Spline again!!
Throughout the first term, we explored spline multiple times as part of our foundational animation training. Now, returning to this stage again, I find myself approaching it with a more informed perspective—particularly in relation to industry-standard workflows.
Prior to taking this course, I had a misconception about how spline was used in professional animation. I had assumed that much of the animation process was carried out entirely in spline mode. However, as I’ve progressed and gained a clearer understanding of the production pipeline, I’ve come to realize that this is not the case.
In professional practice, the majority of the animation work—especially the planning of key poses, breakdowns, and moving holds—is actually completed during the blocking stage. Spline, contrary to what I initially believed, functions primarily as a final polish phase. It is where the animator smooths out transitions, refines timing, and adds subtle details to bring the performance to life.
This shift in understanding has significantly changed how I approach my own animation workflow. I now place greater emphasis on making my blocking as strong and detailed as possible, ensuring that the intent and rhythm of the performance are already well-established before entering spline. This not only streamlines the process but also allows the spline stage to focus more effectively on refinement rather than major structural changes.
Progress on Body Mechanics animation
This is my weekly progress update.
I attempted to implement the feedback provided by my tutor; however, I encountered several challenges that made the process frustrating. One significant issue arose when I switched the animation mode from blocking to spline: the left hand of the character began rotating continuously without stopping. In an attempt to resolve this, I added keyframes to stabilize the motion. While this provided some improvement, it still did not produce an ideal result. Additionally, I experienced problems with the sword’s material, which was intended to be transparent but did not render as such.
Overall, I am not satisfied with the current spline version. I underestimated the amount of time and work required, assuming it would only involve implementing the suggested changes. In reality, the process was more demanding and required reworking poses to ensure visual clarity—for instance, preventing body parts from overlapping in ways that obscure the character’s silhouette (as seen in the reference image below).
One particular moment that stood out as problematic was the section where the character steps back after successfully pulling the sword. This part feels awkward, although I am currently unable to identify the exact issue. I plan to consult with my professor for further feedback and suggestions on how to improve it.
That said, there was one aspect of the animation I found quite successful: the final overshoot of the character’s hands. I was pleasantly surprised by how smooth it appeared. Initially, I expected to spend significant time polishing that section, but the use of IK (Inverse Kinematics) for the hands contributed to a more natural and fluid motion.
By keyframing the hand controllers directly, the arm movement followed intuitively, eliminating the need for detailed frame-by-frame adjustments. This is a valuable technique I will consider applying in future projects.
My tutor highlighted key areas for improvement, specifically spacing and posing. He also recommended modifying the ending to have the character fall to the ground, which could help simplify some of the current issues. Nonetheless, I am inclined to continue refining my original idea. I see this as an opportunity to challenge myself, improve my understanding of body mechanics, and build confidence in tackling similar tasks in future animation work.