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Realizing 3D Animation in Blender

Realizing 3D Animation in Blender

By : Sam Brubaker
5 (8)
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Realizing 3D Animation in Blender

Realizing 3D Animation in Blender

5 (8)
By: Sam Brubaker

Overview of this book

Completely free and open source, Blender, with its supportive community and powerful feature set, is an indispensable tool for creating 3D animations. However, learning the software can be a challenge given the complexity of its interface and the intricacies of animation theory. If you want to venture into 3D animation but don’t know where to start, Realizing 3D Animation in Blender is for you. Adopting a practical approach, this guide simplifies the theory of 3D animation and the many animation workflows specific to Blender. Through detailed exercises and a sharp focus on the animation process, this book equips you with everything you need to set out on your path to becoming a 3D animator. It’s much more than just an introduction; this book covers complex concepts such as F-Curve modifiers, rigid-body physics simulation, and animating with multiple cameras, presented in an easy-to-follow manner to avoid common pitfalls encountered by novice animators. By the end of this Blender 3D animation book, you’ll have gained the knowledge, experience, and inspiration to start creating impressive 3D animations on your own.
Table of Contents (20 chapters)
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1
Part 1: Introduction to Blender and the Fundamentals of Animation
7
Part 2: Character Animation
13
Part 3: Advanced Tools and Techniques

Summary

It’s challenging when we need an object to have different relationships at different frames, but nothing is impossible. We just need to do some careful planning to determine what affects what, and when. Our transitions between these relationships are a bit like stage magic; things change in the blink of an eye, and the audience can’t see all the careful planning that went into setting up the shot.

Don’t think that the technique we just learned is the only way to do this! For instance, we could do exactly the opposite – that is, parent the ball to the grab bone, then use some Copy Transforms constraints targeted to other dummy bones for the frames during which the ball isn’t in Rain’s hand.

In other cases, we might just use two identical balls – only one of them parented to the hand. Then, we could make them appear or disappear at the appropriate times. It all depends on the specific shot and the preferences of the animator...

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