Ian Dean is Editor, Digital Arts & 3D at Creative Bloq, and the former editor of many leading magazines. These titles included ImagineFX, 3D World and video game titles Play and Official PlayStation Magazine. Ian launched Xbox magazine X360 and edited PlayStation World.
Creating animation for video games has become reliant on motion capture, bit SPINE developer Nekki has gone further than most, having created its own app, called Cascadeur. This adds to a workflow that includesand Epic Game's MetaHuman, but one that doesn't always rely on those 'off the shelf' apps for its stylised anime-like animation.
Since SPINE is a realistic project, we don’t have to make many stylistic adjustments to the mocap data. Cascadeur has evolved into a standalone product, driven by both internal and external user requests for mocap tools. One such tool is 'animation unbaking', which simplifies the process of working with motion capture. This tool functions somewhat similarly to the
For example, if I need to clean up the curve of a club’s tip, I run one script; if I need to add shaking to the chest after absorbing an impact, I use another; if I need to adjust the arc of an arm while it’s holding another character, I run a third script. It’s a combination of scripts, a skilled animator’s eye, and, of course, Animbot.
Let’s start with gameplay animations. In gameplay, the most important aspect is how the animation feels and plays in the game, and only then how it looks. If you view these animations outside of the game, they may not look as physically accurate as if they were in a cutscene. The second type of animations is for cutscenes. Cutscenes are essentially mini-movies where the player doesn’t control the character. In these animations, we don’t need to deviate as much from realistic timing. However, in fight scenes, we still make things a bit faster and sharper to enhance the visual impact. Without this adjustment, raw mocap often feels too slow.
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