Ani
ma
t
i
o
n
The fir
st scene I ani
mat
ed was t
he one wher
e he pl
ay
s t
he t
r
umpet
. For t
hi
s scene,
I
swi
t
ched f
r
om st
epped t
angent
s t
o Aut
o v
er
y ear
l
y on,
and whi
l
e at t
hat t
i
me i
t f
el
t l
i
k
e
I was sav
i
ng l
ot of t
i
me,
I f
ound t
hat i
n r
eal
i
t
y I spent mor
e t
i
me t
o ani
mat
e and t
he
r
esul
t wasn’
t as good as i
t coul
d hav
e been, t
hat
’
s why i
n t
he nex
t scene I di
d (
t
he
mi
cr
ophone scene) I k
ept t
he t
angent
s i
n st
epped f
or as l
ong as possi
bl
e.
Fr
om t
hat moment on I f
ound i
t was bet
t
er t
o wor
k wi
t
h st
epped t
angent
s unt
i
l
I had
k
ey
f
r
ames ev
er
y 2-
4 f
r
ames dur
i
ng t
he whol
e ani
mat
i
on. I
t seemed t
o me t
hat wi
t
h
hav
i
ng t
hi
s many k
ey
f
r
ames i
t woul
d be al
most i
mpossi
bl
e mak
i
ng changes, whi
l
e
t
he cont
r
ar
y was t
r
ue, ev
en t
hough I had t
o spend a l
i
t
t
l
e bi
t mor
e t
i
me posi
ng t
he
char
act
er
,
I had f
ar mor
e f
l
ex
i
bi
l
i
t
y and cont
r
ol
ov
er t
he scene.
I had t
he possi
bi
l
i
t
y t
o
pose t
he char
act
er l
i
k
e as i
f I was dr
awi
ng i
t i
n 2D, r
at
her t
han hav
i
ng t
he sof
t
war
e
deci
di
ng f
or me wher
e t
he char
act
er woul
d mov
e.
St
i
l
l
f
r
om Sal
sa Dr
eam
13
I al
so r
eal
i
sed t
he gr
eat possi
bi
l
i
t
i
es t
he Bl
endshapes sy
st
em gi
v
es t
o an ani
mat
or
.
Thi
s sy
st
em mak
es t
he whol
e pr
ocess of 3D ani
mat
i
on ev
en mor
e 2D, gi
v
i
ng t
he
ani
mat
or t
he possi
bi
l
i
t
y of dr
awi
ng ev
er
y si
ngl
e det
ai
l
of t
he pose,
br
eak
i
ng f
r
ee f
r
om
t
he l
i
mi
t
at
i
ons of t
he r
i
g.
Unf
or
t
unat
el
y
,
t
hi
s sy
st
em caused May
a t
o cr
ash v
er
y of
t
en
(
pr
obabl
y because some er
r
or
s i
n t
he r
i
g)
,
so I
coul
dn’
t use i
t as much as I
woul
d hav
e
l
i
k
ed.
14