Creature Animation:

Creature Animation:
Interviews and Videos from
Top Creature Animators
Read and watch a collection of tips and tricks from veteran
creature animators from Tippett Studio to Industrial Light
& Magic.
Animating The Croods (in the Croodacious Period)
Originally Posted: May 10, 2013
By: Thomas Grummt
SPOILER ALERT. SPOILER ALERT. SPOILER ALERT. We love for you to read about Animation
Mentor alumni — starting with Thomas Grummt — who just completed work on The Croods. But
fair warning, Thomas does spoil the movie. Look away if you have to; but read it because you must.
And please join us in a big Animation Mentor woot to Thomas — awesome work.
— The Animation Mentor Crew

For a couple of months now, I’ve been busy animating dragons and vikings. However, I still think
about The Croods a lot. It was my second movie at DreamWorks, and an altogether fantastic
experience. It’s been exciting to see the movie perform well since its release — but the best thing
for me is the feedback and reactions from audiences, who are just having a great time seeing the
film, and who can relate to the characters and the themes of the story. Seeing people laugh or cry
over a shot I created is what makes me want to be an animator.
Just as the characters set out on their journey in the movie, it was a journey into new areas of
animation for me. While it is hard to say what you are actually learning when working on a project,
when I look back it was one big learning experience — ranging from improving my workflow
and animation skills, communicating with supervisors and directors, (and gaining) a better
understanding of acting and filmmaking.
Production
I worked on the movie for 18 months and was lucky enough to start at a fairly early stage of
animation production. The story was still changing and many of the characters were just starting to
take shape through animation tests and experimenting with their personalities. Right away, I fell in
love with the concept of the weird creatures, who were a mix of animals we know today. I worked
on a few tests before starting my first shots — for example, a punch monkey walk and a wing flap
for the flying turtle. Most supervisors had been on the project for (some time) and there were acting
tests and walk/run-cycles for most of the main characters. Moreover, the sequence where Eep first
meets Guy was already far along in animation and it was animated by just their supervisors, Line
Andersen and Jakob Jensen. I remember being super impressed by the unusual mix of animal
behavior and human acting, and thinking: “This won’t be easy to live up to.”

I liked having a longer production schedule, because we were able to animate the movie with
a very small crew (which I liked a lot). Led by head of character animation James Baxter and 5
supervising animators, the team size ranged from just a handful of animators to about 36 in the
end. For the majority of the production, we were just above 20. It was very exciting to see a movie
taking shape and finding itself over the course of production. On Kung Fu Panda 2 and Puss in
Boots, I only got a glimpse of that process in the few months that I worked on those shows.
Just to give an example, the character of Belt the Sloth was quite different when I joined The
Croods. He used to be more like an actual sloth and had a much smaller role in the story.
Gradually, he became the fun sidekick with more of his own jokes and moments. I believe part of
that was due to how much audiences loved him in test screenings. In the end, he carried a lot of
the marketing for the movie and kids were running around crying “Dun dun duuuuh.” He is now one
of my favorite toys in the office!
Cavemen Acting
One aspect I really liked about the show was that I got to work on a variety of characters, since we
did not have “character teams.” We usually animate everything in the shot, unless it’s something
like a flock of birds, which was handled by the crowds department.
The Croods family members were almost always together, which resulted in a high-character
density for many shots. All of them had a specific way of moving and characteristic behavior. Grug,
the overprotective father, was similar to a silverback gorilla. Eep, the rebellious teenage daughter,
moved more like an athletic cat. The 9-year-old Thunk resembled a clumsy chimpanzee and the
youngest daughter Sandy acted more like a dog. It was both fascinating and challenging to find the
balance between the animal-like and instinctual behavior, and relatable, human-like acting choices.
We always looked for opportunities to show that the characters made use of their arms and legs for
locomotion, and could transition between biped and quadruped mode with ease. For that, the rigs
offered many IK controls on the feet as well as the hands, to achieve compression and natural roll
and push-off motions.
Much of the charm and life of the movie existed in the relations between the family members, and
I think that is part of what grabbed audiences (that, and the furry animals). The Croods have family
issues like we do today, but they live in a prehistoric, hostile world. They needed to be believable
as a family, and I was lucky enough to work on some shots where I could show and explore those
relations.
For example, in one of my earliest shots, Eep and Grug come back to the canyon after Eep had run
away, and her Mum checks her “animal-style” — sniffing and poking her hair, while Grug goes into
a sulky gorilla pose. Eep, on the other hand, behaves more like an annoyed teenager, who has to
undergo a parental ritual while thinking about the new Guy she just met.

Another scene was a transition from utter despair to curiosity and hope, when Eep and the family
discover the view of the new world after their cave was destroyed. It was a challenging shot
because it’s the longest one I’ve ever animated (900 frames), and it also has the whole family
walking and climbing across uneven terrain, ending in the iconic pose of the family silhouette
against the jungle valley. For most characters, I shot reference of myself and I used a nice take
from Eep’s supervisor Line Andersen. To explore the moment when Eep is hit by the sunlight
through the dust, I had my wife shine a flashlight into my eyes. After the animation was finished, the
rays were added in lighting.
A big part of the positive experience on the show was working with the directors Chris Sanders
and Kirk De Micco. They were very collaborative and always open for ideas. They also did not
micromanage the animation or the acting, and James Baxter did a great job interpreting their vision
and translating it into animation terms. I never felt like I was just executing somebody else’s movie,
but that I was actually involved in shaping it.

To give an example, there is a scene where Eep and Guy raise their hands to the sun, hold hands,
and almost kiss. It’s an important and delicate moment for them, as they discover a growing
fondness for each other. I shot reference with my wife, and that’s pretty much exactly what is in the
movie. It made it a very personal scene, and hopefully a sincere one.
There were many more shots like this, and while most of them combined ideas and feedback from
the directors, James Baxter, and the supervisors, there was always room to put a little something of
myself in there. This created an extra bit of motivation and also a sense of ownership.
Another favorite of mine is the shot when Guy tells a joke, and Gran is cracking up while the others
don’t get it. This involved shooting reference together with three supervisors in order to get the
interaction right. I played the grandmother which was a lot of fun!
Creature
Like I mentioned earlier, the film confirmed my suspicion that animating creatures is very appealing
to me. Studying how a bear gets up on its hind legs, studying how a tiger rotates its paws in a walk,
or learning about typical ape hand poses was very exciting.
My first shot on the show was a hungry bear owl circling in front of the Croods’ cave at night.
Except for a few horse tests I did in class 6 of the Character Animation Program (Polishing &
Portfolio), I had never animated a quadruped walking before, so I was a bit nervous. Having
reference always takes some of the fear away for me, so I used videos of tigers walking in circles
in zoos, compared it to bears doing the same thing, and looked at bears pushing against cars and
trying to get to the food inside. I used bits and pieces of each reference, something that’s often
called “frankenstein-ing.” On top of that, it’s crucial to use your creative judgment to adapt the
poses and movement to the proportions and specific behavior of the creature.

For The Croods, it was important to ground the creatures in reality, but then make them special
and unusual, because they are often a weird mix of very different species, like a piranha bird, a
walking whale, or a mousephant.
Another animal I loved animating was Chunky the tiger — or macawnivore, as he was officially
called. James Baxter had animated a run-cycle for him that we were planning to use in the
sequence where Grug is trying to get back to his family. However, all of my shots had him running
over very uneven terrain, uphill and downhill and jumping sideways, so I ended up animating most
of them from scratch, while always using the run-cycle as my guideline. It was a learning process
to realize how much you can push the change of shapes, and squash and stretch, in the legs and
body in order to achieve a dynamic result. Also, I found it crucial to use the IK hips, chest, and head
to get good weight and overlap between the body masses.
After the movie was released, I was super happy that the creatures seemed to be very appealing
and fun for audiences, especially kids.
I feel very lucky to have been a part of this journey and the incredible team that brought The
Croods to life. I am thankful for the support, help, and trust I was given — and I can’t wait to see
what will happen in Croods 2!
About Thomas: Thomas Grummt is an Animation Mentor graduate from Summer 2010 and currently
animates at DreamWorks Animation in Glendale, California.
All images belong to DreamWorks Animation.

Industry Pro on Animating and Telling Stories with Creatures
Originally Posted: June 12, 2013
By: Chris Mullins
Click image to play Chris Mullin’s Demo Reel
Having difficulty viewing the video? Click Here.
Tippett Studio animator Chris Mullins is quite the history maker and storyteller. He is a graduate of
Animation Mentor’s very first class. And today, you can still find him on campus — this time as a
mentor in our Creature Animation Courses. In the spirit of Student Showcase 2013 and storytelling,
Chris also shares a few tips to tell your story. Enjoy.
— The Animation Mentor Crew
Student Showcase 2013
@AnimationMentor #storyteller
You were part of the very first Animation Mentor class. How did you hear about the school
and program? And, when you first enrolled, did you think you were part of something ground
breaking in the animation world?
Chris: I was a “character technical director” in a start-up animation studio when the buzz of
Animation Mentor started to gain momentum. I was seated in the same office as the animators, who
were constantly discussing it and encouraging me to sign up and switch over to animation myself.

I do remember feeling that I was part of something new and exciting, but honestly I had no idea
that it would grow into what it has become. When Animation Mentor began, the online schooling
phenomenon was still in its infancy. Animation Mentor has done an excellent job of staying at the
crest of the wave and helping to lead a shift in the way artists are educated. Now they’re doing
it again with the AMP Studio Production Pipeline. Technological evolution and globalization
are rapidly changing the market and “virtual pipelines” that span the globe will continue to be
implemented and accepted. It is a fascinating time to be part of this industry.
What tips do you have for future storytellers?
Chris: Tell the stories that you want to tell, and if you can pull from your own life — your own
experiences — even better.
How do you teach storytelling to your students?
Chris: I teach a Creature class, so “storytelling” is quite a bit less of a focus than, say, an “Acting/
Dialog” class. However, students can still be very creative with their ideas. When you’re animating
an animal interacting with another animal — or even an inanimate object — you’re still telling a
story, no matter how simple. I try to help students tell their stories as simply and as clearly as they
can. Usually I preach the “one idea per shot” technique, which I feel is a great way to both practice
the art of conveying clear ideas and gain further understanding of the importance of each shot in a
larger story. Simplifying or letting go of ideas altogether can be one of the most difficult things to do
as an animator, but it can also be one of the best things you can do for the bigger picture.
The idea for a story can originate from almost anywhere. How do you nurture students to identify
what is really a good idea for a story?
Chris: Creature work is not usually what people think of when imagining a story, but animals and
creatures have personalities and physical characteristics that can be exploited for a unique style
of storytelling. Finding ways to use realistic or exaggerated animal behavior to convey emotion is
an inspiring challenge. If you can tell a story that a human can relate to, and you can tell that story
within the limitations of a character who cannot speak and uses an entirely different set of physical
attributes, then you have a skill that a lot of animators today do not possess.
What lesson did you learn early on — about animation or about life — that you still follow to
this day?
Chris: As a student and nascent animator, I was a studio junkie. I was plagued with the desire to
work only for specific studios, and that desire rearranged my priorities in a way that I learned can
actually be quite corrosive and unhealthy for a passionate artist. With time, I was able to come
back to the center of what matters to me as an animator. I have spent the majority of my career in
a small studio and I couldn’t be more grateful for that now. During that time, I have experienced
camaraderie and a level of intimacy with the people, the studio, and the process of filmmaking that
I wouldn’t have been afforded at a larger studio. I am not a number, I am an artist, and I try to seek
opportunities that empower me as such.

Don’t misunderstand. Larger studios can be great and I’m sure I’ll return to a few before my tour of
duty is over, but I’m very lucky to have had the experiences I’ve had. It may sound strange, but not
getting what I so badly wanted back then has helped me to rediscover and rely on myself.
Do the art that you want to do because you want to do it, because it makes you happy. Stay away
from seeking validation from someone other than yourself.
If you are an artist, work to define yourself as such.
— Christopher Mullins

Video: Animation Workflow Tips from Tippett Studio Animators
Click image to play Animation Workflow Tips from Tippett Studio Animators
Having difficulty viewing the video? Click Here.
Tippett Studio Animation Supervisor Jim Brown and Lead Animator Brian Mendenhall share their
advice about animation workflows.
The most important aspect of a workflow is to keep it current and progressive. Always aim to redevelop
your workflow by adapting your habits, applying what you’ve learned and seeing what works
best for you. By doing so, you’ll be continuously improving as an animator.
However, Mendenhall advises animators to always work clean and be consistent about it.
Adapting your workflow to fit the shot you’re working on is also important. Brown explains that,
when animating a dragon, he focused on the path first. He created good timing and weight then
finessed the poses. Normally, he would work pose-to-pose, but felt that this shot called for a different
type of workflow.
There isn’t one workflow that works for everyone. The key is to find a workflow that works best for
you and to always be mindful of improving that process.

Video: Check Your Ego at the Door with Rick O’Connor
Click image to play Rick O’Connor’s Tips on “Checking Your Ego at the Door”
Having difficulty viewing the video? Click Here.
Veteran senior animator at Industrial Light & Magic, Rick O’Connor gives you tips on how to
conduct yourself in a professional studio environment. Collaborating and listening to criticism form
your producers, directors, and colleagues is a valuable skill to have for your career.

Video: Demo Reel Tips from Industrial Light & Magic Animators
Click image to play Demo Reel Tips from a panel of Industrial Light & Magic Animators
Having difficulty viewing the video? Click Here.
What should you include in your animation demo reel? What should you omit? Walking? Fighting?
Comedy? Drama? When it comes to your demo reel, there’s a lot to consider. This all-star panel
(including some Industrial Light & Magic animators) shares some quick thoughts on what they see
in the best demo reels. Check it out.

Videos: Student Work
Click image to play Haokun Liang’s Ogre Shot
Having difficulty viewing the video? Click Here.
Animation Mentor graduate, Haokun Liang, breaks down his ogre animation. He shares his process
in animating creatures by using multiple animation references such as gorillas and sumo wrestlers.
Click image to play Ilya Viryachev’s Shot
Having difficulty viewing the video? Click Here.
Animation Mentor graduate, Ilya Viryachev, shows one of this creature assignments.

Click image to play John McMurrough’s Shot
Having difficulty viewing the video? Click Here.
Animation Mentor graduate,John McMurrough, shows one of this creature assignments.
He shot the back plate on his 7D, at Arches National Park in Utah. He tracked it in Syntheyes, and
brought everything into Maya for animation. The loin cloth was simulated with ncloth. Compositing
was completed in AfterEfects.

Animation Mentor Courses
Animation Mentor is the first online animation school, offering beginner level to advanced animation and visual effects
education. Since its inception in 2005, Animation Mentor has educated over 5,400 students in 106 countries. You will
learn directly from industry professional mentors from top studios like Pixar Animation Studios and Industrial Light
& Magic. Learn more about our course offerings below, and then go to the Registration Portal to register for a
workshop or apply for a program.
MAYA WORKSHOP:
ANIMATION BASICS
Learn More
LIGHTING YOUR
SHOT WORKSHOP
Learn More
ANIMATION
FUNDAMENTALS
FOUR 12-WEEK CLASSES
Learn More
VFX FUNDAMENTALS
THREE 12-WEEK CLASSES
Learn More
CHARACTER ANIMATION
PRODUCTION TRACK
THREE 12-WEEK CLASSES
Learn More
CREATURE ANIMATION:
LOCOMOTION
Learn More
CREATURE ANIMATION:
FLIGHT OR FIGHT
Learn More