Release. Pressure. Animate.

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same accounts for planning the shot. If we start planning with simply key poses (instead of working straight forward) the director, supervisor and/or other team members will know what you‟ll be creating early on, before you‟ve invested too much time on it. This makes it easier „to kill your darlings‟ and improve the animation towards a higher level. Animation is collaboration. The focus we‟re able to creatively use seems very limited; therefore animators often work in a layered system. They focus only on the most important parts first and think about arms, hands and all the other parts after that. This process of separating the character in parts and focusing on one of them at a time gives us the ability to really track the arcs of that movement and apply to it the momentum and physics with perceivable realism. In 3D it‟s sometimes hard to focus on a part as cluttered controls can make you lose sight on just a part. Quickly hiding any irrelevant parts of the body could help focusing on just a single part of the character. Complexity makes it hard. Again this looks like something that would work especially well when working straight forward. We‟ve also seen how pose-to-pose and straight forward differ in the creation process, but also in final delivery. When discussing straight forward, pose to pose and the combination of these two we found that by combining the strongest points of both we could work in the best productive way possible. First we need the essence, the idea and concept for the shot. The animator does this with key poses and the most important extremes. The next step is to do a straight forward pass, frame-by-frame thinking what will come next in effect of motion, physics and character‟s choices. It seems to be a very intuitive and creative way to „live‟ the character. It feels most „direct‟ to the character and comes close to the feeling of bonding with the character as described with stop motion and its puppets. It‟s important to think about tools and concepts that could initiate working this way easier in 3D software and can provide such consistency in the workflow. Animating in 3D software makes it easy to work with the automatic in-betweens where the next pose will automatically „be like the previous.‟ This makes it hard to just let go of the previous moment and think about what pose would be strongest on a certain point, because you‟re thinking about how to get there, if that‟s realistic and possible while keeping in mind physics, personality and emotion. If you do keep all those things in mind it can influence any creative thinking and also the ability of creating that pose that tells the story best and exaggerates the essence clearly. Again, it is really important to plan creatively first and start thinking about how to get there later. Thus, first limit yourself to what to tell and how you‟ll tell it and then start thinking about how you do this from the one time, place and pose to the other. Even more, coming to the point where you know what you‟re up to and what has to be done can end up in simplicity; sounds like a to-do list or check-list. 2. The difference in Animation fields 5 4
Simplicity is what animators seem to need or where they focus on at the beginning. Staying simple is among one of their initial goals. If you start with an unorganized hard- to-use system at the beginning it will be even worse at the end. Starting simple and organized is one of the main principles for having focus – for example the explained layering also brings simplicity. We‟ve seen this with the x-sheet. Logging or managing shots in not the easiest way possible easily ends up in extreme difficulty working with the data. Especially with computers removing the hassle it can become simpler and automated, but it‟s also easier to get forgotten. A system that saves to the right place, with right names and exports accordingly to the pipeline without any folder clicking (or even searching) and file renaming from the animator can speed up and simplify the file management system. Even more, it removes the possibility for human error. This could, for an extensive pipeline, introduce an extensive speed-up and increase in consistency. It‟ll release lot of the management overhead on big projects (with a bad pipeline) where the right file always seems to swim in a big pool of unclear files (often even with lots of different file formats) making the needed file hardly traceable or even untraceable. On the other end it should be noted that such a system would work on a defined basis of the pipeline. As many studios have their own pipeline it‟s hard to make a universal system, but there might be a process in this management that could easily work universally. We‟ll keep that for later. Again, simplicity is an important starting point. We‟ve also seen that with animators taking on things part by part and getting to the essence first really helps the quality of the animation and the efficiency of an animator in the end. The simpler it is, the easier to wrap your head around it. It sounds logical, but let me explain a little bit more. As said, 2 axes are simpler to manage than 3 axes and we can come to the conclusion that testing and getting to the essence is just easier in general if you work by sketching or tweaking in 2D fashion. Therefore sketching and more traditional approaches (which seem to exceed in its simplicity) should be applied to the 3D animation workflow where possible. We‟ll see in the next chapter that 3D animators often sketch ideas and create thumbnails still on paper because of this simplicity. Tools or techniques that improve simplicity are what seems to be needed by most animators. Therefore one of the main core rules is keep it simple, accounting for both the usage of the tool as well as the resulting techniques and workflow of the tools. The getting inspiration, finding ideas and sketching out for testing should all be based on reference. Often animators have a character sheet aside, which are often missing for 3D animators but should be present to aid the creative flow. They lead to inspiration, but especially guide towards ideas and poses relevant to the character and his personality. Furthermore, when dealing with multiple animators, a character sheet can provide consistency between the ideas and even animations of different animators. Also any barrier between finding, sharing or creating any reference material (including sketches) 2. The difference in Animation fields 5 5
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PRESSURE. RELEASE. ANIMATE. How to
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“Art challenges technology. Techn
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Table of Contents Table of Contents
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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
Page 53 and 54: example you could divide the pipeli
Page 55 and 56: ecognizable style on its own, but f
Page 57 and 58: issue. “While early production mo
Page 59: There‟s a need for a strict goal
Page 63 and 64: Simple thinking Complex effects Ful
Page 65 and 66: creating a thorough plan that doesn
Page 67 and 68: Because using the early computer sy
Page 69 and 70: work you‟re looking at, regardles
Page 71 and 72: we‟ll see. According to a job des
Page 73 and 74: day polishing splines, arcs and spa
Page 75 and 76: It‟s important to allow supervisi
Page 77 and 78: doesn‟t. For him they were mainly
Page 79 and 80: - Discuss with supervisor. - Animat
Page 81 and 82: the animator (like reviews by the s
Page 83 and 84: By now I‟ve presented the importa
Page 85 and 86: the final movie too. They might see
Page 87 and 88: progression of the shot before star
Page 89 and 90: In management I‟ve noticed while
Page 91 and 92: already know exactly what pose happ
Page 93 and 94: (Autodesk Whitepaper - The New Art
Page 95 and 96: with a limited amount of informatio
Page 97 and 98: information to be (possibly) presen
Page 99 and 100: for. Sometimes it is necessary to a
Page 101 and 102: pop out is simplicity. For every ta
Page 103 and 104: goals (based off of storyboard and
Page 105 and 106: up and shut it down instead of a co
Page 107 and 108: development 22 . Since the tracking
Page 109 and 110: 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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