Its weird, after 8 years in animation, I still mess up my blocking and move towards polishing waaaaay too early... nice video buddy, maybe sometime it makes "click" and I will finally make it right
If you find this helpful I have animation workshops for more help! Sign up! spungellaonline.blogspot.com/p/faq.html Hahaha not sure if it's Frilay or Friday I guess??? But I'm pumped about this new series since it's super important for animators to get this right!
Thank you so much for this informative video! After graduating from college I knew that I still didn't have that strong foundation and understanding of blocking. I spent yesterday just really noting down your tips and trying to absorb it. Then I tried a small exercise to really understand it. And WOW. I learnt even more. You are awesome man, keep up with these amazing videos!
Great Video Jean-Denis. I used to have a lot of problem with stepped blocking .Mainly because when I hit spline or auto at the graph editor....... It took me long long time to fix the things. So, I found a quick fix for it . I put 2 poses (A and B) and add 1 or 2 breakdowns , key all the controls ...even facials at first. Then I select only that part in graph editor and hit auto. Take a playblast of that part only and fix the breakdowns ............ add slow ins..........maybe add more breakdowns and eye darts in acting shots. Need to key all the controls in those frames. Then I make it stepped. Take a playblast and fix poses if necessary and move on to my next key pose. In some places supervisors ask artists to show stepped mode blocking for review. So, this is a way to fix things in earlier stage before doing blocking plus or Polishing. Thanks for the video again. The part when you explained about to add detailing was really really nice. Bye
the thing is i don't feel and i mean feel blocking in stepped mode , i dunno i think i might be wrong but spline gives me the feeling where timing and weight is
Hi Jean-Denis, open mind advise in this video. Most of the times I tend to add breakdowns in my blocking at once, but when my mentor wants me to make changes on my shot sometimes things get very difficult for me, but now I understand what I have to do, "Clear and simple ideas".
Ender Perez Yeah it’s a tough balance. How long can you keep things clean and clear while communicating everything? At one point your keys will be messy in order to tell the story but then that makes it more difficult to make quick changes to it. Animation is hard!
Jean-Denis Haas Is hard, Indeed. Well thank you for your initiave of doing these videos is a great help, have you think about a video about pantomime? and by the way, I am pretty eager to compete in another Spungella animation contest if you do it on this fall.
i just started animation for a short film... my eyes cried red after I switched my animation to spline and saw my animation floating. anyway thanks for the info XD.. i guess I need to make it tied
I have to say this video hit home to me. I find sometimes I do not add enough information into my blocking pass. It then takes me longer and I also struggle more with my polish pass. I really need to focus more on the blocking and blocking plus as it will help me in the end. Thank you so much for this insight. After so many years you never stop learning :) Merci
nice video thank you! but if i wanted my animation to look choppy (stepped) more like an anime fight scene which usually are not smooth and fluid, then maybe just stepped poses would be prefect for this situation, no? i did some tests and it does look more like 2d drawn animation because its not as smooth!
After one year , I watch this video again. I can totally feel JD's Fury or JD has enough crack blocking in his class and students still ask feedback base on that kind of blocking. haha.
Great video JD. For me blocking is just put enough key pose to sell the idea not too many keypose cuz it might took me more time than i need to clean thing up.but i always doing spline first and change to step to fixed the pose. For me breakdown is just a pose that need to show how the character travel from one place to other place. And also alot of new animator think that you have to stick with the timing from the blocking. Which you dont have to. You can tightening it up and adjust the pose to feel better until you final the shot.
Hey buddy ! nice one really, your animation'subs are allways interesting ! As a young animator i realy appreciate what you do, your advices, your methods and it's cool ! Buuut please, for stranger people like me, who have an approximate english' level, it will be really appreciated to see more practice to support your theories, it will be easier to enderstand for everybody i think! And.. It could be a good way for more sub and you have to be seen man ! Anyways, keep the mouv' ! ;)
@@jeandenishaas Thanks! How many keys are too many in stepped? If the project is 24fps, is a pose every 3 frames too often? Also, I find it hard to juggle offsets while blocking. For example, a person bobbing up and down will have their head bob up and down one or two frames after. Should that be in the blocking pass? Because otherwise that could mean a pose every frame or two frames and everything gets jittery with one boy part moving while the others stay frozen solid. Sorry if I'm not making sense.
@@normietwiceremoved Re: how many keys in your stepped blocking As few as possible to tell the story and if you have to add more in order to sell a specific moment so be it. There’s no set number.
Either find reference or film yourself. Or neither and find another method that works you! I’d at least try filming yourself, see if it helps your workflow.
Hello, I keep coming back to this video from time to time but I have a question, how do you apply these when working professionnally when you don't have time ? I find myself way more efficient blocking in spline than blocking in stepped, I don't know if it's because of my current job, but I really can't animate "frame by frame" right now, it would just take too long ! I hope I'll find a job that allow me to do this after.
But JD... do you have a plan !? Seriously great video, I have seen progression reel with tremendous amount of keys in stepped mode so is it easier to work like that or to spline once you’ve put enough Breakdown to sell the shot ? Thanks again for the great content 👍
Kromozome Thank YOU for watching! I don’t know if it’s easier, it all depends if it works better for you. I start it all in linear mode and convert it to spline right away. I don’t do stepped, but that’s mainly because of how we work at work, so I just got used to that.
Hi!!!! Awesome content love watching FNA Friday and Animation analysis. Its been 6 months i started learning Animation by myself (self learner). I used to think blocking what you said but right now after this video its clear blocking means adding details. Can you please tell me what is spline and polishing stage??? It will be very helpful. Thanks for the content
abdul fahim Splining refers to the option within the animation software Maya to set your curves to a mode (spline) which smooths our your curves , as opposed to “linear” for instance where your curve tangents are broken and angular. But splining is used as a general term as well, meaning that you go from a rougher animation stage to a more refined stage, like from stepped (where the animation poses pop from key to key) to spline. Polishing means that you are working on the details of your animation, like finger offers, asymmetry in the face, etc. basically the final clean up and awesomeness to make it really shine. Hence, polishing. :)
great advice! but there's something in your videos that bothers and that's the background music that's too loud , pleaaaaaaaaaaaaaaaaaaaase turn it off! because after watching video, I have a serious headache thank you
@@jeandenishaasI'm sorry too!! I didn't want to question your choice of music! I just mean generally music on tutorials is a bit annoying and one more thing is that It would be better to reduce the "cuts" too other than that, every thing's great!👍👌
Great video - Im looking forward to watching the rest in the series. I was once told when blocking, when one bone/bones move, to keyframe every bone, even if they didnt move, for the sake of keeping all keys tidy and able to be controlled together. Would you recommend this? Or am I giving myself more work and things to keep an eye on than I need to?
Thanks! Workflows are very subjective and there are many ways to go about it. That being said, I block out things like that. Keying all controllers for the main poses and adjusting the timing, but you can also make selection sets and only key the major controllers (you don’t need to key the fine tuning facial controls at the beginning).
i have this problem, with doing steps blocking from reference, and feeling lost in Spline. i can work with "layering" method comfortably. i do key poses or animating box to get timing "it's depends on shot" and then working spline on hip then torso and head and leg and hands. and it's looks like that the most convenient way for me to make a good work.
no .. all thanks is rally for you. for all info and time you're put in this valuable channel. i can't wait to know that's wrong with my method from you. thanks jean
Mohamed fathy HAHAHAHA! That sounds so horrible from me. “Here, let me tell you what’s wrong with you!” But I sure asked for it with my clickbait title!
Would you say using stepped mode for blocking is like an industry standard thing? Cause I don't really like using stepped mode but I'm wondering if that is something I should start doing.
Anna Faryniarz I feel that it’s used a lot in feature animation studios, based on the progress reels out there, but I can’t say for sure since I work at ILM. We don’t use stepped because of the style break when you also have a live action plate with your anim. That being said, stepped is great for pose focus and clear pose story telling. You just have to break things down a lot so that once you spline it you retain your timing. Long story short, question 1: not sure but I think it’s at least widely used; 2: it’s definitely worth trying to see if it helps you.
How would I go about making at simple animations and also I animate simple like Thomas the tank engine I don't know if you seen that but they don't focus animating everyone they focus
@@FriedFrogLegsAnimations Your questions are a bit all over the place 😁 The animations you mentioned are 2D so for look for 2D software packages. And companies are not going to share their ad money with you.
I've got a question, am i allowed to change the timing of a blocking that's made from someone else? Because sometimes when i'm about to polish the blocked out animation, it felt off because i want to add some more animation to make it look better but the frame distance is way too short.
Not quite sure what you mean with “made from someone else”. Are you polishing someone else’s shot? Changing the timing is okay as long as it is approved by everyone.
I just watched this video 3 times in a row. Thanks a lot for these tips on blocking! Yesterday i my class was about using reference videos and your tips complement it perfectly. Geez, this has been such a hard process to get goot at! I feel either putting too many useless keys or not adding enough to get the basic idea flowing.
Is it necessary or better to put the overlapps on blocking stage? Or have the different body parts happen on the same frame on blocking and offset curves on polishing stage? Which is better?
Depends if they need to be there to tell the story. If not no. If you can quickly incorporate them into your shot they might sell the shot better to the client. Depends on how much “convincing” the person you’re showing the clip to needs. If you’re a fast animator and you can put it in there, why not. If you’re slow, then no. Either way, tell the story first and foremost, in the clearest way, as fast you can.
I cant believe I believed blocking meant making my animation so rough with so little amount of keys . Seems like I gotta do a lot of work from now on with my in betweens.
If you can keep your keys minimal while still making the animation clear then that’s the best balance. Clarity is key. Acting and intent needs to be clear. If you can sell that in 5 keys instead of 50 then that’s better!
When I'm blocking I don't see things that are there, I see those things when I'm in spline or polishing my animation. For example, offsets, sutil movements, easy in and outs, etc. Its this normal or should I practice more?. I think its no rough blocking
Xavier H I think Workflows are very specific to each person. If you don’t see what’s there then maybe you work better tumbnailing things first? At least have a good plan before you start animating.
@@jeandenishaas I just found your channel again the other day and I have been watching it ever since. I say again b/c I have been away from animation for so long, that I had forgotten about your channel. And now when I'm trying to get back i the sadel again, I thought I start with the basics again like bouncing ball, falling brick, pendulum. I found Sir Wade's Discord and I think someone there mentioned your channel, and as I came here I realised I used to watch you many years ago. So I'm glad to be back and I look forward to learning a lot from you. I think this blocking series might be especially useful for me. B/c blocking in particular is something I know I struggled a lot with the last time I tried learning to become an animtor. I think I try to do to much to early, so I get keys all over the timeline, it becomes near impossible to change timing spacing. I have a really hard time not animating like fingers and feet with all the controls to early. So yeah I'm really looking forward to the rest of this series and all other videos you have thst I have not yet seen. If it's okay I'll add you on Linked in too? 😊
@@jeandenishaas thx man I really feel you can really teach me this in a way I can understand. And I did the thing. I did it on the phone however so I didn't get to attach a message with it.
