studio tips and tricks

8/13/2019 Studio Tips and Tricks

1/27

Notes from Studios


2/27

TOPIC: SHOW EARLY!!! Plus a few other helpful hints.

This topic has nothing to do with schedule and everything to do with COMMUNICATIONand WORKFLOW.

While the shot may be in your hands, it is important to remember that THE SHOT IS NOT YOURS, IT'S THE DIR

to best set ourselves up for animation success, WE NEED TO CREATE ENOUGH OPPORTUNITIES FOR DIRE

The best time for those opportunities are in the KICKOFF, PLANNING(idea pitch), and 1st PASS BLOCKING(r

These opportunities BREAK THE EMPTY CANVAS, and move the shot in the right direction. Any fixes after 1stmay be painful. While it can and will happen, I'm sure we all want to do our best to avoid it.

Although the above may seem obvious, it still isn't completely apparent in our workflows: DAYS STILL GO BY W

COMMUNICATION. This results in an overblown schedule and lack of confidence from both parties.

I believe this problem stems from our self doubt that we are not selling our ideas to the best of our ability. That is

communicate and trust the SUPERVISORS. Believe me when I tell you that I understand we need to develop tha

to develop that with communication. While we may derail you from time to time (sorry if we have) our intention is

sure you are headed in the right direction. IF YOU LOOK GOOD, WE LOOK GOOD! We will never have you sh

doesn't sell, unless we can provide you with a good explanation why.

So moving forward, and aside from showing early and often, WHAT CAN WE DO TO IMPROVE?

1. In a KICKOFFASK QUESTIONS. If you remain uncertain about something, be a pain and ask it again.

2. EXPLORE YOUR ANIM_PREP FILE. Grabe the Character(s) GOD node and move them around the Ca

feel what you may or may not be able to accomplish with the shot.

3. SHOW EARLY!!! Explained above

4. During SWEATBOXor ROUNDSit is highly advised to TAKE NOTES! We've noticed a lot of repeated n

animators not jotting them down. Taking notes is also a great way of communicating that you are listening


3/27


4/27

02/02/11

TOPIC: Personality & Feeling

With every pose in every animation we create, we should be sure to include two key ingredients - PERSONALITY

Without PERSONALITY and FEELING, we are just simply moving s*** around.

SO HOW DO WE ACHIEVE THIS?

For me, the best way I attempt to find the feeling of a shot, is by asking myself a few questions.WHEN HAVE I FELT THIS WAY BEFORE?

When I find the answer, I think back to what I was feeling at that time. It may be sweaty palms, butterflies, or a ten

Whatever the answer may be, its SPECIFIC!!! That specificity is what I will try to convey in my shot.

But this is not enough. If I just simply animating that, I may just be projecting myself through the character. So fro

more questions...

WHO IS THE CHARACTER I AM ANIMATING? WHAT IS THEIR PERSONALITY? and HOW MIGHT THEY HA

SITUATION?

With those answers in mind I ask myself one final question..

HOW CAN I CONVEY MY FEELINGS THROUGH THE CHARACTER I AM ANIMATING?I believe that if you can answer that question and convey it within your shot, that is where the spark, or originality c


5/27

01/14/11

When animating your shot, no matter how subtle or crazy it may be, it's crucial that we keein mind. Our goal here is to draw their focus and guide it elegantly through our shot, and a

shots within the sequence.Click on and whatch these two squences from Toy Story 3

gmplayer/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/Overap.mov

gmplayer/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/Overame.mov
http://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/playTime.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/playTime.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/playTime.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/breakUp.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/playTime.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/playTime.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/playTime.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/playTime.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/breakUp.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/breakUp.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/breakUp.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/breakUp.mov


6/27

In the next set of videos, I've captured my mouse cursor ROUGHLY following where my eperfect, but it illustrates the point.gmplayer

/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OveraUp_wFocus.movgmplayer

/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/Overame_wFocus.mov

You'll notice that the cursor's movement is quite simple and controlled. In the playtime vidstuff going on, but you'll notice that the cursor moves even less. Its amazing how much yo

peripheral vision.
http://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/playTime_wFocus.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/playTime_wFocus.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/playTime_wFocus.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/playTime_wFocus.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/playTime_wFocus.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/breakUp_wFocus.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/breakUp_wFocus.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/breakUp_wFocus.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/breakUp_wFocus.mov


7/27

More often than not our story and layout department have focus fairly locked down for us. Its important that the animators ens

their shot hit and stay on their mark. If we stray too far, sometimes even a little bit, we will destroy the focus of the sequence.

You may also notice that 90% of the time the focus is on the eyes of a character. Each pose and motion within that pose is de

remains at the eyes. Even when there are other characters in the scene, their poses draw you to the focus point. Keep in mi

overpowering motion or too many unique poses will pull the focus away.

Restraint takes a lot of control and confidence, because it almost feels as if you're not animating at all. I always sucked at it m

worth fighting for.

PATH OF ACTION:

If and when a character needs to do a little more movement within a shot, it's important that we remember the term "path of acanimation books, but often forgotten in our own animation. It's important that a character's movement across the screen is ke

action moves to the right, or to the left. Rarely does it ping pong back and forth. If you find the character is ping ponging, the

viewer's eyes. More often than not, the path of action refers to a character's overall movement. Since the eyes are the most

keeping their path of action simple. As long as the viewer has something safe to hold ontovisually, what happens underneath

Lets take a look at another two shots from Toy Story 3.gmplayer /bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/jessieFight/jessieFightShot.mov

gmplayer /bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/dancingBuzz/dancingBuzz.mov

You'll notice that both shots have a decent amount of motion taking place, but you may also notice that the character's path of

illustrate their path of action, I've highlighted a few key poses with a color bar. Watch how that color bar animates across the

Lets take a look at another two shots from Toy Story 3.

flipper /bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/jessieFight/*.jpg

flipper /bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/dancingBuzz/*.jpg

You can litterally play the flipped images and whatch how the yellow bar is animated. Even though its lighting fast its easy to

Some examples of my very own overacting:gmplayer /bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/overacting/sid.mov

Can you tell me what the point of this shot was in the movie? No you can't. Why? I screwed it up. In this Sid shot, I thought

doing some fun egg work. While I thought I was controlling the focus fairly well, I missed the point of the shot entirely. Somet

up in trying to impress or plus a shot that we miss the point entirely. I know what your thinkin' shouldn't have the director picke

but sometimes even the best of eyes can't see the forest through the trees. Sooo, anyhoo... That took an awful lot of hard wo

something turn out crappy. :(
http://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/overacting/sid.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/dancingBuzz/dancingBuzz.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/jessieFight/jessieFightShot.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/overacting/sid.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/dancingBuzz/dancingBuzz.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/jessieFight/jessieFightShot.mov


8/27

gmplayer

/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/Overalacting/scrattimeTake.movA simple look over is muddied by my attempt to make things more organic. I tried to do stu

that pulls you away from the eyes, and i find that I'm watching the lids and body more than themselves. I should have kept the pose simple and had the eye darts encompass 80% of

movement of the shot.gmplayer/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/Overalacting/SteveMartain_Genious.mov

Iwas intentionally going for crazy here, but there is no focus, there is no point, and it took aget it that way. The result is entirely annoying.

gmplayer/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/Overal

acting/mayorMultiLimb.movMuch like the shot before this I was going for crazy, but this time i feel like I was more succare still parts where he moves too quick across screen or where the paper calls too much abut overall I think it works because I had one solid focal point to hold onto. First on the hea

transitions to the foot when he jams it into the fan. This took a lot of work, but this i felt wasshort, if the shot calls for something crazy its super important to have something to hold onto read and be successful.
http://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/overacting/mayorMultiLimb.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/overacting/mayorMultiLimb.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/overacting/SteveMartain_Genious.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/overacting/SteveMartain_Genious.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/overacting/SteveMartain_Genious.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/overacting/scrattimeTake.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/overacting/scrattimeTake.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/overacting/mayorMultiLimb.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/overacting/mayorMultiLimb.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/overacting/mayorMultiLimb.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/overacting/mayorMultiLimb.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/overacting/SteveMartain_Genious.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/overacting/SteveMartain_Genious.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/overacting/SteveMartain_Genious.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/overacting/SteveMartain_Genious.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/overacting/scrattimeTake.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/overacting/scrattimeTake.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/overacting/scrattimeTake.movhttp://skynet/bluesky/design/sea/reference/animation/userDumpArea/nbruno/SUPERNICK/OverallCrit/focus/overacting/scrattimeTake.mov


9/27

Here is a guideline for doing a basic blink. If need be, the timing of the blink can be adjusted to better mat

character's feeling


10/27


11/27


12/27


13/27


14/27


15/27


16/27

Graph Editor

Note the graph editor curves when doing a blink.

- both lids meet below the halfway mark (.5)

- tp lid starts before the btm lid and ends after the btm lid. This is due to the longer distance it has to trav

- tp lid follows the btm lid down a frame. This is something Carlos Saldanha likes to see. This helps give

organic feel to the character

- its important to add a bit of cushion on the settle. You dont want that feeling of hitting a wall.


17/27

Surrounding Muscles

When blinking, the eyelids are surrounded muscles. Depending on how hard or soft the blink, make sure

brows and upper cheeks. This helps with the organic feel and not making the lids seem so isolated.

Pupil Push

On the blink, it is helpful to have the pupil be pushed down by the tp lid slightly. Not so much where it loo

actually changing direction. Just enough so the audience can feel it, rather then see it.

Offsetting Lids

As a last step, I offset the eye lids so they are not moving at the same exact time. This should be done wsometimes even just a single frame offset can be too much. What I like to do (and usually is frowned upo

one lid and push them in between frames. I find this gives me the quickest results in the timing I want.

THE HALF BLINK

Why do a full blink each time when you can do a half blink? Occasionally, when a person is about to blink

before the full one. These are great for breaking up your timing and adding those lil' details that bring life

GraphEditorNote the graph editor curves when doing a half blink

- when doing a half blink, dont have the tp and bt lid compress then go back to its original zeroed out stat

go down and then back up only half the distance, this helps create a tensing of the muscles

- rather then smoothing into a half blink, like you would do with a full blink, have the f-curve start sharp an

cushion


18/27

THE FLICKERING BLINK

The flickering blinks are a great way to show a character is taking something in, watching it register in his/her brain

Note the following:

- when doing the blink, all the surrounding muscles are being used

- rather then having the brows and cheeks follow the same fast flickering motion, think of them as heavier muscles.

beginning and at the end of the blink, while in the middle they stay tensed.

- everything plays off the lids. Since the lid is the faster muscle, the brows, cheeks, and nose delay by a a few fram

settle, which helps not hitting walls.

- near the end of a blink or blinks, I like to put one thing extra. In this case it the readjustment to the pupil. Its somet

eyes can linger on a beat. It helps to add these lil' details to bring your character to life


19/27

LOOKING AROUNDWhen animating a character looking from side to side, its best to do it w a blink. Otherwise the eyes tend

strobey, throwing in a blink is a nice animation trick to fix this!

When your eyes are looking around, make sure to make full use of the surrounding muscles.

Rather then just having having the character look right

Use the surrounding muscles to help clearly show the direction the character is looking in.


20/27

LOOKING AROUND W PUPILS

When animating the pupils looking from side to side, move the pupil slightly in the direction you want it to g

the lids. Also, when the lids are opening have the pupils be in their new location, with a one to two frame s

Graph Editor

Note the graph editor curves when doing a look from one side to the other

- As the tp lid starts to close, the pupil moves slightly in its new direction

- When the lid is completely closed, the pupil travels its farthest distance - almost reaching its new destina- As the tp lid opens, there is a slight settle on the pupil


21/27

LOOKING AROUND W LIDS

Depending on the direction your looking, have that lid lead the other.

NO BLINKS ON LOOKING AROUND

On the rare occasion, you can have the pupils look from one side to the other, without a eyeblink. This is

character is intense or suddenly aware of something.

LOOKING UP n' DOWN

When looking from top to btm or btm to top, the same rules apply- the pupil begins to move slightly in its new direction

- as the lid opens, note how the pupil follows the btm lid down a few frames to create a settle

- the lids offset slightly (since its up to down, it doesnt matter which side goes first)

- on the blink, make sure to have the close go through into the new position, creating a nice fluid motion

- use the lids to help your direction. Btm lids pushed up when the character is looking up, tp lids pushed d

character is looking down

EYE CAVITY

On Horton Hears a Who, we have a great chance to go cartoony. One of the ways to help push us into th

squish and squashing of the eyeballs themselves.

Below are two examples, the 1st row the eyeball / cavity maintains its shape while in the 2nd row, the eye


22/27


23/27

PUPIL DIRECTION (and their meaning)Below is a chart of pupil direction and their underlying meaning

I wish I could say that I have this memorized, but I do not. Instead, it really is just a feeling. I'll shoot refer

the line, and watch my eyes closely. Paying close attention to the emotion and watching the flow of the p

Pupil Placement


24/27

Pupil Placement

When posing out the pupils, whenever possible, have them touch the corner allowing no white in btw the d

and the pupil. This is a small thing, but often commented on by the directors in sweatbox.

Pupil Paths

When animating the pupils moving around (thinking internally) I follow a sort of map that the pupils travel

distance traveled is close (the green path) then its safe to move from one location to the other, but if the d

red paths) I follow the green path that gets me to the new location in 2-steps. On occasion, you can take t

sure to cover it w a blink and a head move.

PUPIL DARTS


25/27

PUPIL DARTS

Pupil darts are by far one of your greatest allies when keeping a character alive. You can have a extreme

where the character is barely moving, by throwing in a few pupil darts, they instantly feel more alive.

When doing a pupil dart, I think of a small triangle or square over the pupil. By following this, it gives you a

make your next move. If the shot is extremely long, make sure to vary up the path and timing so the audie

to a pattern.

When doing pupil darts, rather than a smooth in on your f-curve, have the tangent be sharp snapping quic

with a one frame settle. On the longer pupil darts, do the same quick transition, only with a longer settle.

Below is a great example of pupil dart


26/27

EYE ACCENTSEye accents are helpful when stressing a certain word or point within a sentence. What I tend to do is lis

the biggest inflection in the voice. Usually, but not always, the inflection is placed on a certain word to re

point the character is making. If you put a eye accent on that, it really helps drive home the point.

Think of the eye accents as your secondary mouth. When the character's mouth opens wide for a certain

useful to use your secondary mouth (eye accent) to help stress the importance of that particular word.

In my audio file, I see that the word MOW is louder than the other words. When doing my eye animationaccent on that word (and it will rock!)

While eye accents work great for stressing a certain word, make sure not to over use them. If I was to pu

each word "IF - YOUR - READY - MOW" it would distract from the overall performance. Also, try not usin

sentence, instead once or twice in your shot. The more its used, the less impact they have.


27/27

studio tips and tricks

Documents