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Suárez Fernández.
THE ANIMATOR´S CHECKLIST Check my Tips – How to convert an “in place” walk cycle to a cycle with displacement. . Check my Tips – Relationship between Pelvis orientation and Feet Angle. . Check my Tips – Avoid your character breaking his Ankles. . Sefa Suárez Fernández. Here you have a map made by Sefa Suárez Fernández in my last workshop. PabloLópez Cano.
SKILLS OR WHAT SKILLS DO YOU NEED TO BE A GOOD ANIMATOR? Communication : You must have great relational and communication skills in order to resolve any conflicts. Flexibility : You must have synthetic and analytical skills and be flexible when interpreting changes. Respect : It is very important that you know how to work in a team. You have to be humble and respect your fellow. REFERENCES OR HOW TO FIND INSPIRATION FOR YOUR SHOT? Hi everybody, When I was studying illustration, the director of the school used to say: “We are big standing on the shoulders of giants” If you are lucky to work in a studio, you'll be able to check the storyboards, animatics, recordings of actors , the work of the art department and the preproduction of the animation department (Tests, video references, characters bibles,) which will POSE OR ALL YOU NEED TO KNOW TO MAKE A GOOD POSE Refine the body dynamics, working on the position of the feet, legs, hip and shoulders. • Fulcrum : Place the supporting points. • Weight : Define the distribution of weight. • Balance : Put the character in balance. • Body Dynamics Angles : Adjust the angle of chest and shoulders in relation to the hips. Note : If I want to be sure that my body dynamics works and avoid surprises in COMPOSITION OR HOW TO COMPOSE A PICTURE? Here are some tricks to help you to compose: Aspect Ratio : Depending of the type of composition we want, we can play with different framings. (square, 4:3, 16:9,) Rule of Thirds : If we divide the frame into a grids of equal size 3×3, the four grid intersections will mark the points of interest. Golden ratio : It is based on a rectangle FORCES OR WHAT ARE FORCES TO BE TAKEN INTO ACCOUNT IN Those same forces define everything: Timing (Timing, Spacing) poses (Anticipation, Reaction, Balance, Squash/Stretch) and movements (Arcs, Overlap, Residual energy, Inertia, Action/Reaction, Slow in/out). All the work of biomechanics is a direct response to the interpretation of the forces. Gravitational force or Gravity: Attractive force VIDEO REFERENCE OR HOW TO CREATE A VIDEO REFERENCE? Be sure that you are recording at 24fps. Try to copy the framing. Put the camera on a tripod and try to simulate the framing. Work in context. Put the audio with the anterior and posterior shots or put a few seconds of silence to act without being hit by your audio. Recordwith proper light.
X-SHEET OR THE TOOL I USE TO PLAN MY SHOT? Personally, the X sheet helps me not only when exploring but also as a roadmap to record myself. As I explained before, my methodology when planning is as follows: – Write down the dialogue and transcribe it phonetically. – Locate accents. – Associate those accents with time information. – Note some actions and moods in relation with GLOSSARY OR THE MOST USED TERMS IN 3D ANIMATION PIPELINE : Structure through which passes a shot through the studio and production. Animatic : Animatic or Leica, audiovisual piece which mix storyboard with the audio track synchronously. Animation : Process used by one or more animators to give the feeling of movement to images or drawings or THE ANIMATOR´S CHECKLIST Check my Tips – Lower Eyelids. . Check my Tips – How to convert an “in place” walk cycle to a cycle with displacement. . Check my Tips – Relationship between Pelvis orientation and Feet Angle. . Check my Tips – Avoid your character breaking his Ankles. . SefaSuárez Fernández.
THE ANIMATOR´S CHECKLIST Check my Tips – How to convert an “in place” walk cycle to a cycle with displacement. . Check my Tips – Relationship between Pelvis orientation and Feet Angle. . Check my Tips – Avoid your character breaking his Ankles. . Sefa Suárez Fernández. Here you have a map made by Sefa Suárez Fernández in my last workshop. PabloLópez Cano.
SKILLS OR WHAT SKILLS DO YOU NEED TO BE A GOOD ANIMATOR? Communication : You must have great relational and communication skills in order to resolve any conflicts. Flexibility : You must have synthetic and analytical skills and be flexible when interpreting changes. Respect : It is very important that you know how to work in a team. You have to be humble and respect your fellow. REFERENCES OR HOW TO FIND INSPIRATION FOR YOUR SHOT? Hi everybody, When I was studying illustration, the director of the school used to say: “We are big standing on the shoulders of giants” If you are lucky to work in a studio, you'll be able to check the storyboards, animatics, recordings of actors , the work of the art department and the preproduction of the animation department (Tests, video references, characters bibles,) which will POSE OR ALL YOU NEED TO KNOW TO MAKE A GOOD POSE Refine the body dynamics, working on the position of the feet, legs, hip and shoulders. • Fulcrum : Place the supporting points. • Weight : Define the distribution of weight. • Balance : Put the character in balance. • Body Dynamics Angles : Adjust the angle of chest and shoulders in relation to the hips. Note : If I want to be sure that my body dynamics works and avoid surprises in COMPOSITION OR HOW TO COMPOSE A PICTURE? Here are some tricks to help you to compose: Aspect Ratio : Depending of the type of composition we want, we can play with different framings. (square, 4:3, 16:9,) Rule of Thirds : If we divide the frame into a grids of equal size 3×3, the four grid intersections will mark the points of interest. Golden ratio : It is based on a rectangle FORCES OR WHAT ARE FORCES TO BE TAKEN INTO ACCOUNT IN Those same forces define everything: Timing (Timing, Spacing) poses (Anticipation, Reaction, Balance, Squash/Stretch) and movements (Arcs, Overlap, Residual energy, Inertia, Action/Reaction, Slow in/out). All the work of biomechanics is a direct response to the interpretation of the forces. Gravitational force or Gravity: Attractive force VIDEO REFERENCE OR HOW TO CREATE A VIDEO REFERENCE? Be sure that you are recording at 24fps. Try to copy the framing. Put the camera on a tripod and try to simulate the framing. Work in context. Put the audio with the anterior and posterior shots or put a few seconds of silence to act without being hit by your audio. Recordwith proper light.
X-SHEET OR THE TOOL I USE TO PLAN MY SHOT? Personally, the X sheet helps me not only when exploring but also as a roadmap to record myself. As I explained before, my methodology when planning is as follows: – Write down the dialogue and transcribe it phonetically. – Locate accents. – Associate those accents with time information. – Note some actions and moods in relation with GLOSSARY OR THE MOST USED TERMS IN 3D ANIMATION PIPELINE : Structure through which passes a shot through the studio and production. Animatic : Animatic or Leica, audiovisual piece which mix storyboard with the audio track synchronously. Animation : Process used by one or more animators to give the feeling of movement to images or drawings or FORCES OR WHAT ARE FORCES TO BE TAKEN INTO ACCOUNT IN Those same forces define everything: Timing (Timing, Spacing) poses (Anticipation, Reaction, Balance, Squash/Stretch) and movements (Arcs, Overlap, Residual energy, Inertia, Action/Reaction, Slow in/out). All the work of biomechanics is a direct response to the interpretation of the forces. Gravitational force or Gravity: Attractive force PLANNING OR HOW TO PLAN YOUR SHOT? The nine old men used to say “ Spend half of your time planning and the other half animating “. I know that everyone has his own methodology when planning, but I think that even if we use different tools, we basicly follow those steps : · Understand. · Search for inspiration. · Explore. · Select. · Create your own reference. ·Get the
GENERAL WORKFLOW OR WHAT ARE THE DIFFERENT STEPS TO CREATE STAGE 7 : SPLINNING – Search for fluidity. Go on spline mode to be sure that body dynamics works and everything is fluid and readable for your director. STAGE 8 : POLISHING – Finishing and refining. Refine your shot, Check arcs and add more texture. STAGE 9 : SHIPPING –Send the shot.
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Check my Tips – Lower Eyelids. . Check my Tips – How to convert an “in place” walk cycle to a cycle with displacement. . Check my Tips – Relationship between Pelvis orientation and Feet Angle. . Check my Tips – Avoid your character breaking his Ankles. . See allmy Tips.
WORKSHOP - ANIMATOR´S CHECKLIST Your Custom Workshop. I've been almost 15 years giving feedback, and I realized that the animators as well as problems of timing and perched, often also they have questions about technical aspects and methodology. At the request of several students, I decided to create a fully customized workshop, in which we will create a flat step, and POSE OR ALL YOU NEED TO KNOW TO MAKE A GOOD POSE Refine the body dynamics, working on the position of the feet, legs, hip and shoulders. • Fulcrum : Place the supporting points. • Weight : Define the distribution of weight. • Balance : Put the character in balance. • Body Dynamics Angles : Adjust the angle of chest and shoulders in relation to the hips. Note : If I want to be sure that my body dynamics works and avoid surprises in X-SHEET OR THE TOOL I USE TO PLAN MY SHOT? Personally, the X sheet helps me not only when exploring but also as a roadmap to record myself. As I explained before, my methodology when planning is as follows: – Write down the dialogue and transcribe it phonetically. – Locate accents. – Associate those accents with time information. – Note some actions and moods in relation with OBSERVATION OR HOW TO READ A REFERENCE VIDEO? OBSERVATION or How to read a reference video? You surely have heard that the key to be a good animator lies in those 3 words: Observation, observation and observation. It seems quite easy but when you're starting in the world of animation, you may ask yourself: “Ok, I'll watch my video referencebut what do I have to look at?”. BLOCKING OR HOW TO CREATE A GOOD BLOCKING STEP BY STEP? Hi everybody, For me, the Blocking phase is the crucial part of the development of a shot.. In that stage, you will have to mark all the necessary information of timing and posing so your director will perfectly understand the acting decisions you are going to take.. The beginner's big doubt is to know when does this phase ends and what can he do to improve his blocking. SPACING OR HOW TO AVOID “FLOATY ANIMATIONS”? Hi everybody, Frequently people mix up Timing and Spacing. Timing is the time it takes to an action to happen, the arcs describes the usual path of a structure with joints and Spacing refers to the manner in which a moving object covers a distance from one position to the next. THE ANIMATOR´S CHECKLIST Check my Tips – Lower Eyelids. . Check my Tips – How to convert an “in place” walk cycle to a cycle with displacement. . Check my Tips – Relationship between Pelvis orientation and Feet Angle. . Check my Tips – Avoid your character breaking his Ankles. . SefaSuárez Fernández.
THE ANIMATOR´S CHECKLIST Check my Tips – How to convert an “in place” walk cycle to a cycle with displacement. . Check my Tips – Relationship between Pelvis orientation and Feet Angle. . Check my Tips – Avoid your character breaking his Ankles. . Sefa Suárez Fernández. Here you have a map made by Sefa Suárez Fernández in my last workshop. PabloLópez Cano.
SKILLS OR WHAT SKILLS DO YOU NEED TO BE A GOOD ANIMATOR? Communication : You must have great relational and communication skills in order to resolve any conflicts. Flexibility : You must have synthetic and analytical skills and be flexible when interpreting changes. Respect : It is very important that you know how to work in a team. You have to be humble and respect your fellow. REFERENCES OR HOW TO FIND INSPIRATION FOR YOUR SHOT? Hi everybody, When I was studying illustration, the director of the school used to say: “We are big standing on the shoulders of giants” If you are lucky to work in a studio, you'll be able to check the storyboards, animatics, recordings of actors , the work of the art department and the preproduction of the animation department (Tests, video references, characters bibles,) which will POSE OR ALL YOU NEED TO KNOW TO MAKE A GOOD POSE Refine the body dynamics, working on the position of the feet, legs, hip and shoulders. • Fulcrum : Place the supporting points. • Weight : Define the distribution of weight. • Balance : Put the character in balance. • Body Dynamics Angles : Adjust the angle of chest and shoulders in relation to the hips. Note : If I want to be sure that my body dynamics works and avoid surprises in GLOSSARY OR THE MOST USED TERMS IN 3D ANIMATION PIPELINE : Structure through which passes a shot through the studio and production. Animatic : Animatic or Leica, audiovisual piece which mix storyboard with the audio track synchronously. Animation : Process used by one or more animators to give the feeling of movement to images or drawings or FORCES OR WHAT ARE FORCES TO BE TAKEN INTO ACCOUNT IN Those same forces define everything: Timing (Timing, Spacing) poses (Anticipation, Reaction, Balance, Squash/Stretch) and movements (Arcs, Overlap, Residual energy, Inertia, Action/Reaction, Slow in/out). All the work of biomechanics is a direct response to the interpretation of the forces. Gravitational force or Gravity: Attractive force X-SHEET OR THE TOOL I USE TO PLAN MY SHOT? Personally, the X sheet helps me not only when exploring but also as a roadmap to record myself. As I explained before, my methodology when planning is as follows: – Write down the dialogue and transcribe it phonetically. – Locate accents. – Associate those accents with time information. – Note some actions and moods in relation with VIDEO REFERENCE OR HOW TO CREATE A VIDEO REFERENCE? Be sure that you are recording at 24fps. Try to copy the framing. Put the camera on a tripod and try to simulate the framing. Work in context. Put the audio with the anterior and posterior shots or put a few seconds of silence to act without being hit by your audio. Recordwith proper light.
COMPOSITION OR HOW TO COMPOSE A PICTURE? Here are some tricks to help you to compose: Aspect Ratio : Depending of the type of composition we want, we can play with different framings. (square, 4:3, 16:9,) Rule of Thirds : If we divide the frame into a grids of equal size 3×3, the four grid intersections will mark the points of interest. Golden ratio : It is based on a rectangle THE ANIMATOR´S CHECKLIST Check my Tips – Lower Eyelids. . Check my Tips – How to convert an “in place” walk cycle to a cycle with displacement. . Check my Tips – Relationship between Pelvis orientation and Feet Angle. . Check my Tips – Avoid your character breaking his Ankles. . SefaSuárez Fernández.
THE ANIMATOR´S CHECKLIST Check my Tips – How to convert an “in place” walk cycle to a cycle with displacement. . Check my Tips – Relationship between Pelvis orientation and Feet Angle. . Check my Tips – Avoid your character breaking his Ankles. . Sefa Suárez Fernández. Here you have a map made by Sefa Suárez Fernández in my last workshop. PabloLópez Cano.
SKILLS OR WHAT SKILLS DO YOU NEED TO BE A GOOD ANIMATOR? Communication : You must have great relational and communication skills in order to resolve any conflicts. Flexibility : You must have synthetic and analytical skills and be flexible when interpreting changes. Respect : It is very important that you know how to work in a team. You have to be humble and respect your fellow. REFERENCES OR HOW TO FIND INSPIRATION FOR YOUR SHOT? Hi everybody, When I was studying illustration, the director of the school used to say: “We are big standing on the shoulders of giants” If you are lucky to work in a studio, you'll be able to check the storyboards, animatics, recordings of actors , the work of the art department and the preproduction of the animation department (Tests, video references, characters bibles,) which will POSE OR ALL YOU NEED TO KNOW TO MAKE A GOOD POSE Refine the body dynamics, working on the position of the feet, legs, hip and shoulders. • Fulcrum : Place the supporting points. • Weight : Define the distribution of weight. • Balance : Put the character in balance. • Body Dynamics Angles : Adjust the angle of chest and shoulders in relation to the hips. Note : If I want to be sure that my body dynamics works and avoid surprises in GLOSSARY OR THE MOST USED TERMS IN 3D ANIMATION PIPELINE : Structure through which passes a shot through the studio and production. Animatic : Animatic or Leica, audiovisual piece which mix storyboard with the audio track synchronously. Animation : Process used by one or more animators to give the feeling of movement to images or drawings or FORCES OR WHAT ARE FORCES TO BE TAKEN INTO ACCOUNT IN Those same forces define everything: Timing (Timing, Spacing) poses (Anticipation, Reaction, Balance, Squash/Stretch) and movements (Arcs, Overlap, Residual energy, Inertia, Action/Reaction, Slow in/out). All the work of biomechanics is a direct response to the interpretation of the forces. Gravitational force or Gravity: Attractive force X-SHEET OR THE TOOL I USE TO PLAN MY SHOT? Personally, the X sheet helps me not only when exploring but also as a roadmap to record myself. As I explained before, my methodology when planning is as follows: – Write down the dialogue and transcribe it phonetically. – Locate accents. – Associate those accents with time information. – Note some actions and moods in relation with VIDEO REFERENCE OR HOW TO CREATE A VIDEO REFERENCE? Be sure that you are recording at 24fps. Try to copy the framing. Put the camera on a tripod and try to simulate the framing. Work in context. Put the audio with the anterior and posterior shots or put a few seconds of silence to act without being hit by your audio. Recordwith proper light.
COMPOSITION OR HOW TO COMPOSE A PICTURE? Here are some tricks to help you to compose: Aspect Ratio : Depending of the type of composition we want, we can play with different framings. (square, 4:3, 16:9,) Rule of Thirds : If we divide the frame into a grids of equal size 3×3, the four grid intersections will mark the points of interest. Golden ratio : It is based on a rectangle PLANNING OR HOW TO PLAN YOUR SHOT? The nine old men used to say “ Spend half of your time planning and the other half animating “. I know that everyone has his own methodology when planning, but I think that even if we use different tools, we basicly follow those steps : · Understand. · Search for inspiration. · Explore. · Select. · Create your own reference. ·Get the
FORCES OR WHAT ARE FORCES TO BE TAKEN INTO ACCOUNT IN Those same forces define everything: Timing (Timing, Spacing) poses (Anticipation, Reaction, Balance, Squash/Stretch) and movements (Arcs, Overlap, Residual energy, Inertia, Action/Reaction, Slow in/out). All the work of biomechanics is a direct response to the interpretation of the forces. Gravitational force or Gravity: Attractive forceBLOG
Check my Tips – Lower Eyelids. . Check my Tips – How to convert an “in place” walk cycle to a cycle with displacement. . Check my Tips – Relationship between Pelvis orientation and Feet Angle. . Check my Tips – Avoid your character breaking his Ankles. . See allmy Tips.
WORKSHOP - ANIMATOR´S CHECKLIST Your Custom Workshop. I've been almost 15 years giving feedback, and I realized that the animators as well as problems of timing and perched, often also they have questions about technical aspects and methodology. At the request of several students, I decided to create a fully customized workshop, in which we will create a flat step, and X-SHEET OR THE TOOL I USE TO PLAN MY SHOT? Personally, the X sheet helps me not only when exploring but also as a roadmap to record myself. As I explained before, my methodology when planning is as follows: – Write down the dialogue and transcribe it phonetically. – Locate accents. – Associate those accents with time information. – Note some actions and moods in relation with POSE OR ALL YOU NEED TO KNOW TO MAKE A GOOD POSE Refine the body dynamics, working on the position of the feet, legs, hip and shoulders. • Fulcrum : Place the supporting points. • Weight : Define the distribution of weight. • Balance : Put the character in balance. • Body Dynamics Angles : Adjust the angle of chest and shoulders in relation to the hips. Note : If I want to be sure that my body dynamics works and avoid surprises in OBSERVATION OR HOW TO READ A REFERENCE VIDEO? OBSERVATION or How to read a reference video? You surely have heard that the key to be a good animator lies in those 3 words: Observation, observation and observation. It seems quite easy but when you're starting in the world of animation, you may ask yourself: “Ok, I'll watch my video referencebut what do I have to look at?”. BLOCKING OR HOW TO CREATE A GOOD BLOCKING STEP BY STEP? Hi everybody, For me, the Blocking phase is the crucial part of the development of a shot.. In that stage, you will have to mark all the necessary information of timing and posing so your director will perfectly understand the acting decisions you are going to take.. The beginner's big doubt is to know when does this phase ends and what can he do to improve his blocking. SPACING OR HOW TO AVOID “FLOATY ANIMATIONS”? Hi everybody, Frequently people mix up Timing and Spacing. Timing is the time it takes to an action to happen, the arcs describes the usual path of a structure with joints and Spacing refers to the manner in which a moving object covers a distance from one position to the next. COMPOSITION OR HOW TO COMPOSE A PICTURE? Hi everybody, I already told you a little bit about composition in the articles STAGING and POSE but I wanted to dig a little deeper Composition helps you to define a point of focus and direct the viewer's attention.That's why, a poorly compose image will not be understood or worse, your audience just won't care about it. Let's imagine that you have a character posed in your stage, the THE ANIMATOR´S CHECKLIST Check my Tips – Lower Eyelids. . Check my Tips – How to convert an “in place” walk cycle to a cycle with displacement. . Check my Tips – Relationship between Pelvis orientation and Feet Angle. . Check my Tips – Avoid your character breaking his Ankles. . SefaSuárez Fernández.
THE ANIMATOR´S CHECKLIST Check my Tips – How to convert an “in place” walk cycle to a cycle with displacement. . Check my Tips – Relationship between Pelvis orientation and Feet Angle. . Check my Tips – Avoid your character breaking his Ankles. . Sefa Suárez Fernández. Here you have a map made by Sefa Suárez Fernández in my last workshop. PabloLópez Cano.
SKILLS OR WHAT SKILLS DO YOU NEED TO BE A GOOD ANIMATOR? Communication : You must have great relational and communication skills in order to resolve any conflicts. Flexibility : You must have synthetic and analytical skills and be flexible when interpreting changes. Respect : It is very important that you know how to work in a team. You have to be humble and respect your fellow.BLOG
Check my Tips – Lower Eyelids. . Check my Tips – How to convert an “in place” walk cycle to a cycle with displacement. . Check my Tips – Relationship between Pelvis orientation and Feet Angle. . Check my Tips – Avoid your character breaking his Ankles. . See allmy Tips.
WORKSHOP - ANIMATOR´S CHECKLIST Your Custom Workshop. I've been almost 15 years giving feedback, and I realized that the animators as well as problems of timing and perched, often also they have questions about technical aspects and methodology. At the request of several students, I decided to create a fully customized workshop, in which we will create a flat step, and BLOCKING OR HOW TO CREATE A GOOD BLOCKING STEP BY STEP? Hi everybody, For me, the Blocking phase is the crucial part of the development of a shot.. In that stage, you will have to mark all the necessary information of timing and posing so your director will perfectly understand the acting decisions you are going to take.. The beginner's big doubt is to know when does this phase ends and what can he do to improve his blocking. GLOSSARY OR THE MOST USED TERMS IN 3D ANIMATION PIPELINE : Structure through which passes a shot through the studio and production. Animatic : Animatic or Leica, audiovisual piece which mix storyboard with the audio track synchronously. Animation : Process used by one or more animators to give the feeling of movement to images or drawings or X-SHEET OR THE TOOL I USE TO PLAN MY SHOT? Personally, the X sheet helps me not only when exploring but also as a roadmap to record myself. As I explained before, my methodology when planning is as follows: – Write down the dialogue and transcribe it phonetically. – Locate accents. – Associate those accents with time information. – Note some actions and moods in relation with SPACING OR HOW TO AVOID “FLOATY ANIMATIONS”? Hi everybody, Frequently people mix up Timing and Spacing. Timing is the time it takes to an action to happen, the arcs describes the usual path of a structure with joints and Spacing refers to the manner in which a moving object covers a distance from one position to the next. BLOCKING O ¿CÓMO CREAR UN BUEN BLOCKING PASO A …TRANSLATE THISPAGE
Buenas a todos, Para mí, el Blocking constituye la parte crucial del desarrollo de un plano.. En esta fase, tendréis que marcar toda la información necesaria de poses y tiempo para que vuestro director entienda perfectamente las decisiones de acting que vais a tomar.. La gran duda del animador principiante es de saber cuando acaba esta fase y que puede hacer para mejorar su blocking. THE ANIMATOR´S CHECKLIST Check my Tips – Lower Eyelids. . Check my Tips – How to convert an “in place” walk cycle to a cycle with displacement. . Check my Tips – Relationship between Pelvis orientation and Feet Angle. . Check my Tips – Avoid your character breaking his Ankles. . SefaSuárez Fernández.
THE ANIMATOR´S CHECKLIST Check my Tips – How to convert an “in place” walk cycle to a cycle with displacement. . Check my Tips – Relationship between Pelvis orientation and Feet Angle. . Check my Tips – Avoid your character breaking his Ankles. . Sefa Suárez Fernández. Here you have a map made by Sefa Suárez Fernández in my last workshop. PabloLópez Cano.
SKILLS OR WHAT SKILLS DO YOU NEED TO BE A GOOD ANIMATOR? Communication : You must have great relational and communication skills in order to resolve any conflicts. Flexibility : You must have synthetic and analytical skills and be flexible when interpreting changes. Respect : It is very important that you know how to work in a team. You have to be humble and respect your fellow.BLOG
Check my Tips – Lower Eyelids. . Check my Tips – How to convert an “in place” walk cycle to a cycle with displacement. . Check my Tips – Relationship between Pelvis orientation and Feet Angle. . Check my Tips – Avoid your character breaking his Ankles. . See allmy Tips.
WORKSHOP - ANIMATOR´S CHECKLIST Your Custom Workshop. I've been almost 15 years giving feedback, and I realized that the animators as well as problems of timing and perched, often also they have questions about technical aspects and methodology. At the request of several students, I decided to create a fully customized workshop, in which we will create a flat step, and BLOCKING OR HOW TO CREATE A GOOD BLOCKING STEP BY STEP? Hi everybody, For me, the Blocking phase is the crucial part of the development of a shot.. In that stage, you will have to mark all the necessary information of timing and posing so your director will perfectly understand the acting decisions you are going to take.. The beginner's big doubt is to know when does this phase ends and what can he do to improve his blocking. GLOSSARY OR THE MOST USED TERMS IN 3D ANIMATION PIPELINE : Structure through which passes a shot through the studio and production. Animatic : Animatic or Leica, audiovisual piece which mix storyboard with the audio track synchronously. Animation : Process used by one or more animators to give the feeling of movement to images or drawings or X-SHEET OR THE TOOL I USE TO PLAN MY SHOT? Personally, the X sheet helps me not only when exploring but also as a roadmap to record myself. As I explained before, my methodology when planning is as follows: – Write down the dialogue and transcribe it phonetically. – Locate accents. – Associate those accents with time information. – Note some actions and moods in relation with SPACING OR HOW TO AVOID “FLOATY ANIMATIONS”? Hi everybody, Frequently people mix up Timing and Spacing. Timing is the time it takes to an action to happen, the arcs describes the usual path of a structure with joints and Spacing refers to the manner in which a moving object covers a distance from one position to the next. BLOCKING O ¿CÓMO CREAR UN BUEN BLOCKING PASO A …TRANSLATE THISPAGE
Buenas a todos, Para mí, el Blocking constituye la parte crucial del desarrollo de un plano.. En esta fase, tendréis que marcar toda la información necesaria de poses y tiempo para que vuestro director entienda perfectamente las decisiones de acting que vais a tomar.. La gran duda del animador principiante es de saber cuando acaba esta fase y que puede hacer para mejorar su blocking. SKILLS OR WHAT SKILLS DO YOU NEED TO BE A GOOD ANIMATOR? Communication : You must have great relational and communication skills in order to resolve any conflicts. Flexibility : You must have synthetic and analytical skills and be flexible when interpreting changes. Respect : It is very important that you know how to work in a team. You have to be humble and respect your fellow. X-SHEET OR THE TOOL I USE TO PLAN MY SHOT? Personally, the X sheet helps me not only when exploring but also as a roadmap to record myself. As I explained before, my methodology when planning is as follows: – Write down the dialogue and transcribe it phonetically. – Locate accents. – Associate those accents with time information. – Note some actions and moods in relation withBLOG
Check my Tips – Lower Eyelids. . Check my Tips – How to convert an “in place” walk cycle to a cycle with displacement. . Check my Tips – Relationship between Pelvis orientation and Feet Angle. . Check my Tips – Avoid your character breaking his Ankles. . See allmy Tips.
REFERENCES OR HOW TO FIND INSPIRATION FOR YOUR SHOT? Hi everybody, When I was studying illustration, the director of the school used to say: “We are big standing on the shoulders of giants” If you are lucky to work in a studio, you'll be able to check the storyboards, animatics, recordings of actors , the work of the art department and the preproduction of the animation department (Tests, video references, characters bibles,) which will FORCES OR WHAT ARE FORCES TO BE TAKEN INTO ACCOUNT IN Those same forces define everything: Timing (Timing, Spacing) poses (Anticipation, Reaction, Balance, Squash/Stretch) and movements (Arcs, Overlap, Residual energy, Inertia, Action/Reaction, Slow in/out). All the work of biomechanics is a direct response to the interpretation of the forces. Gravitational force or Gravity: Attractive force WORKFLOW - THE ANIMATOR'S CHECKLIST Hi everybody, For me, the Blocking phase is the crucial part of the development of a shot. In that stage, you will have to mark all the necessary information of timing and posing so your director will perfectly understand the acting decisions you are going to take OBSERVATION OR HOW TO READ A REFERENCE VIDEO? OBSERVATION or How to read a reference video? You surely have heard that the key to be a good animator lies in those 3 words: Observation, observation and observation. It seems quite easy but when you're starting in the world of animation, you may ask yourself: “Ok, I'll watch my video referencebut what do I have to look at?”. FEEDBACK - THE ANIMATOR'S CHECKLIST My feedbacks. That's why, I can bring you an honest and effective feedback in which I'll detect your errors, I will explain where they come from and give you solutions to avoid repeating them. I can provide those corrections in Spanish, French and English. If playback doesn't begin shortly, try restarting your device. COMPOSITION OR HOW TO COMPOSE A PICTURE? Hi everybody, I already told you a little bit about composition in the articles STAGING and POSE but I wanted to dig a little deeper Composition helps you to define a point of focus and direct the viewer's attention.That's why, a poorly compose image will not be understood or worse, your audience just won't care about it. Let's imagine that you have a character posed in your stage, the POSE OR ALL YOU NEED TO KNOW TO MAKE A GOOD POSE Refine the body dynamics, working on the position of the feet, legs, hip and shoulders. • Fulcrum : Place the supporting points. • Weight : Define the distribution of weight. • Balance : Put the character in balance. • Body Dynamics Angles : Adjust the angle of chest and shoulders in relation to the hips. Note : If I want to be sure that my body dynamics works and avoid surprises inSaltar al contenido
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COMPOSITION O ¿CÓMO COMPONER UNA IMAGEN? Buenas a todos, Ya os hable un poco de composición en los artículos de STAGING y el de POSE pero quería profundizar un poco más el tema… La composición os sirve para definir un enfoque y dirigir laatención del
AGENDA O ¿CÓMO ORGANIZAR SU TIEMPO? Buenas a todos, Una buena gestión del tiempo es primordial sobre todo cuando uno tiene que trabajar solo. En mi caso, el hecho de escribir artículos cada mes requiere una cierta disciplina y una buena organización y aun mas hora SKILLS O ¿CUÁLES SON LOS REQUISITOS PARA SER UN BUEN ANIMADOR? Buenas a todos, ¿Quién no se ha preguntado en que podría mejorar para responder a las expectativas de la industria? Basándome sobre diferentes ofertas y sobre mi experiencia como recruiter, se me ocurrió crear el perfil de lo que sería SPACING O ¿CÓMO EVITAR QUE VUESTRAS ANIMACIONES SEAN “FLOATY”? Buenas a todos, A menudo la gente suele confundir Timing y Spacing. Timing es el tiempo en que tarda una acción en suceder, los arcos describen las trayectorias por la cual van a pasar los elementos y elSpacing se
KEYS O ¿CÓMO APLICAR LOS DIFERENTES TIPOS DE CLAVES? Buenas a todos, Las Keys o poses clave son los dibujos que describen el movimiento en una secuencia de animación. Por eso me gusta referirme a esas claves como extremos, que sean en posición o en eltiempo. A menudo
12 PRINCIPLES O ¿CÓMO Y CUÁNDO USAR LOS 12 PRINCIPIOS? Buenas a todos, Lo primero que nos enseñan cuando estudiamos animación son los 12 principios y hoy en dia se han convertido en las reglas fundamentales para el animador. Pero conocerlos no nos aportan gran cosas (aparte quizás bacilar aSee all my articles
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My name is Gabriel Garcia Poignet and I have been creating art since I was a kid. For me animation is all about sharing and here you have my blog where I expose my workflows. Hope you enjoy!PROJECTS
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