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Login Join User. By anonymous. Free Download Link1 Download Link 2. This class serves as an introduction to creating the most dynamic and powerful combat animations while balancing the importance of gameplay. Bruno will discuss the differences between animation for games and other types of media and the difference between cinematic animation and combat animation.
The key to success also lies in the workflow between an animator and the designers of the game. The class will focus on timing and posing and how to get the most out of your characters when creating dynamic movement. A series of animation samples will be covered and analyzed using Autodesk Maya.
The class will analyze a set of animation samples using Maya, and provide practical tips on timing and posing. We caught up with Bruno to find out more about the class, ask his advice for young animators — and find out what it feels to be the person responsible for bringing Kratos to ass-kicking, face-pummeling, head-ripping life. CG Channel: If you had to sum up the class in five words, what would those five words be? CGC: And what single thing do you most hope that people remember after finishing it?
BV: I hope they have an understanding of what components must be present in solid games combat animation. Games animation presents challenges that differ from other media — and demands its own unique approaches. Cinematic and in-game combat animation present subtly different challenges, as Bruno reveals in his upcoming Gnomon School of Visual Effects Master Class.
BV: There are a number of components, but if I had to pick one I would say power. If you know where the power in a move is coming from and understand how it is released, the rest of if all falls into place.
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