POSER PRO 2014 RWBY HOW TO
POSER PRO 2014 RWBY MANUAL

There have been episodes of Red vs Blue that have been completely animated in only a week’s time by myself and only one other animator. With RWBY, we’re attempting to take our intense productivity up to an even higher level. Working with our producer Kathleen Zuelch, animator Shane Newville and technical director Jeff Yohn, we’ve created a pipeline that focuses the unique features of the Poser application on the unconventional demands of this show.įrom pushing blend shapes past their breaking point to repurposing OBJ sequences in unexpected ways, I try to challenge the team to embrace solutions regardless of whether they are considered technically correct.

POSER PRO 2014 RWBY MANUAL

If it’s not in the manual but it still gets the job done, I’m all for it. Poser is used as the primary animation app. They are then imported into Poser for rigging and texturing.Īll assets are usually built in Maya including characters, props and sets. We utilise OptiTrack’s Arena software, which comes with one of their motion capture packages. We capture and export BVH data onto the Poser rigs and do most of the clean-up and performance editing in Poser. That also includes the facial animation, which is done with blend shapes and Poser’s built in Talk Designer tool. Once a scene is finished, the export can be as simple as a single layer with all assets live exported an image sequence, or several different layers depending on the complexity of effects.

POSER PRO 2014 RWBY HOW TO

Whenever a technical hurdle presents itself, the challenge tends to be not in overcoming it, but rather about how to find a creative way around it. Lateral thinking has always been the modus operandi of 3D, and the expanded freedom that comes from a wider view on storytelling itself is makes you a filmmaker. If I don’t have access to a certain type of rigging, then I simply don’t design characters that need that rig.

Often, instead of making an animation work from several angles, I’ll design for a specific angle and make sure that I can get what I need from that single perspective. If the deadline is fast approaching and I’m short on the shots I think I need, I simply work with our writers Kerry Shawcross and Miles Luna to re-imagine the scene. When I’m working on my own, I tend to run editorial and animation concurrently.

I’m averse to storyboards and over-planning. I like to talk about traditional 3D pipelines as being akin to baking: everything is very deliberate and methodical.

Poser pro 2014 rwby