Softimage 3d squash and stretch button how to#
Softimage 3d squash and stretch button tv#

We act and animate as we think it should be and go for acting choices that depict our perception rather than the personality of that character. Even when we act for our animation references, we often try to emulate that level of broad, exaggerated acting choices. Intentionally or not, whenever we think about animation ideas, we tend to go to that library to pick out poses, gestures and actions.

These shows that we grew up watching constitute a big part of our visual library.

Softimage 3d squash and stretch button tv#

Animated TV shows, Disney, Ghibli movies have introduced us to the magic of animation and motivated us enough to become storytellers ourselves. Most of us animators grew up watching animation. Or a snarky, knowing smile with one eyebrow down and the other raised. For example snapping fingers and smiling to show that the character has an idea or is having a 'A-Ha' moment. It is important to try both of them out and determine what’s better for your type of workflow.Ģ: These are the 'go to' acting choices that pop into our heads when we think of acting for animation. Now spline workflow is used at all ranges of quality, from the cheapest animation to the very best animation.Īlthough one method might be better than the other depending on the shot being animated, choosing stepped or spline comes down to personal preference.

Softimage 3d squash and stretch button how to#

However experienced animators can achieve excellent results with a spline workflow as well since they know how to overcome these issues. But it is also associated with lower production values because of that. Spline workflow is often associated with faster productions since the motion is worked out earlier, and it avoids that two-step process. At least with stepped blocking, an instructor knows exactly what the student's posing and timing decisions are and can give specific ways to fix it. Students can have a difficult time learning with a spline method, since they get used to seeing bad motion and aren't able to see how to improve it, and instructors aren't able to see which timing decisions were made consciously and which are just the raw computer interpolation. Since you're not spending time on making beautiful poses up front, the posing can suffer and feel like an afterthought.

It may also be hard to work in a clean way - the keyframes aren't neatly organized on individual frames - they are scattered all over. It’s easy to get distracted by the interpolation of the keyframes and not focus on posing when using splined curves to block out a shot. If the movement doesn’t feel right, it is easy to shift individual keyframes around until you get what you are looking for.

You skip the painful process of getting used to looking at simplified stepped movement, only to hit the hard reality of the ugly 'first spline' phase later. Spline gives you the possibility to work more straight ahead and feel how your animation is going to look already in the early stages of blocking. Then you layer in the spine and head's motion, and the limbs. You start by moving the rig's root control or COG (center of gravity) to find the movement of the scene in a fluid way. Another method of starting out is skipping the stepped keyframesĮntirely and having smooth movement from the very beginning, where youįocus on the overall movement of the body and don't worry about the