I've recently completed a short animation test using Spiderbot- a rig generously provided to the public by Ali Tezel. Spiderbot was a treat to animate with- great design and simple controls! Thanks, Ali!

Here is the final shot:

Higher Res Here

I made a conscious effort to preserve the various stages of my decision-making process. I've detailed my process below.

A necessary caveat: The following only one of many, many, many ways to think about a shot.

 

1) Blocking Pass (download)-

At this point I've done some planning/sketching. I have some idea of what I want to do- but I'm also playing. I see many of my ideas through- but I am trying to only animate what I absolutely HAVE TO to get my idea across. The following are the ideas I am trying to convey:

• Oblivious- charge forward
• Surprised- hits wall
• Testing- nudges the wall
• Examining- looks around
• Understanding- sees the wall
• Futility- rigorous scramble fails
• Determination- tries to make a bold extension over the wall
• Desperation- fires gun to get up

 

2) Revised Blocking Pass (download)-

I am still open to larger changes at this point, but I am NOT CHANGING MY PREMISE. I am fighting the urge to completely re-block or revamp my entire animation. I know I will always be thinking of fresh ideas, but I've gone down the path of constant reworking before- it can become a self destructive process of never finishing an idea. My main changes and why:

• I decide the TESTING and EXAMINING moments are too similar. So I try replacing TESTING with CONFUSION- instead of nudging the wall the robot keeps walking into it.
• I try to strengthen the UNDERSTANDING moment by adding a miniature take (surprised small jump).
• I want to tell my story as efficiently as possible. I am looking for opportunities to CUT and MERGE actions- so I merge my SCRAMBLE with the FINAL EXTENSION instead of having them as separate actions.
• Feedback from friends tells me the ending does not read. I decide to make it much more pronounced- falling on the gun barrel and blasting way up into the sky.

 

3) Refined Blocking Pass (download)-

I am trying to strengthen poses and finalize main ideas.

• The ending lacks suspense and texture- I extend the robot's last push to emphasize DESPERATION by having him get into a more precarious position (out balancing on only two legs).

 

4) Spline Pass (download)-

Adding interpolation would seem like a time to add nuance and complexity to a shot, but I primarily use this pass to SIMPLIFY.

• I CUT the TESTING/EXAMINING section (walking into the wall a second time). I may enjoy this character moment, but it isn't necessary to tell my story. The audience knows the situation as soon as the robot hits the wall- and if I'm not providing new information I will bore people. How the robot climbs the wall is the main conflict.
• I CUT the UNDERSTANDING section (small take jump). Same reason as above.

5) Spline/Polish Pass (download)-

Making sure all of my ideas read and adding any last fun moments.

• I ADD an initial gunfire so the audience understands the "tools" available to the character. Many viewers were still confused by new elements at the last moment.
• I extend the moment of precarious balance and desperation with an extra stretch- trying to solidify the idea of desperation.

6) Render Pass (download)-

This is not just streamers and cool effects- I use this pass to further clarify ideas.

• I blink the light on the robot's head to indicate when he will fire. This way I can further clarify and anticipate the sudden ending.
• I add the large laser blasts to further clarify the volatility of the gunshots.

Hope this is helpful! There are obviously many other things that go on when thinking about a shot- this was a very general overview.

Feel free to ask questions or demand clarification in the comments section.

-Tom

 

 

Pixels, prisoners and protagonists. What does it all mean?

Character concepts:

In action:

More to come!

-Tom

 

I recently had the urge to revisit an old animation of mine. I cracked open the dusty old scene file and had a look at my workflow of a few years earlier. After cleaning cobwebs from the graph editor, I came up with the following clip:

(right click here and save as for HD)

The old FJORG walk- thought it might be fun to compare:

Happy animating!

-Tom

 

 

In 2006, I was lucky enough to be accepted as a student volunteer at SIGGRAPH. It changed my life. Attending SIGGRAPH launched my career- as well as the careers of many of my colleagues. Landing an internship at Pixar was in no small way influenced by the knowledge and friendships I gained from being a part of SIGGRAPH.

And being an SV is not just a way to meet professionals, but a way to build lasting relationships with other aspiring students. The other student volunteers you meet at SIGGRAPH will be your most valued asset for years to come. These are the people that will help you the most in those first crucial steps into a career. If nothing else, becoming a student volunteer is an amazing way to attend SIGGRAPH practically free of charge.

If you are a student, or have recently graduated, tomorrow is the LAST DAY to apply. Don't miss out.

Find out how to apply.

-Tom

Animation is a very difficult medium to master. In all the study, frustrations, research, and struggles, it's easy to forget what attracts someone to animation in the first place. That's why little gems like HonkBarn are so valuable.

Sometimes animation is  so darn silly and fun.

Be sure to check out the HonkBarn Blog as well!