Release. Pressure. Animate.

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Summary The development of technology has changed animation in 3D software quite significantly throughout the latest years. More techniques, more complex rigs and way more possibilities have been giving great control and power to the animator. But, often development towards intuitivity, efficiency and productivity seems to be overruled by the constant urge to developing more breathtakingly complex techniques. Flow, as described by Mihály Csikszentmihalyi as a state of awareness that optimizes any and all human activities, seems to be absent and totally not important for software developers nowadays. Though animators need to constantly struggle and work their way through this increased complexity and higher amount of difficult technicalities. With a field study on how animators in different fields of animation work, keep focus and are able to get and stay in a flow of animating this thesis will present key ingredients that animators need to work productively and creatively. Overall pipeline of professionals and starting students give insight in their perception and need for flow resulting in a clear and globally interchangeable list of needs important for all. It‟s a key starting point to the key ingredients for development towards flow-enhancing tools for animators. This thesis revolves around the center question: How to hold a better creative flow, so improving productivity and intuitivity, by using a customized toolset for 3D character animation? The result presents a rule set for creating tools to enhance flow and creativity in the act of animating in 3D software by increasing the focus and simplicity of the tasks at hand and decreasing any interference. For this the tools come down to working more in 2D space, focusing on a single act in the production and automating the unnecessary. Furthermore they are based on familiar instinctive designs with a high speed rate so all stages of animation from planning and character handling to management can be handled more efficiently and more intuitively. With these guidelines towards flow- enhancement this thesis provides a generous amount of concepts and designs that are interesting for near-future development towards an easier 3D work environment and will introduce a work towards a future for animators where flow will more likely be present.
“Art challenges technology. Technology inspires the art.” John Lasseter
Page 1: PRESSURE. RELEASE. ANIMATE. How to
Page 5 and 6: Table of Contents Table of Contents
Page 7 and 8: Introduction Not a very long time a
Page 9 and 10: This is all evolving around the mai
Page 11 and 12: There are two difficulties in discu
Page 13 and 14: 1.2 How can a flow be maintained or
Page 15 and 16: this piece of art - posing the char
Page 17 and 18: You know that feeling when you watc
Page 19 and 20: without any reference or sketching.
Page 21 and 22: 2.1 Animating like a puppeteer. (St
Page 23 and 24: ond with the character often create
Page 25 and 26: everything done smoothly at the mom
Page 27 and 28: same, hence a „tick‟ of the lig
Page 29 and 30: This paragraph is about what in gen
Page 31 and 32: “Too much action spoils the actin
Page 33 and 34: working clean and keeping your head
Page 35 and 36: think in the ways of those strong p
Page 37 and 38: the motion and action of the charac
Page 39 and 40: this can be a reliable way for „i
Page 41 and 42: It‟s hard to have a clear distinc
Page 43 and 44: the background. Any distraction at
Page 45 and 46: or the mixed approach as described
Page 47 and 48: customizing and tweaking the whole
Page 49 and 50: as the character parts don‟t actu
Page 51 and 52: As with traditional animation and m
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example you could divide the pipeli
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ecognizable style on its own, but f
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issue. “While early production mo
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There‟s a need for a strict goal
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Simplicity is what animators seem t
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Simple thinking Complex effects Ful
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creating a thorough plan that doesn
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Because using the early computer sy
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work you‟re looking at, regardles
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we‟ll see. According to a job des
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day polishing splines, arcs and spa
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It‟s important to allow supervisi
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doesn‟t. For him they were mainly
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- Discuss with supervisor. - Animat
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the animator (like reviews by the s
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By now I‟ve presented the importa
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the final movie too. They might see
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progression of the shot before star
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In management I‟ve noticed while
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already know exactly what pose happ
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(Autodesk Whitepaper - The New Art
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with a limited amount of informatio
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information to be (possibly) presen
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for. Sometimes it is necessary to a
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pop out is simplicity. For every ta
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goals (based off of storyboard and
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up and shut it down instead of a co
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development 22 . Since the tracking
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The same accounts for playing the a
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animation studios, and if it were u
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on it, as well as use it automatica
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offer functionality for this in a r
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guessing right away what the best t
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to focus on only these parts and ma
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een developed through the years for
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data to handle through the years se
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applying it to your objects animati
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allows you to quickly sculpt tweaks
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quickly and easily check your anima
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without worrying about what and whe
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viewing and commenting accordingly
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stimulation might interfere with ac
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A picture depicting an overview of
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of the animating) could need this t
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tools that really helped with the c
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never really ended up using it as f
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But looking at the character from t
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otate around his head took me at mo
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As stated we worked faster and were
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Conclusion The main focus of my res
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management, start using it and twea
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Reference Sources Animation Mentor
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Hoffman, Hans; T. Weeks, Sara; H. H
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1. Workflow and Pipeline clarificat
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Release. Pressure. Animate.

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