This post is an insight to the various steps involved from brief to final animated piece, and how even though this was a short animation there’s still a lot to consider upfront to create an efficient workflow and deliver on time.
Web designer Ryan Gittings contacted us to create a looping animation of a Kingfisher diving for food as a background video for his new website. Excited by the opportunity to animate a kingfisher, we accepted and created a gorgeous scene for it to live in.
Watch the final looping animation below:
The focus of this piece is the Kingfisher and working out what can be done to make this an interesting looping animation. First and foremost was studying how a Kingfisher moves and acts to help dictate the narrative of the video. Various segments from documentaries on Youtube helped us to piece together the action.
One of videos we took reference from was from David Attenborough’s ‘Rhythms of Nature in the Barycz Valley‘ (See below from 0.49 seconds). This clip became the foundation we built the animation and scene composition around.
The images below are the initial pencil sketches of the Kingfisher’s key poses which shows how the animation would loop. Each drawing is followed by a new pose going in a clockwise direction to create the loop. These initial sketches were scanned and put into Illustrator where the body pieces were colour coded to work out what pieces could be reused and save on drawing new assets. Once this was decided, it was drawn up with a colour set (that would later be built upon) to create a rough model to test the animation inside After Effects.
When creating an object that’s going to move, you need to think about how many parts does it have that will need to be animated. Once you work out all these pieces, it’s then working out how to best control it as an animatable rig. The first test was done by putting in the separate body pieces (head, torso, left wing, right wing), with each body piece having multiple variations e.g. the wings flapping at different stages.
At this stage, that’s enough to test the animation from the key poses. After this test, it was down to fine tuning the rig to create a more efficient workflow. When animating, you want to have as few layers to work with as possible, as it can easily get into a mess, and a messy, unorganised timeline can disrupt your flow of animating when you’re having to look through a lot of layers to find the one piece you want to animate.
Not all rigs are the same, it’s down to understanding what needs to move and how best to control it to make an efficient workflow. You have to think far down the line as you don’t want to end up hacking your rig to do things it wasn’t built to do because you didn’t plan for a particular action. This adds unnecessary time and effort that could be used to perfecting an animation.
The Kingfisher was broken down into body pieces inside After Effects. Each body piece was it’s own composition, which had all the positions of that piece laid out in a timeline, which was then controlled by time remapping. With me so far?
This meant, the main composition had only a single layer per body piece that could be switched out to a new shape/position by changing the frame number within the precomp.
The overall scene composition was based on the Richard Attenborough video we used for initial reference. Although the design evolved to become grander and allow room for text at the top, it didn’t move far from the original layout.
Here are screenshots on how the shot developed from the original sketch, to how it currently sits on Ryan Gittings website with header text and navigation over the top.
With the core animation in place of the Kingfisher, it’s time to bring the scene to life. To do this we animated small details within the scene, some of these details are so subtle, you may not consciously notice them on 1st glance. But brought together with other subtle movements, they collectively make the scene feel alive. Take a look at the fish in the water, the chimney smoke in the distant, the ripples in the water and the reeds in the foreground.
One of the secrets of post-production in animation is adding light. For this, we utilised Video Copilots Optical Flares to brighten up the sun, which adds a haze over the footage along with a subtle flare on the lens.
Here’s a 1 minute video that quickly breaks down and shows all the stages involved to create the final animation.
Thanks to the upfront planning and research, there were very few problems encountered throughout the project. There are times we took shortcuts in the animation (such is the nature of animation) but we didn’t have to break the rig to achieve what we wanted. There are perhaps some elements we’d do differently next time, which is a great thing to take away after a project as you’re always learning and always improving.