The Rigging Reality Check
The rigging process, though meticulous, was not without its surprises. Just when I thought I had completed the rig and could finally move on to animation, I’d discover issues that required me to go back and make adjustments. A particularly frustrating moment was when I found that Cupid’s halo was inserted into the head model, which meant I had to stop the animation and return to the rigging stage for fixes. This happened multiple times, cost lot of time.
The Thrill of Animation
Despite the rigging setbacks, the animation phase is where I truly shine. It’s the part I know best and enjoy the most. I quickly moved into blocking, setting keyframes for the characters. However, the time lost in rigging meant I had to prioritize and focus on a limited number of shots. Regrettably, this meant that Cupid only appears in one scene, which I find disappointing since I’m very pleased with his design and find him adorable. I plan to continue working on this project even after submitting it.
The Joy of Reference Shooting
For Yue Lao’s animation, I spent a considerable amount of time on reference shooting, which was a fascinating process. It felt like I was more than just an animator; I was an actor too. I lament not having enough time to refine the character’s movements, but I’m committed to revisiting and polishing this animation later.
The Balancing Act
Balancing the technical aspects of rigging with the creative process of animation has been a challenge. It’s a constant reminder that animation is a complex dance between technology and artistry. While the rigging phase can be tedious, it’s a necessary foundation for the animation phase, where all the hard work pays off in the form of dynamic, lifelike characters.