8 Animation Production Tips – Modeling and Animation

I wish to encourage lunacy that is Personal Animation Production.
This is Animation Production Tips collection 1.  These were born from problems I’ve faced, from the neurons burnt.  Read and save yourself a great deal of trouble.

Note that these are Tips.  Many could be expanded to full tutorials.  You may find futher info on some of these tips somewhere – maybe even here, later.  Important for now is to get the ideas across.

Tips for animation production

  1. Use each software to their strenghts.  Build a ‘pipeline’. May sound like a costly solution but doesn’t have to be(Wings for modeling+Blender for animation, effects and video&audio editing= all free).  You can build an affordable pipeline even with commercial software and have it all under the price of one Max or Maya licence.  One example of such a combo would be Silo, 3D Coat, Messiah and Vegas Pro.
  2. Model your characters for animation – use edgeloops to create surface flow that deforms well in animation.  See the above picture?  Your model has to be good to get that range of motion without problems.  This is crucial especially in the joint and face-areas.  In short your polygons should mimick the major muscle flows under the skin.  Surface flow is a major topic by itself.  If it is a new concept for you, I suggest you start from the following classic modeling document.  http://www.theminters.com/misc/articles/derived-surfaces/index.htm
  3. Don’t go super low-poly with your character models.  I’m very familiar with the obsession to optimize, but if you go exceedingly low in polys your character deformations become too large – no longer in your control.  A bit more polygons is better for displacement too – it displaces with more reliable results.
  4. Use displacement for detailing.  Sculpt or model the detail in a software that lets you bake it into a displacement-map.  In production use less detailed models and use displacement-maps to bring the detail out at rendertime.  Advantages are a lot lighter animated models and scenes meaning generally better animating conditions, faster manipulation and hopefully less crashes too.  Also you get faster overall rendering as detail is generated only where and when it is seen.  Most software should allow linking displacement to, say, camera distance.  Or you can set the amount of subdivision happening per pixel – meaning only the area that shows well in your current camera frame is subdivided for detail.
  5. Use as few bones in your rig as possible. Unless you’re creating the ultimate in realistic muscle deformation, you can get by with very few bones.  The less you have the smoother deformation created by them can be.  You know, organic.  In reverse the more bones you add the more you have to adjust bone influence or use muscle bones between them or corrective morphs or what have you – all to get rid of the too sharp deformations many bones bring.
  6. Transfer animation from one software to another with MDDs.  MDD is an universal way to transfer Mesh Deformation Data.  It transfers every deformation of the mesh in your animation software, even morphs, meaning all animation, to another software.  This way you can animate in animation specialized software and do the rest in whatever software you like. MDD-support should be common.
  7. Brake your animation into sequences.  Don’t try to animate all in one project-file and don’t try to export long animation mdds. The files can get corrupted and then you lose all at once. And long animations, especially with complex meshes, become huge as mdd-files.
  8. Set your character rig up so that you can do mesh or rig revisions with ease in production.  Lets say you find, right in the middle of production, that you have to change geometry in your characters shoulder area.  It will be an absolute pain if, to get the changed model moving again, you have to re-weight it and set the your mesh-based tricks(morphs and such) up again.  Instead use an animation software that gets by with bones and weight fields and such – so that all is in the rig and not tied to the mesh in any way.  Then you can change the mesh around the rig as much as you like, change to other characters even.  Messiah works like this.  Your software, if other, might not but may have some other way to save you from re-weighting-hassle.  Find it out and test it before you start animating.

Do you use these tricks in your productions?  What would you change?  What would you add?  What tip would you like to see expanded to a tutorial?

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