World, object, gimbal, local? Do you know when and why to animate something in a certain translation or rotation mode? Animator Jacob Frey gives us a tour through the settings in Maya, explains what a gimbal lock is and tells us a useful hidden translation mode called “Live Object Axis”.
Be an informed animator – watch the latest animation news! There is an illegal wage fixing cartel of big studios, Glen Keane presented his first short after his retirement, “The book of life” distances itself from overused CG styles and some award ceremonies are adapting to the changing animation market… Feel free to discuss the recent events in the comments.
Thank you so much for your feedback and participation in discussions! Ferdinand responds to some comments about video quality, Frozen, the Placer Node and how we get our interview partners.
Find out how you can make sure that the sound and images in your animation appear in sync. We explore why it’s okay for sound to be heard a little after the visual hit and why it should never ever come before the image.
There have always been two sides to the animation medium: On the one hand there’s the opportunity to exaggerate reality; to distort and caricature with the goal to create unseen worlds with their very own wicked logic. On the other hand side is the striving to come as close to reality as possible to create complex illusions or just to test the boundaries of what can be done. While appeal is a challenge in any case, there is a big pitfall on the path to realism: The Uncanny Valley.
JK and Ferdinand have a closer look at Disney’s recent hit “Frozen” and discuss story inconsistencies, the problematic villain twist, the sidekick Olaf and what you can learn from it for your own film making. What do you like and dislike about Frozen? Do the story inconsistencies matter to you? Please feel free to join the discussion in the comments.
An old adage claims we have 100,000 bad drawings in us that we must get out before we can get to the good ones. Today we take a deeper look at that quote.
Setting up the pipeline for the LEGO movie was an unusual challenge. Damien Gray, CG Supervisor from Animal Logic, tells us how they brought the bricks into the computer and made working on the film as open and creative as possible.