Advanced Character Animation
This master-level course shifts focus from the physics of movement to the psychology of performance. Students will learn to imbue digital characters with a “soul,” focusing on acting choices, subtext, and micro-expressions. The curriculum covers advanced dialogue shots, multi-character interactions, and the subtle nuances that distinguish a mechanical movement from a living, breathing performance.
§ 01 By the end you can
- Master the art of "acting" for animation: Subtext, beats, and thought processes
- Execute complex Lip-Sync synchronization using phonemes and visemes
- Create believable eye movement (saccades) and facial micro-expressions
- Manage multi-character interactions and physical contact
- Refine the "Polish" phase to eliminate "floaty" animation and add texture
§ 02 Sixteen sessions
The whole semester.
- 01Review: Body Mechanics vs. Acting
- 02Video Reference Analysis: Finding the Truth
- 03Facial Anatomy for Animators (FACS)
- 04Lip-Sync I: Jaw Mechanics & Rhythm
- 05Lip-Sync II: Phonemes & Visemes
- 06Acting Theory: Laban Movement Analysis
- 07Dialogue I: The One-Liner
- 08 · MidtermMidterm Examination
- 09Dialogue II: Acting Beats & Phrasing
- 10Eyes: The Window to the Soul (Saccades)
- 11Micro-expressions & Subtext
- 12Multi-Character Interaction: Contact
- 13Creature Animation: Quadruped Acting
- 14The "Polish" Phase: Adding Texture
- 15Demo Reel Construction & Critique
- 16Final Project: The Dialogue Scene
Midterm around session 8. Final project briefed at session 8 or 9 and developed in stages until the juries.
§ 03 Final project
Final Project: The Dialogue Scene
Recommended reading
- Acting for Animators by Ed Hooks
- The Animator's Survival Kit by Richard Williams
- Stop Staring: Facial Modeling and Animation Done Right by Jason Osipa
- Directed by Steven Spielberg (for blocking analysis) by Poague
- Drawn to Life: 20 Golden Years of Disney Master Classes by Walt Stanchfield
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