I guess everyone is familiar with this famous funny quotation. But like every joke, this one has also a small part of joke and the rest of true. We also decided to act in the cartoon, but not in its primary part, but in the one that remains off screen. Today we’ll talk about shooting the reference movings of characters in the cartoon. During the work over the character, the animator lives the life of its hero. He needs to feel how the character will jump, turn over, or make grimace. To ease a bit the work of the animators, we shoot a few grimaces on video, so they won’t have to get in front of a mirror to seek for inspiration. You can enjoy some of thems, too.
The pirate rig
Our pirate is quite bulky, even so he can’t passively die of thirst. In other words he must move. In order to make this big guy move correctly from the anatomical point of view, we had to add him muscles, which we haven’t done before. So, we created our own setup for the
On November 4, at the festival Anim’est 2012 the company Simpals presented its new animated film about a grim reaper named Dji.
It was frightful! Frightfully funny! Because Dji is an unusual death. The Dark Knight has appeared in a different form. No, he is not white and fluffy. Dji is just terribly unlucky. All he
To achieve greater flexibility at the stage of visualization, we had to use additional passes: Point Position Pass, Normals Pass (to highlight the top or bottom side of the character), ID Pass, etc.
The lighting scheme was always pretty much the same, but we couldn’t use the same lighting in every shot. So, we had to