aeisha cirunay
Arnis Takedown Progression
Second shot from iAnimate's Games Workshop 2. The assignment was a takedown, and I wanted to do something a bit different. I spent a bit of time trying to find various weapon takedowns until I found arnis. There was the challenge of the two weapons, but it also balanced out due to the fact that there wouldn't be too much contact I had to worry about. Figuring out the timing was a fun challenge in finding parts to slightly emphasize or speed up.
Rig by iAnimate and Kiel Figgins
Rope Dart Attack Progression
The first actual assignment from Games Workshop 2. I had just come from Games Workshop 1 and wanted to see how much more I could challenge myself. We had to splice together three hits into a combo attack, and that in itself was a fun puzzle to figure out. I also had to figure out my constraint setup so I could easily animate the hand switching (spoiler: it wasn't easy). I learned quite a bit more in working with constraints from it.
Rig by iAnimate
Rope Dart Attack Progression
Also from iAnimate's Games Workshop 1. I really wanted to challenge myself, and what could be more challenging than a rope? There were moments I thought I bit off more than I could chew, but drawing out the rope arcs with grease pencil in Maya had really helped in getting the shape of it. I learned so much from this between juggling the timing of the character vs. the weapon and in animating the rope in general. Also learned an extra bit in Unreal Engine with making the board explode
Rig by iAnimate
Rope rig by Candy Rigs
Idle to Fight Transition Progression
Another shot from iAnimate's Games Workshop 1. We had a lot of freedom in what we could do, and I knew I wanted to do a transition of some sort from an interesting idle pose to a "ready to fight" pose. My initial idea of how she gets down had changed after the first pass and I took inspiration from pole dancing to find a possible other way. It was a slight challenge with figuring out the setup for the weapon, but it worked out. This was also brought in to render in Unreal Engine.
Drakonia rig by Kiel Figgins
Weapon rig by Thomas Vialetto
I'm Watching You Shot Progression
First shot I had made this when taking iAnimate's Games Workshop 1 under Kyle Kenworthy. I wanted to start off simple, so I decided to do an emote. Kyle had given me the idea of having her go into another expression as she steps back into her settle, so I went with her staring someone down.
Jieun Rig by Wonderwell Studios
"I Wanna be" Shot Progression
This is an animation from doing Technicolor's 10-week academy. We were provided the audio and the rig, but everything else was up to us. I knew I wanted her to interact with something, and I just so happened to have a cup on my desk at the time, so into the shot it went!
Rig by Technicolor Studios Academy
Quadruped Walk Cycle Progression
This was from when I had taken part in Technicolor's 10-week academy. Using the blocks was a new workflow I had learned from it and it helped me keep track of each bodypart's movement a lot easier. The simple walk cycle was a precursor to a more complicated shot that was coming up and to get used to the rig.
Lion Rig by Technicolor Studios Academy
Ice Cream! Shot Progression
In this shot, I constantly extended the time I had originally allotted for the shot itself. With feedback, I expanded the shot with each iteration. The original idea was just to cut it off when she reaches the door. It was changed to her actually opening the door and rushing out, which meant I had to solve the problem of how she opens the door since she's considerably smaller than it.
Rig provided by Josh Sobel Rigs
Dance Shot Progression
This shot is an exercise in following a reference video and tweaking it to better suit animation. As a result, it follows the video very closely, but certain poses were pushed and actions were emphasized. The video is of Michael Dameski and I wanted to focus on getting his fluidity in his transitions from one action to the next.
Rig provided by Animation Mentor
You Evil Genius! Shot Progression
I started with the reference as a base for the character's actions and embellished on them. This time, I strayed a bit from the reference when I found certain poses and progression of actions worked better differently when animated. I focused more with posing and honed in on how she should be emoting by the time I finished the final shot.
Rig provided by Josh Sobel Rigs
