Which is pretty crazy, considering I was working at DNEG one of the best studio in London. - This actually happened.

And when I got cast my first shot, I instantly wanted to quit…

I realised right then and there I was not ready for feature film and if ever there was a moment I felt like a huge imposter - this was it.

But I was very Lucky
Because every day for the next 4 years I was getting feedback from animators and directors who have been in this industry for decades, and worked at worlds best studios like Pixar, DreamWorks, Disney, Blue Sky, Sony and Illumination. 

That's when I noticed something interesting...

It was all the same.
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​The notes that I would get on my shots, were the same notes that other animators were getting on their shots, and the notes we were getting on one movie, were the same notes we were getting on another movie. It was just different characters.

I realised, although there are so many things that can make a pose appealing, when it comes to the face there are a set of practical principles that you can use to help create an appealing poses.

So as I was receiving notes I started writing them down and after working on four feature films, I had a practical checklist that I was using to make my face poses more appealing. Which has evolved into the 17 Principles for posing the face,  included in Pt. 1 of Expressive Animation: Mastering Faces.

In Pt. 2 we use the 17 principles as our guide as we build our entire pose library. 

Lastly, as the glue that puts it all together in Pt.3 we animate a character test implementing everything we have learned in the previous sections using the workflow I use while working on feature films everyday.
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Do you find animating dialogue hard? Have you ever filmed your own mouth and tied to replicate it? You might even have a dedicated camera just for lip sync. Is your lip sync letting your animation down? Do you dread animating the lip sync?

If you answered yes to any of those questions then this course is for you!
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Animating lip sync is actually really fun and easy when you know how to do it. 
FunFact: You do NOT need reference. 

I used to struggle a lot animating lip sync. I had no idea how to do it, I was just animating with no method to the madness and it was always looking dreadful... Just look at my animations lower on the page...

However, as with posing the face, there are a set of principles you can use to animate the lip sync easily.

You need this because you can't always rely on reference. 
 
What if you animate a character like Otto here? In this shot I animated on Garfield, you see his mouth is not human, human reference will do you no good. So you need to know how to animate without reference by fundamentally knowing what to do and HOW TO ANIMATE LIP SYNC.

If you follow the same principles I teach in this course you will be able to animate any mouth and any character.

You ever wonder what it takes to win the 11 Second club?  What goes into animating the winning shot ?? I did...The winning animations always looked so good to me, and so far from where I was - It seemed impossible.The 11 Second Club is something I think all aspiring animators have entered, and we have all said to our selves I am going to win that one day! I know I did, It was always a goal of mine as it meant I might finally be getting good at animation.

I had entered the companions 3 times with no such luck. 

After working in feature films, I thought, "I should have a pretty good shot now," so I entered again.

This time, I wanted to bring all my experience to the field and share it. I documented my process as I animated so other animators can see exactly how it's done. Now, you won't have to wonder how the winner did it—you can see it for yourself.

Drawing from my experience in feature films, I put everything into this course. You can see how I think of ideas, set up a scene, animate, and most importantly, how I review my animation to ensure it's believable.

We start by listening to the dialogue on repeat and brainstorming ideas, then work our way through to the final polish before submission for lighting. This course covers everything!
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These rigs are typically available only to our Lupin House mentorship students. Each rig is production-quality, feature-rich, and flexible enough to support both highly exaggerated and subtle performances. They come with a Picker and are ready to be rendered with Arnold.

To put this into perspective, each rig costs over $5,000 to build, and you are getting them all included in this bundle.