Kyle Dunlevy's work flow

STEP 1: Audio
I was happy to be able to attend the voice record for these jobs. I got to see the real kids read the scripts over and over in the sound booth and was even allowed to throw my two cents in regarding the read; "Louder!, Slower, Perfect!!". But Olgivy - the agency - was there to handle it. They had cast two great kids, after searching for months in North America, for the roles of Elizebeth and her little brother Andrew. When the record was over I arranged a little one on one with the kids and videotaped them doing their lines. Great reference. After the audio track was compiled using the best takes we took it back to Redrover and I was ready to begin. But before I touched the mouse (or stylus in my case) I needed to nail down the performance...

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STEP 2: Animation Planning
This step is always the most important. At a time when I just want to get started, I had to force myself to take the necessary time here. The more I knew before I started animating on the computer, the faster I'd work, and the better my animation would be. I listened to the audio until I knew it word for word, and could repeat it. I listened carefully to the energy of the words to see where it was weak and strong. I then made some thumbnail drawings of some of poses I'd been seeing in my head. Then it was acting time; I found a quiet room in the studio and pretended I was a little girl for a couple hours : ) I took breaks to keep the fresh ideas flowing. I practiced the performance in different ways to force myself to see all the possibilities. In the end, I went with the performance that felt the most natural to me. When I cleared my mind and just did what came natural, without thinking too hard, it seemed right. With these spots, the acting felt best subtle. I really believe that if you can't act out a scene you're responsible for, you won't be able to do a good job.

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STEP 3: Animation pass one : Choreography
Frame one is often the most challenging. The whole animation is based off of it. I spent a long time getting the kids in the scene, sitting at the table in a comfortable pose. Once that was done I began the long process of going through the entire thirty seconds and posing out the characters. I didn't spend too long nailing each pose. I took it to about 80% because I knew that many of them would change drastically. Its not JUST about a great pose, but how it works with all the other poses; this animation required choreography. So I blasted through the first pass of animation with this in mind. There were cookies that needed to be picked up, put down, and passed. The kids had to be just the right distance apart to accommodate the interaction they would need to have. The posing had to work within the environment and it's staging; a great pose isn't so great when you put a plate of muffins in the way. Hence, there was no need to get caught up in pretty motion or beautiful drawings/poses at this point. Once I had all the logistics worked out, I was ready to move on.
*Note* From the beginning I was using spline/auto/smooth tangents. I do a pose and copy it to create a hold. The end result is the character moving stiffly from one pose to the next with the rough timing laid in. I use spline keys instead of step keys because I like to see the timing right away.

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STEP 4: Animation pass two
The second pass is just a second layer of detail. I looked closer at each pose and tightened it a bit. I added important in-betweens, anticipation poses, overshoots, etc. BUT I made sure to keep my keys clean - all bones and controllers keyed on the same frame for a particular pose so if I selected the whole rig I could easily alter timing. For this 30 second animation, I took it line by line and looked for natural breaks in the dialogue. I tightened one line at a time and then moved on. At this point, I wanted to see eyes but not necessarily expression. I'd got the posing and timing in the proper vicinity and I was ready to move on. Click the image to play animation pass 2.

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STEP 5: Rough Lip Sync
Next I wanted to do a rough pass of lipsync and to add in important expressions. To start myself off with lipsync, I scrubbed slowly through the timeline and added a keyframe whenever I heard an accent in the voice - on the exact frame I heard it. I tried to keep the amount of keys to a minimum - a key on every syllable tends to give poppy, distracting effects. When I was finished laying down the keys for one line, I selected those keys and dragged them back about 3 frames and had a look at the animation. After some quick timing adjustments it looked passable. I knew I'd return to this later, but I moved on to the next line and did the same thing.
* The reason for doing this step, at this point, was so that I could see the animation in a somewhat complete state. I wanted to bring the whole animation to a certain level - so that I could see how far I'd come and how much further I needed to go.

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STEP 6: Animation pass three : Meat and Potatoes
Now it was just a matter of taking what I had and making it better. I decided to keep with the idea of taking it line for line as it helped to keep me focused. To show the client (and myself) what the final animation quality would look like, I animated the first line to 95%. It was a chance to test the techniques I was planning to use and work out the kinks before I started applying them to the whole 30 seconds. My approach to this pass was as follows:
1) Start with making sure the body and head were posed just right.
2) Look at the way the character moves from one pose to the next (if there were multiple poses within one line). Add all the in-betweens to make the transition nice. Add arcs and favor keys. Add overlapping action and offset the timing - like the hands from the body or from one hand to the other.
3) Add all the little head motions that hit the dialogue accents.
4) Add squashes to the head to punch up the dialogue.
5) Take a closer look at the lipsync and polish it off
6) Tighten eye direction and add pupil motion like 'darts' where necessary
7) Add eye and eyebrow animation; the antics and overshoots, the squashes and stretches.
8) Add moving holds.



When I had done all these things to each line (or main action that the character performed) I had a nearly complete animation.

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STEP 7: Finishing touches
Now was the time to sit back and look at the whole thing and write out a long list of things I wanted to improve. All the components were there but it was by no means perfect. I began the process of going through the animation and removing all the mistakes until I couldn't see any more. I made sure the file was in good shape to be passed on to Richard for rendering. (Thanks very much to Matt Kowaliszyn for helping me with some of the final details of this spot. He animated the tongues, fixed intersecting geo, animated the objects on the table when it gets kicked, etc.) The animation was complete and I was exhausted. STEP 1: Audio
I was happy to be able to attend the voice record for these jobs. I got to see the real kids read the scripts over and over in the sound booth and was even allowed to throw my two cents in regarding the read; "Louder!, Slower, Perfect!!". But Olgivy - the agency - was there to handle it. They had cast two great kids, after searching for months in North America, for the roles of Elizebeth and her little brother Andrew. When the record was over I arranged a little one on one with the kids and videotaped them doing their lines. Great reference. After the audio track was compiled using the best takes we took it back to Redrover and I was ready to begin. But before I touched the mouse (or stylus in my case) I needed to nail down the performance...

---

STEP 2: Animation Planning
This step is always the most important. At a time when I just want to get started, I had to force myself to take the necessary time here. The more I knew before I started animating on the computer, the faster I'd work, and the better my animation would be. I listened to the audio until I knew it word for word, and could repeat it. I listened carefully to the energy of the words to see where it was weak and strong. I then made some thumbnail drawings of some of poses I'd been seeing in my head. Then it was acting time; I found a quiet room in the studio and pretended I was a little girl for a couple hours : ) I took breaks to keep the fresh ideas flowing. I practiced the performance in different ways to force myself to see all the possibilities. In the end, I went with the performance that felt the most natural to me. When I cleared my mind and just did what came natural, without thinking too hard, it seemed right. With these spots, the acting felt best subtle. I really believe that if you can't act out a scene you're responsible for, you won't be able to do a good job.

---

STEP 3: Animation pass one : Choreography
Frame one is often the most challenging. The whole animation is based off of it. I spent a long time getting the kids in the scene, sitting at the table in a comfortable pose. Once that was done I began the long process of going through the entire thirty seconds and posing out the characters. I didn't spend too long nailing each pose. I took it to about 80% because I knew that many of them would change drastically. Its not JUST about a great pose, but how it works with all the other poses; this animation required choreography. So I blasted through the first pass of animation with this in mind. There were cookies that needed to be picked up, put down, and passed. The kids had to be just the right distance apart to accommodate the interaction they would need to have. The posing had to work within the environment and it's staging; a great pose isn't so great when you put a plate of muffins in the way. Hence, there was no need to get caught up in pretty motion or beautiful drawings/poses at this point. Once I had all the logistics worked out, I was ready to move on.
*Note* From the beginning I was using spline/auto/smooth tangents. I do a pose and copy it to create a hold. The end result is the character moving stiffly from one pose to the next with the rough timing laid in. I use spline keys instead of step keys because I like to see the timing right away.

---

STEP 4: Animation pass two
The second pass is just a second layer of detail. I looked closer at each pose and tightened it a bit. I added important in-betweens, anticipation poses, overshoots, etc. BUT I made sure to keep my keys clean - all bones and controllers keyed on the same frame for a particular pose so if I selected the whole rig I could easily alter timing. For this 30 second animation, I took it line by line and looked for natural breaks in the dialogue. I tightened one line at a time and then moved on. At this point, I wanted to see eyes but not necessarily expression. I'd got the posing and timing in the proper vicinity and I was ready to move on. Click the image to play animation pass 2.

---

STEP 5: Rough Lip Sync
Next I wanted to do a rough pass of lipsync and to add in important expressions. To start myself off with lipsync, I scrubbed slowly through the timeline and added a keyframe whenever I heard an accent in the voice - on the exact frame I heard it. I tried to keep the amount of keys to a minimum - a key on every syllable tends to give poppy, distracting effects. When I was finished laying down the keys for one line, I selected those keys and dragged them back about 3 frames and had a look at the animation. After some quick timing adjustments it looked passable. I knew I'd return to this later, but I moved on to the next line and did the same thing.
* The reason for doing this step, at this point, was so that I could see the animation in a somewhat complete state. I wanted to bring the whole animation to a certain level - so that I could see how far I'd come and how much further I needed to go.

---

STEP 6: Animation pass three : Meat and Potatoes
Now it was just a matter of taking what I had and making it better. I decided to keep with the idea of taking it line for line as it helped to keep me focused. To show the client (and myself) what the final animation quality would look like, I animated the first line to 95%. It was a chance to test the techniques I was planning to use and work out the kinks before I started applying them to the whole 30 seconds. My approach to this pass was as follows:
1) Start with making sure the body and head were posed just right.
2) Look at the way the character moves from one pose to the next (if there were multiple poses within one line). Add all the in-betweens to make the transition nice. Add arcs and favor keys. Add overlapping action and offset the timing - like the hands from the body or from one hand to the other.
3) Add all the little head motions that hit the dialogue accents.
4) Add squashes to the head to punch up the dialogue.
5) Take a closer look at the lipsync and polish it off
6) Tighten eye direction and add pupil motion like 'darts' where necessary
7) Add eye and eyebrow animation; the antics and overshoots, the squashes and stretches.
8) Add moving holds.



When I had done all these things to each line (or main action that the character performed) I had a nearly complete animation.

---

STEP 7: Finishing touches
Now was the time to sit back and look at the whole thing and write out a long list of things I wanted to improve. All the components were there but it was by no means perfect. I began the process of going through the animation and removing all the mistakes until I couldn't see any more. I made sure the file was in good shape to be passed on to Richard for rendering. (Thanks very much to Matt Kowaliszyn for helping me with some of the final details of this spot. He animated the tongues, fixed intersecting geo, animated the objects on the table when it gets kicked, etc.) The animation was complete and I was exhausted.

Justin's workflow

Justin

Animation Stages: Puss in Boots

When I learned that we'd be animating Puss in Boots for a number of Shrek the Third promotional "interviews", I was excited. When I heard that all his lines for the interviews would be in Spanish, I was even more excited! When the shots were presented and they said, "Who wants to animate this 25-second shot that'll be used in all the interviews," I quickly volunteered! (Yes, I volunteered for this...it looked like a fun challenge!)

	Acting reference, dialog breakdown The first step was to write out the Spanish dialog against an English translation, which I then marked up and scribbled on as I collected ideas about phrasing, where I wanted to reverse arcs in the body, etc. Next I shot some acting reference, recording different chunks separately and then cutting the pieces I liked into a final clip to show my supervisor.
	Blocking, part 1 This first pass of blocking incorporates a lot of ideas from my acting reference and note scribbling, but which also departs from those in certain areas. Ideas often arise during blocking that allow me to convey something in a better way than my original plan, and I like to be open to those bits of inspiration.
	Blocking, part 2 After some feedback from my supervisor, I tweaked a few areas and refined the blocking further. This was my final blocking pass before I started polishing. Notice that his tail is no longer showing. We'd originally talked about just having the tail drape over the log behind him, but that would have been a huge animation hassle because of the way it was rigged. With the tight schedule we were facing, we chose to just keep the tail completely out of sight.
	In-progress polish This shows an in-progress version of my polish phase. I'd polished about half of the shot at this point, and there's a fairly clear point where you can see where the polish ends. From there to the end, it's pretty much my blocking keys with rough holds added and an auto-tangent script run on it.
	Final polish This pass has final body polish, final facial animation, and overlap added to the feather in his hat. Notice how some bits had additional motion added to work within some poses a bit more than what was initially blocked.
	Final animation It was odd animating Puss in without his fur, partly because it was difficult to know if we would need to tweak poses or facial expressions after seeing him with the fur rendered. Thankfully everything turned out okay with my shot, and no changes were needed.
	Stage comparison This clip shows several major stages together: initial blocking, revised bocking, in-progress polish, and the final render. In this view, it's easy to see where poses, timing, and acting ideas changed between different stages.

Turok animation workflow

TUROK


So as a bit of an extension to the Turok: Creature Reel post, I thought it might be helpful to some to put a bit of info on how I went about creating these animations...

I'm not sure really how to make this a short post, but I will try my best. I feel its important with workflow posts to try and be detailed and not wash over stuff.... animation is hard!

As a kind of "disclaimer"I want to make it clear at this point that I am constantly striving to improve my planning/workflow techniques and I am confident that there are more constructive, creative, and time saving processes for producing this kind of work. My own methods usually produce results I am pleased with, but I admit that I have much to learn about streamlining my approach.
If you are interested in how I created these sequences, then this post will try and outline in as much detail as possible how I went about it, but please don't take my examples as a definitive way of working... what works for some may seem ludicrous to others.

Setting the Scene:

So to summarize a little about the setting/context in which these animations were to be seen, I will outline briefly a few ideas that help give an understanding of what these animations are about:

• The player of the video game is stranded on an unknown planet, inhabited by ferocious creatures, deadly human opponents and a group of allies that are afraid and have little trust for each other. Creatures are deadly and bloodthirsty, and an immense threat without the proper firepower. The player is a hero character of Native Indian desent, fearful of the creatures around him, but willing to use bravery and force to dispose of them in violent ways... often at close range using only a knife.

Starting an Animation:

We are pretty lucky here at Propaganda in that we don't have rigid quota on our animations. Almost all in-game animations are scheduled 'per animation' and not based on any relevance to screen time. The Turok Creature Reel shows a few different kinds of tasks - the less intensive variety ( such as the TRex eating the small dino ) and the more involved type ( like the Lurker attacking the human player ). As a general 'window time' we based an estimate of 2 days for the simpler animations, and 5 days for the more complex ones. We were lucky in that we could usually extend the window by a few days if it needed that time to add the extra polish that we felt was important to our game... we knew that for a compelling dinosaur experience the creatures had to not only move convincingly, but appear menacing and vicious ( even if they were injured or being killed ) ... we were willing to spend the time to do this well.

As an average I would say that I probably spent the allocated 2 days on the simpler animations, but usually the reasonable maximum of 7 or 8 days on the complex sequences.


Thinking High-Level:

Before starting anything, I like to just spend a while thinking very globally about what I should be showing and what I would like to show. As an example I will discuss the animation where the Lurker is attacking and killing the human player for the most part, but I will refer to other animations to make certain points as I go along.



These are the areas and kinds of things I like to think about first ( and usually in this kind of order )

• What will make this sequence entertaining ?
• If I was playing this game for the first time, what would I like to see happen ?
• What are the technical constraints ? ( e.g ground coverage, camera placements etc )
  
• How can I make the Lurker move in a violent, aggressive and dominating way ?
• How can I make the human seem doomed and terrified, yet still seem heroic ?
• How will the two characters actually come into contact ?
  
• How will the Lurker overpower the human ?
• What will be the killing blow or move that finishes the human ?
• Will the human have a fighting chance ?
• What angle do I want to shoot this from ?
• Will the camera be animated ?
• How can I get as much movement as possible in the sequence ?
• Who is the focus of the sequence ? the human or the Lurker ?
• How can I work some decent contrast and shape change into the action ?
• How can I get some cool poses on the Lurker and the human ?
  
• What similar sequences have already been animated, and how will this one be different ?
• What will make someone want to watch this again and again ?
  
• What are the best things to draw out first, and what do I need to shoot for reference ?
• Do I have the tools to do what I need to do ?
  
• Am I good enough to animate this ?

And to give a little background info on the Lurker creature for context:

• Its a fictional cross between a big cat and a lizard
• It moves like a big cat, but can also traverse trees and surfaces like a lizard
• It is vicious and aggressive, like a cornered pit bull, or threatened grizzly bear
• It hates everyone!

Talking High-Level:

I have some great colleagues at work that love to talk about stabbing dinosaurs in the head and wrestling down the odd bigger one. After pondering through the list above, I would usually throw an idea or two at these guys, act them out a bit in the studio, and get some feedback from them. Often I would get new and better ideas, or at least some decent expansion on the ideas I originally had. If they thought it sounded cool, and so did I, then it couldn't be far off.

I am not a good at drawing, so I much prefer to talk early on about an initial idea than show drawings / poses or even blocked out 3D sketches that take time to make. I would also show any video reference at this point, if I had recorded any, or had any on the internet that helped illustrate my ideas.


Bringing Ideas Together

So for the Lurker kill human animation, there were a few things I knew for certain ( technical constraints )

• There had to be a "struggle" at some point for gameplay reasons
  
• The whole thing couldn't be too long
• It couldn't cover too much ground, and had to take place on a flat surface
• The camera needed to feel like a hand-held, and could not make big broad movements
• It all had to be in one shot - no cuts

And these were the things I decided I wanted to do in the sequence, following my initial ideas and seeing what my colleagues thought would be cool

• The Lurker pounces on the human slamming him to the ground with great force
• There is a shape change as the Lurker adjusts himself to a good position to start tearing flesh
• The human is seen to have a last heroic effort to hold off the inevitable death by trying to struggle out of the Lurker's clutches
• In response to the human's effort, the Lurker decides to just shake him violently and break his back in a broad contrasting action

My inspiration for these ideas was basically from thinking how a lion or leopard would pounce on it's prey and pin it down, but then instead of the almost surgical way big cats kill their victims by biting down on the neck, I wanted the more brutal way that a grizzly bear might maul and tear at its enemy. So I mixed the two.


Staging and Broad Action

To be honest I really like this part of the process. After I've got a pretty fleshed out idea of what I think will happen in the animation, I try and figure out the very global movements or high level staging that will be seen in the sequence, imagining the characters as single shapes moving the the screen, and how the camera will move. This stage is all about very high level contrast and variety, but also thinking about what angles the characters will look good from ( e.g, you would want to see a good view of the Lurkers face as he bites in )


I didn't do this prior to animation, I drew this up for the post to explain my thinking - I mostly just figure this out in my head. The reason I like this stage so much is because it can really help you get ideas for what you want your characters to do... you can almost think of the high level staging contrasts first, and then think of suitable actions to make them happen... its fun, and helps go a long way towards a decent animation if you get this stage right. You're trying to keep the screen alive too as well as the characters within it. .


These are the main staging ideas for the sequence where human wrestles the large injured Dilophosaurus ( beginning of reel ). There is contrast in the broad action and camera movements.



Drawing

This is probably the point at which I should mention the overall way in which I work. I am very much a straight ahead and layered approach animator. I don't yet know how to properly plan and block out animations... I am working hard on this.
I like to animate things by getting a strong idea in my mind of what I know will look good, then I figure out how to animate it by concentrating on what are the primary driving forces, and the most important motions or actions that I need to do first in order to make everything else fall into place. I animate these things first, then I animate everything else afterwards. I do not animate everything at once, knowing exactly where things are coming from and where they are going ( like our old pal Milt Khal ) ... I am way off being that good or that organised. I really love the progressive control and feedback that blocking offers, but I love the spontaneity and immersion that comes from working the way I do.

But I do plan. Its just my planning isn't always in the form of thumbnail drawings or 2D flipbooks. Sometimes I draw thumbnails, sometimes I act things out and record it. Sometimes I just go with the flow and start in 3D ( but not often ).

For the Lurker attack, I pretty much could see in my head what I wanted to happen. I wanted the camera nice and close to the ground to emphasise the threat from the creature, and I wanted there to be a strong sense of physical connection between the two characters by using a good overall pose that kept them feeling entangled and brawlish.. almost like the lurker was 'hugging' the human... and biting into his chest and stomach. For this section of the animation I only did one small drawing that helped me summarize the kind of thing I was going for and mostly posed the two characters together in 3D until I had something I was happy with. The main problem I wanted to solve in thumbnails was the shape change and follow-through of the two characters when the human is violently dragged at the end, so I drew some stuff for that before I went to 3D:


As far as thumbnails go, I never really try and figure out too much at this stage. To be honest, this has a lot to do with my inability to draw the real details of what I can imagine in my mind.. I can usually draw the broad shapes, but then I hit a roadblock because I cannot draw out the subtle shape changes or poses that I want. Basically what this means is that I only ever really work out the main "story poses" that describe the most basic elements of what happens.... rarely any breakdowns. At this point I'm really just thinking about the kind of shapes I want to see, and from what angle. The drawing top left ( with a zero above it ) was the entanglement feeling I wanted, and the rest are just figuring out how the drag would work.

Here are a few more thumbnail sheets I managed to find for some other animations I didn't put on the reel. I wish I had some that are more relevant, but I seem to have trouble keeping stuff like that around, but at least these give an idea of the kind of detail level I take these to. Below each one I have posted a video of how the animation finally came out so you have some context





Recording Reference

I found that for almost all the animations on the Turok reel, I needed to record reference, particularly to give a much better indication of how the human would move in a realistic way. I believe when shooting for realism this is an essential part of the process - there are too many subtle and even very broad actions that the human actor will do that you could never imagine or anticipate just through imagining or thumbnailing. I find that more than anything else it is a great generator of new ideas, or it will at least prove or break an idea you already had on paper.

For the Lurker kill animation, despite what I just said, I didn't record any reference, so I can't show you anything for this. I think really I should have, particularly for the 'struggle' section, but I decided to figure this out in 3D mostly because the motion of the human would depend so much on the motion of the Lurker ( in fact, for the entire animation), but I think I could have got a better result if I had at least acted out some kind of struggle in a similar position and recorded it.
Below is an animation I decided to not to render and include on the Creature Reel because I'm not that happy with it to be honest, but it does show how I used direct video reference of myself to create the motion of the human actor



and here's the reference I recorded:



As an indication, I probably spent a good 40 minutes acting this out over and over, trying different things ( some within the basis of the same idea, and some completley new ideas ) and doing a good 30 or so tries. It seems to me like you need a good 20 minutes to warm up to what you're doing and to really get into it, and usually I find the best take is always the last one, or very near to the end.
I find it very weird as well that the ones you though were good when you did them often look crappy, and its the ones you don't remember so much that look great.

As far as using the reference, I pretty much used it as close as to what was recorded as possible, changing a few things ( mostly timing ) here and there to get the desired effect. If you're going to work this way its crucial that your reference is dead-on. I think part of the problem with this completed animation is that I think I made a bad decision on the reference I decided to use - I should have gone a lot more extreme with the idea of the human moving out of the way of the stumbling dinosaur and pushed it much more.


Blocking

I'm sure when some of you hear the word 'blocking' you instantly conjure up images of AM Mentor reels, Pixar bonus DVD features, and directors and supervisors all standing around a monitor looking happy. And so you should. I think blocking is great, I just personally find it very hard to work completely in this way ( because I need to practice more ).
I can say pretty safely for a good 4 or so years of my career I would just animate straight ahead - not frame by frame, but I would block very loosely between two main poses at a time. I would then animate to almost final between those two poses, then move onto the next two poses until my animation was finished. To be honest I didn't even know about blocking, and seeing as I am entirely self-taught, I never really thought of doing it any other way. The problem with this method was that I never really had much control over what was happening on a high level, had a hard time making changes, and had no real indication of how my animation would look until it was finished. On the other hand, my work always felt spontaneous, organic and was a real blast to create. My current struggle is finding a balance between my methods and a more constructive blocking approach.

So coming back to what I was saying before, my approach to blocking is the same as my approach to animating...I like to animate by thinking about what is most important and doing that first. when I say most important I'm thinking in this way:

• What action or pose NEEDS to happen at a certain point because it drives the story or the impact of the sequence ?
• What movements are directly driving a lot of other movements ? ( like the Lurker driving the motion of the human being dragged )
  
• what character is driving the execution of the staging and camera ? ( who is the primary focus of the sequence and where are they going in the frame ? )

With the Lurker kill animation, below is a set of images that are a rough indication of what I blocked out in 3D before going into animation. These are really just the story poses, and I didn't take the blocking to any more detail than this. I was just trying to lock down in 3D the high level staging, and thinking of the characters as broad shapes rather than complex ones.


I could not find any version history for this animation file, so the images above are simply screen grabs from the final animation. They represent more the points at which I set poses in the sequence, rather than the fidelity of the poses being set. The real ones would have been much much broader and less detailed than these. As an indication of "priority" of these poses, I felt that 1, 3, 5 and 12 were the most important for getting the staging across as needed ( i.e, these are all the poses i absolutley needed - and i spent the most time thinking about the fidelity of these poses in more detail ) all the other poses are loose indications of how I would go between these priority poses, and I would not worry too much about how these looked. I would also be setting these poses in stepped mode, and thinking about where I placed them in the timeline so they would represent a very rough indication of the timing.

I managed to find some version history of the Dilophosaurus animation, which gives a better indication of how I block things out. The scenes I recorded for the video were saved at random points throughout the time I was creating the sequence, so they don't represent exact "milestones" of the blocking I did, instead they just give an indication of the various stages.



Looking at the video above it illustrates pretty well some of the ideas behind my workflow

• section 1 ) Here I'm starting to block out the motion of the human first ( I used video ref of myself for this ). The initial poses are set up to show the basic relationships of where the characters are in relation to each other at the start of the animation.

• section 2) One of the main actions in the sequence is where the dino bites back at the human, who manages to dodge. At this point the the blocking I am roughing out the human up to this point, and also the biting action of the dino. By doing this I can properly verify where the characters need to be at the start of the animation so they end up in the right place at the point of the biting action, relative to how far the human moves forward and how far the dino head moves. I am also starting to think about how the dino will move his body forward in a lunging action that will add power to the bite ( but also affect where he ends up at the end of the action ) I am thinking more carefully about the human poses at this point but still not spending too much time on them. For the dino poses, I am still thinking of him mainly as just his broad shape, and where he is in relation to the human. The most important thing about the dino at this stage is what his head is doing.

• section 3 ) Still working from my video reference, I am blocking the human duck and jump animation. The human is leading the staging throughout the whole animation, so I work on his actions first. I know that he needs to get back on his feet and force the dino's head down by jumping on it - so there is a key point where the dino's head needs to be in relation to how far the human jumps. This key contact point means that I need to know roughly where the dino will be when the human hits the ground, so I block out this pose too ( I also start to get a good idea of how far the dino is moving accross the floor, and the cool kinds of struggly actions I can animate to make his do this ). The white dots that floating in space are a motion trail that I always have attached to the human root bone, this is most useful in stepped mode, when you are blocking out poses, but cannot see directly the relationship between them in 3D space. Using the trail I have a direct indication if the motion of his root is doing anything weird or has odd spacing on it.

• section 4 ) So this section is actually a good representation of how far I would take the blocking of this animation, before starting to work into it in detail. All the main actions are there, and technically everything works ( with regards to distances and contact poses particularly ). I also have a good indication of the staging, and can work a rough pass of the camera movement into the scene. I could also show the animation at this stage and get feedback on high level changes without too much effort.
  

• Some things to notice that are not blocked out by section 4 - The blocking of the human is still very loose, I'm not overly concerned about exact poses, instead just the overall feel and technical aspects of the animation. The dino has very few poses that really say much at all, at this stage the blocking is just to make sure hes in the right place, and most of the attention on him is based around his head and its position to the human. The number of stabs and the timing for the stabbing sequence is very loose, but the sense of the stabbing action is there. There is also no fancy blocking of any of the erratic movements the dino makes in the final rendered shot.

I just want to point out here that I always try and animate as much as I can in full 3D. Game animators are generally used to thinking in this way because usually every animation we do can be seen from all angles by the audience who plays the game.
When doing cinematic animation to a specific camera view, I always work primeraly to that shot as my "optimal viewpoint" but I try and make the animation work from all angles. This forces you to think more realistically about the space in which the action is taking place, and gives you a clearer understanding of where things are going and coming from. It also means that you have room to modify your camera angles and play around a bit with camera animation when you have the main character movement finished and polished up.


Starting to Refine

My approach to starting the real nitty gritty part of animating is to work in a straight ahead and layered way between the poses I have set in my blocking. I rarely go back and set any breakdowns to my blocking poses. Instead what I have are pretty solid "marker poses" that make sure my timing is basically on track, my characters are going where they need to go, and I can see ahead of time the overall picture of what will happen in the sequence... ultimately this means that I can work in the more spontaneous way that I am used to, but its much harder for me to go totally off track and end up making a mess or not quite hitting the mark as I imagined... because the framework is already there.

What I found interesting about these animations were the sheer amount of movement that affects other movement, which in turn affected the way I animated it. For example, when the Lurker is struggling with the human, the Lurker is the main driving force because hes so powerful, yet there is some force on the Lurker in the form of resistance to the human.

With the Dilophosaurus animation there were a number of these relationships:

• The dodge and duck of the human affects where the dino needs to bite so the actions seem believable
  
• When the human jumps and wrestles down the dino, its head is affected by when and how this jumping move takes place and how much force the human inflicts on it
  
• Towards the end where the dino is shaking its head and reacting to the knife stabs, this affects how the human moves because he is hanging onto the dino's head

Because of these primary driving forces, I animated the Dilophosaurus animation in this structured order

• I animated the human first, up until the point that he has finished his jump, and is in the pose where he has the dino head on the ground and is about to stab. I took the time to work detail into these movements, getting the human feeling good and not worrying too much about the dino's body or head. At this point when I am animating anything I am not worrying about keying all controllers on every frame, or in fact being that tidy with my key frames at all, I am working in auto-key and just posing things around and keying them wherever it feels right
  

• I then animated just the dino's head, all the way from the beggining, through the bites, the scream, and all the way up to the point where the human is about to stab. I was concentrating on the big mass of the head because of its sheer size and importance in staging for the shot. I animated how it would react to the force of the human wrestling it down, and the initial impact with the floor. I still didnt worry too much about the animation of the dino's body, just making sure however that I didn't push the head too far beyond a pose that my rough blocking of the body could accommodate

• Once the human has the dino on the ground, I started to block very roughly the timing of the stabs... so I just blocked out the extra stabbing motions from the rough blocking I did at the start, and got the timing feeling pretty good. I didn't concentrate too much even on the human animation, I just animated the arm stabbing and got the feel for it. I did this because each stab would affect the movement of the dino head in a small way, which would affect the human because he is holding on to it!
  

• Now I had the timing of the stabs, I animated again just the dino's head struggling and roaring in reaction to the attack, all the way up to the point that the dino has died and the human starts to get back up again. I made sure I moved the head enough to get decent reaction from the human holding on, but also so I could get some driving body movement in the dino's body. For this stage I was loosley animating the human and the dino's body, but only loosely to get an idea of staging and broad movement

• With the dino's head struggling animation pretty much done, I could animate the human reacting to the forces, and take the human to near completion, all the way up to where he stands back up and the animation finishes. I also made the stabs fit properly to the movement of the dino's head, but trying to keep to the same timing I blocked out for them. The human is now about 90% animated, with follow through and all the details included

• Finally I did a straight ahead pass on the dino's body. I made the root move so that it kept up with the driving force of the head, and I animated the frantic motion of the legs in a way that they would also appear to push the dino to the places that it needed to be in its staging. I added reactions and squirms in the legs, root and arms to the section where the human wrestles its head down, and finally to the stabs and its eventual death. I just went with this pass by pass adding and changing as I worked through.

With the Lurker kill animation it was a similar process:

• I animated the Lurker jumping all the way through the air and landing on the ground using poses 2, 3 and 4 as a rough guide ( see the poses image from before ). I took this motion pretty far getting the nice timing, arcs and overlap. I was loosley posing and adjusting the human but not thinking past the main contact poses when the the Lurker initially hits him in the air, and then when he finally hits the ground.

• I then animated the Lurker jumping around and repositioning itself to get to pose 5

• After I had the main attacking action of the Lurker feeling smooth and enjoyable, I animated the human reacting to the pounce, hitting the floor and struggling in reaction to the Lurker repositioning itself. I knew where I could flail the human's legs and where he could try and grab and push away because I already had the the animation of the Lurker there and working

• I then animated just the Lurker's head biting into the human's stomach and moving around, up until the point that he just begins to drag him away. Again, not thinking too much about the movement of the Lurker's body or the human, but making sure that I moved the head enough to get some decent body movement in both characters

• Using the head movement as the main focus of the staging, I pretty much did a straight ahead pass on the Lurker's body and the human's reactions to the bites in one go. I added the weight shifting and pulling that the Lurker does mainly as a result of the range of motion on the head animation. I animated this up until the point that the Lurker begins to drag the human away

• I then animated the root and back legs of the Lurker performing the shaking and dragging. I very roughly blocked the chest and head of the Lurker, and some poses for the human just making sure that I wasn't straying too far from the main story poses, and technically that I was covering enough ground to drag the human far enough and keep the staging as planned

• Once I had the main root and back leg motion for the Lurker in the dragging section, I animated the chest, front legs, and head of the Lurker reacting to this driving force

• I then animated the human being dragged, using the head as the main point of force

• Finally I did a straight ahead pass on the limpness of the human at the end, and the final lunge of the Lurker

During this stage of animation, I am usually trying to get visibility and feedback on what I'm doing to make sure anyone else that sees it is getting the entertainment factor I'm shooting for, and making any changes that are not too destructive or time consuming at this point.

For all elements of anything I animate I follow this same principle. So when I say "I animated the human" I am usually animating the root and foot plants together, then all the torso and arm movement that results from the main driving force of the root. I did a post that goes a bit more detailed into this idea here


Polishing and Taking It In

As a final pass on my animation I will go through and add motion trails to most objects and get the arcs feeling smooth and organic. This tends to make a huge difference, and you see improvement in areas you didn't even notice had any problems. I love motion trails.

I then spend a little while cleaning up curves. Nothing intense at all, just making sure there's no weird flat tangents or spiky sections. To be honest I only usually spend much time in the graph editor if I need to solve specific problems with acceleration or deceleration, or technical problems like locking down movement between duplicate poses by setting flat tangents etc... sometimes its impossible to get the kind of precise or complex movement you want without pulling around some curves.

I then play with the camera a little, changing the shot and framing a bit here and there to find the best way to shoot the action ( you get to do this if you work in full 3D as I mentioned before ). These are not vast changes at all, but can make dramatic improvements.

I then sit back and watch the animation over and over. I do this to look for 3 main things

• Do I need to change and poses or timing in any way to make the sequence better ?
  
• Where can I add subtle movements ( reactions in all animated objects to forces and actions smaller than the main driving forces) to make it more believable ?
• Do I need to globally adjust or modify any poses or animation to get a better result ?
• Does this entertain me ?
  

I usually use animation layers to add subtle movements and global changes. This way I can forget about trying to work within existing keyframes and just start fresh using additive keyframes over the top of underlying motion. Its best to do this at the end because our in-house animation layer tool locks off the underlying animation once you add layers over the top. You can get some great subtle movement doing this, and you can also blend in and out of broad changes over time ( for example I added a layer to the Lurker's root that bought him closer to the human during the struggle section and I blended this change from the point that he repositions himself after the pounce ). I love animation layers too! .... I could post this up along with a tutorial if I get any interest.

TJ Phan's workflow

http://tjphan.blogspot.com

I always love reading about how others go about animating their scenes, so I thought I'd add my own process and preferences to the mix, incase anyone might be interested:) I like talking workflow with others because it allows me to discover new methods and inspires me to try new things. It also helps me organize my thoughts, as well as reminds me of the things I should be thinking about for each new animation--because I tell ya, this animation thing ain't easy!
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So...in the tradition of other workflow posts out there, I'll start by throwing up my own disclaimer:

• I know I still have a lot to learn about animation, and I will probably always have a lot to learn. The following workflow habits are ones that seem to have worked for me for the past 4-5 years. However, I'm contantly experimenting. Ask me how I work a couple of months from now and my answer could be totally different. (Hopefully not too different). In the end, what really matters is what the audience sees on the screen.

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Alrighty, now on to it!..

When I first started animating in 3D, I read about the layered approach to animation--animate the root first, then continue outwards.

That seemed to work for a while. Individual motions in my animation were "loose" enough because keys were offset, but the overall animation still came up a bit stiff, esp. with the poses. I found it difficult to predict what pose was to come next without seeing the full pose before it. After struggling with this for a while, I decided to go back to a more traditional method by treating each keyframe as a drawing, and keying all controllers for that "drawing".

This leads me to my biggest mantra:

To keep things simple, I try to remind myself that animation really comes down to these two things:

Poses and Timing

• Now, I'm sure you've heard this before, but when I say poses and timing, I'm including the breakdowns, extremes, and "overlap" poses (in addition to keyposes of course).
• Also, for each of these poses, I'm setting a key on all of the controllers.

I feel that breakdowns and extremes can be just as important as key poses, and that having a key on all of the controllers for each pose ensures that I have full control over that pose when I start adjusting my animation. I also feel that you get stronger follow-through by actually creating these "overlap poses", rather than by just offsetting.

So in short, here's what I do...

• For most of my work, I prefer to straight ahead, keying all as I go. I then slide the poses around in the dopesheet for timing and finess the poses as needed. At this point I should be about 70% of the way there. From there I start the polish, which could take up more than 50% of the time.
  
• I think this method lends itself well to action-heavy animation. For the acting stuff, the breakdowns and overlap poses may come after, when all of the keyposes are in. This is unless the transition between 2 keypose is a bit more physical, in which case I'd straight ahead to the next pose with the breakdowns.
  
• After my initial block-in, I think I end up with more of these "keyed-all" poses than what you may consider typical.

Exceptions/ variations

• If there is a really important pose I have to hit (like a grapple idle, where other animations may branch off of) I might straight ahead very loosely to that pose, make sure that pose is solid first, then come back and tighten up the others to make it work for that pose.
  
• For a cinematic sequence, I'd probably very loosely block in the entire sequence of shots, using the least amount of poses needed to portray the purpose of each shot. I'd then show that for feedback and/ or appoval. After that, I'll go back and do full straight ahead animation on each individual shot as before.

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Layering and Offsetting

While setting these poses during the initial block-in, I do not worry about any layering or offsetting of keys.

• This way, I could easily slide poses around in the dopesheet until I'm pretty happy with the timing.
• It also keeps things clean and facilitates revision as you're going through the approval process with whomever is in charge.
• I'd also try to keep it like this for as long as I can. If it's a game animation, I'd rather have it tested in the game before I even think about starting any polish.
• If it was up to me, I'd leave all of the animation assets at this level of finish, and start polish only when each specific game feature is deemed "fun".

Do I ever layer my animation?

• Sure, but only if the situation calls for it and usually not as a foundation or an initial block-in, even for walks and runs.
• I admit, some animations will lend itself to a more layered approach, but even with these, I would still lock-down a couple of full-body poses first. (example=> Hit-reacts, Knock-back anims)
• Wings, tails, and other secondary parts are usually layered in after.
• Finally, as a quick note for action vs. acting, I'm noticing that I tend to layer a bit more for subtler acting as opposed to the broader physical actions. Details and nuances are usually layered in.

Do I offset keys?

• Yes, for finer overlap, but only near the end, only when necessary, and only the least amount needed.
  
• Again, this is to allow for easier/ quicker changes. And believe me--requests for changes are common in a real production environment. Animating for gameplay is a very iterative process. Not only does it have to look good, it has to function properly with regards to the game design. And the design will often go through many changes during the production cycle.

Finally, whenever I get lost in the mess of keys and my animation just isn't cooperating, I could always find my way back by stamping poses and deleting some of the mess. I'll then reassess these poses, and possibly add a few more key-all poses if needed.

Believe me--if time doesn't permit and all you have are the right poses, the right number of poses, all hitting at the right beats, You're animation will have weight and will be fluid, even if you don't have a single offset (or a few in the feet, perhaps).

This way of thinking may have stemmed from my traditional background (because if you think of it, all 2D animators have to work with are "keyed-all" poses every 2 frames). Nonetheless, this method makes things easier for me to digest.

After block-in

• After the initial block-in, the feet are usually the first things to be offset.
  
• To keep things organized a bit longer I then continue to offset body sections from each other (only if I need to), while still treating each section as a whole as opposed to offsetting their sub-components. For example, I'll treat the spine as one shape and not as individual joints. Each arm is one shape. This goes for the hand/ fingers and legs as well. With tails, esp. when there are many joints, I think of it as whole shapes as I'm animating, and not individual sections. Not until it's already flowing and overlapping with key-all poses do I think of offsetting.
  
• For wings I'll animate the root of each wing to quickly block in where I want the flaps. I'll then go back and treat all the controllers of each wing as a whole shape.
  
• When I offset, I don't just slide keys around. Sometimes I'll stamp a key where I think the offset should take place, adjust it, then delete the previous key.
  
• Even when you start to offset and add keys to refine arcs, you could still see the major landmarks in the dopesheet, in case you need to blow out keys and make changes.

To better illustrate all of this, here are 2 examples from my previous posts:

Reference was shot for only the last strike of this combo. I try to pay attention to what the feet are doing. And again, the overall speed is exaggerated for gameplay.



This is what the final animation looks like in the dopesheet. Even in the end, you could still see where all the main poses are. Things are still organized, and if I have to make any changes, it shouldn't be too difficult.

No reference was shot for this next one. I didn't want to hurt myself!

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Miscellaneous Preferences

Here are some additional, miscellaneous tidbits I prefer.

***Again I'm not here to spark up a debate or start a fight. I just enjoy talking to other animators about how they go about the "little" things and what they prefer. I always find it interesting and often times it inspires me to actually try that "new" way of doing something, just to see if it would work for me.

• Up until now, I've mainly used spline tangents as the default for action heavy stuff and clamped tangents when working on subtler performing pieces. I hate to admit it, but I actually sometime use splines' overshoots to my advantage, mostly for the action stuff. I do acknowledge, however, that things could get a bit rubbery/ floaty if I'm not careful. These days I think I might stick to clamp as the default.
  
• So far, I haven't found stepped keys to work too well for me. Maybe I'm not using it correctly. To be fair though, I'm going to give it another shot for the quieter acting pieces I'm doing these days.
  
• Weighted-tangents--Again, I know animators who swears by them as well as animators who don't use them at all. There are great animators on both sides. I personally haven't used weighted tangents in the past as I think I prefer to set that extra key for more control (though I have been thinking about giving them another shot for the more subtle stuff. I'm pretty sure, though, I won't be using them for action) Here's my final answer to this debate. What matters is what the audience sees on screen--you're animation, not your tangents. Haha!--I managed to stay diplomatic on that one! Seriously though...find what works for you, but always keep an open mind and try new things.
  
• Finally, I tweak tangents only in the end, and probably not too extensively. My reasoning for this is that the moment you adjust a tangent, it won't automatically try to smooth out the curve if you adjust that key. So if you touch a tangent in the beginning, every time you adjust that key, you will probably have to adjust that tangent. Plus it's too easy to let the OCD side of me kick in regarding numbers and curves, it's too easy to get caught up with the graphs and overlook the actual pose in the viewport.

As for the rigs, I generally prefer a clean simple rig, nothing too fancy. As long as it has FKIK switching and matching, and the controllers aren't confusing, I'm happy. Oh--and it has to have a low-res, unskinned, proxy mesh that can be toggled with the final mesh--I'm greedy when it comes to the playback frame rate. :) I do have a longer list of preferences when it comes to rigs, but I'll save that for another post.


TOOLS

Before you animate, get comfortable!

• First off, get a bigger monitor or preferably a 2nd one. The extra real-estate makes a huge difference! If you can't afford one, save up. It's you're career, invest in it.
  
• Get a good chair. Statistically, 8 out of 10 Americans will get some form of back pain in their lifetime. I threw out my back once and I can assure you, it's no fun.
  
• Try out Evoluent's vertical mouse. If I'm on the computer for too long, my wrists starts hurting. Several friends recommended this mouse. I gave it a shot, and ended up buying both a left and a right one to alternate throughout the day. You could also try using a Wacom Tablet--yet another way to switch it up.
  
• Check out RSI Guard - there's a free trial version. It's a program that keeps tab on how much typin'/ mousin' you're doing and reminds you to take periodic breaks.
  
• Buy Quicktime Pro if you don't already have a "special" version. It's only 30 bones, but comes in handy when you need to save a video clip off the net, trim reference clips, or compress and export clips.
  
• Take the time to set up scripts, hotkeys, and shelves in Maya. It may seem like a hassle, but you'll thank yourself when your knee deep in keys and curves.
  
• Check my previous post for some of the scripts I use ("A Few Good Mels"). Go to Highend 3D for more.
  
• Here are some of my hotkeys.
  
  x-ray toggle (very useful for finding that polevector or other controller that's hidden behind some piece of geometry) Map this command to the hotkey of your preference.
  
  $currentPanel = `getPanel -withFocus`;
  $state = `modelEditor -q -xray $currentPanel`;
  modelEditor -edit -xray (!$state) $currentPanel;
  
  I like to reserve my second monitor for the character GUI, the face GUI, my reference video(s), the finalShot camera view (if it's a cinematic), and my IM.
  Because of this, I set up these hotkeys.
  
  "h" brings up my
  grapheditor layout (2 panel splitscreen: 2/3 Perspective, 1/3 Graph Editor)
  
  "d" brings up my
  dopesheet layout (2 panel splitscreen: 2/3 Perspective, 1/3 Dope Sheet)
  
  "8" brings up my
  walk run layout (3 panel splitscreen: 2/3 Front/Side, 1/3 Graph Editor)
  
  I also map PlaybackToggle to "`" and "0". (under "Playback Controls" category)
  
  As for Maya's shelves, I love 'em! For each character I create separate shelves for them. One could be for body poses and selection sets. One could be for hand poses and another for the face. Regarding hand and face poses--these are just for speed. It's to get you maybe 80% of the way there so you could adjust quickly. Again, in a production environment, time is always a factor. You never seem to have as much time as you'd like, so you have to find ways to speed up the process--ways to buy you more time for the important shots. The quicker you get to 80% the more time you have for polish.

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PLANNING

I'm sure you've all heard that planning is super important. I totally agree! And although I put this section last, it should be first.

Before you start anything, ask questions

• Know the purpose of the animation you're about to do. Find out how it fits in the bigger picture. If it's a cinematic, know what your shot is trying to show. Know the purpose of the character. Know what the shot is before and after your shot.
  
• If it's a game, find out what this attack is supposed to do. Is it supposed to knock the enemy up? Back? Is it supposed to stun it? Kill it? Are there limitations? Is the animation supposed to be contained to an area? Is the attack supposed to hit at 4ft, translate only 5 feet max and have the player character rotate 180 degrees into the Idle Pose to face the enemy who's in the Prone_Back Pose facing you?
  
• Simply put, the more you ask, the more you'll know. The more you know, the less likely you're going to have to redo that awesome animation of yours because it didn't fit into the big picture.
  

Observe

Regarding video reference, here are my thoughts.

• Video reference is a great tool, probably one of the best in our arsenal. There is a small trap, however, that you should all be aware of.

You ready? Here goes.

• If you're not careful, and you start to rely on it too much, you could become a slave to it.

Wait! Hear me out. This is what I mean when I say "rely."

• The trap that you could easily fall into if not careful is to rely on reference too much...or better put, not use reference to it's fullest. This happens when you merely scrub through the quicktime file, find a pose, slap it onto your character, then move on to the next, rinse/repeat, as opposed to really analyzing and breaking down the mechanics or the emotional shifts embedded in your ref. You concentrate too much on the "what" is happening in the reference video and not enough on the "how" and "why".
  
• If you've been using reference too much this way, then you've become a slave to your reference and you could run into trouble when it comes time to animate something that can't easily be referenced.
  
• I've seen it happen. Heck, I've been guilty myself at times!
  Instead of just concentrating on "what cool pose can I find" concentrate also on "why is this pose cool or why is this pose happening and why do I need this pose here?" This way you're more likely to understand why things are happening and you'll be better adept at drawing from what you've learned the next time you have to animate something that has to be straight out of your head because it's something that's beyond what a human can actually do.
  
• In the past I often tried to balance referencing my animations with a more spontaneous and gung ho method. Sometimes, I'll just jump into the computer with only a broad idea and see where my instincts takes me. Although caution is definitely advised here, this is why I've done it. First, maybe I just can't shoot reference for this crazy move. Maybe I have to finish this animation in a couple of hours. But seriously, I find that it can be a good thing for me to do from time to time to keep me on my toes--force myself to analyze and breakdown things a bit deeper for myself (body mechanics, weightshifts, underlying thoughts). I'd say about a third of the stuff on my reels was referenced, and probably less for all the animation assets that went into the final game.

Now...with all that said...

If it's an important shot, I'll most likely shoot reference if I can. I imagine if I were ever lucky enough to work on a film, I'm pretty certain I'd shoot reference for every shot that I'm able to shoot reference for.

Bottom line is--work the reference, don't let it work you.

Moving on...


Visualize!

• See the animation in your head.
  
• Thumbnail if you can. To be honest, though, I haven't been doing it much for the past 4 years. I do want to try to thumbnail more, though. I know of great animators who don't thumbnail, as well as great animators who do. I'm sure it's not absolutely necessary but it can help.
  
• The clearer your idea is before you touch the mouse and keyboard, the smoother and usually quicker everything will fall in place.

POLISH

• Once I'm pretty certain no major changes will be requested, I will then cross my fingers and start checking arcs, tightening tangents and adding and offsetting keys wherever I feel is necessary--on every frame for individual sections if I have to.
  
• At this point, switch over to "free-form mode" and allow yourself to get a bit "dirty" with your keys. If you did your work honestly and you set a strong foundation, you'll be fine. Your graphEditor could end up looking like a mess, but again, it's what's on screen that really matters.
  
• Perhaps step away from the animation for a while, work on something else, and come back to it later to get a fresh eye.
  
• Also get feedback! Everyone could give valuable feedback, not just animators. To be honest, often times, my daughter and nephews give me spot on feedback becuase they don't over analyze. They just look at the big picture.
  

I have one final note about polish I think is quite important. The following could easily be misinterpretted so please, don't take what I'm about to say the wrong way and think of me as one who's just lazy or is always looking for shortcuts.

• Basically, in an ideal world, you'd have plenty of time to polish every single animation you do. In the real world, there are budgets, schedules and deadlines.
  
• This is where you need to prioritize your polish.
  
• In other words, don't polish too early, layer your polish from big to small, don't over-polish what's not going to be noticed as much.
  
• To hit this home a bit more, resist the temptation to polish those curves in the beginning (exception of course is when the main action depends on getting that curve accurate). Don't offset every finger or eye brow control if your character's only an inch on screen. Resist tweaking arcs and motion trails of that sword tip until you've seen your animation in game and it has been tested and approved.
  
• On a bigger scale, every animation you do for the game can't be a portfolio piece. Time just doesn't permit. And if it does, let me know where you're working because I want an application! Of course you should alway do your best, but if you spend 3 days trying to polish every last inch of that get-hit animation, you're probably taking time away from that multi-strike, finishing combo, the one that the player is going to aprreciate more. I strongly believe you have to choose your battles, layer your polish in a logical order, polish what's most important first, what the audience will notice most. And if time permits, go ahead and make that hit-react a portfolio piece. I honestly think that if you try to polish every asset as you go along, you could end up with a less polished game because you may run out of time in the end to polish what really matters.
  

Now remember, I'm not advocating cutting corners all the time, The last thing I want to do is to come across as a slacker. All I'm saying is work smarter, choose your battles--prioritize your polish.

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So to re-cap my personal process in a nutshell (in the right order this time):


Plan

• Think before you animate, ask questions, know the constraints, know the purpose, know the character.
• Visualize, have a clear idea. See the animation in your head. (this is something I'm trying to remind myself of more these days)
  
• Reference (use it, analyze it, just don't be a slave to it)
  
• Thumbnail (if you can, why not?)

Tools

• Get comfortable, get ergonomic! (And don't forget to take breaks!)
  
• Scripts, hotkeys, shelves -- Take the time to set them up.
  

Animate

• POSES and TIMING (this is what I think it comes down to)
  
• As a foundation, I key-all as I straight-ahead
  
• Layering and offsetting (not initially, i do it later)
  
• Dopesheet (this is where I like to adjust macro timing)
  
• Graph Editor (good for polish, good for debugging hitches, just don't get caught up too early)
  
• Tangents (I like to jump straight into non-weighted spline or clamped, but use what YOU'RE comfortable with)

Polish

• Be smart - prioritize and layer it
  
• Finesse arcs, tangents, curves, etc.
  
• Get "free-form", get "dirty" if you need to
  
• Get feedback
  
• Step away and come back with a fresh eye.
  
• Slip the supervisor a 20 so your shot could be approved.
  

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Final thoughts

Most of the stuff I've talked about works pretty well for me regarding action-oriented animations. As for acting and dialogue--that's a huge topic by itself, one that I'll be saving for a future post. I have an acting/dialogue workflow that I consider to be "in-the-works", since I haven't done as much performance as I have action. I'm still trying to refine that process. I'll let you know all about it in year! or hopefully sooner:)

I hope all of this made at least some kind of sense. I hope I don't look back on this 6 months from now and think, "what the hell was I thinking!"

If anyone has specific workflow habits that you feel works well for you, by all means, let me know! I'd love to hear it! I'm always down to try something new.

In the meantime, have fun, support others, be inspired.