much less painful.

6) The last 10%.     As I've been refining the animation and checking in with the supervising animators and directors, I'm continuing to polish the shot. This involves tracking and finessing arcs and spacing, polishing contacts, eases, overlaps, settles, dialogue, and on and on. I enjoy this part of the process.

And then, with director and supervisor approval (hopefully), the shot ready to move on to the next department!

Oh, and I'm a non-weighted tangent guy, 99% of the time.

Hopefully you find that useful! -Jeff

[animatorisland]

We have a

We have a look at all the #animation craziness that is happening in “The food thief” teaser by mindbender: http://amp.gs/70ge What was your favorite frame? 😍 #animtip #cgi #3d

[gradeafun]

#30dayanimationchallenge up first bouncing ball in place. You always get better after revisiting the basics. #animtip #bouncingball #animation #12principles #squashandstretch

[riggingdojo]

riggingdojo

RT @Wardl_: If you are looking to transfer motion from an FK chain of any length to IK controllers in Blender here's how to do it using bone constraints and three extra bones. #rigtip #animtip #b3d https://t.co/cbkKnZHoSg

[dannyanimator]

Submit several bad reels under fake names to make your real reel look better

#lifehack #animtip #lols

[ahblock]

see the gif here -> https://twitter.com/tonikopantoja/status/835188482423205889

[animadarsh-blog]

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