Combat Flow should feel natural & intuitive

Our reactive brain is much faster than our cognitive brain. When we can consistently view our actions as though they “just happened” instead of a situation we need to deliberately initiate, we have successfully achieved an intuitive flow in combat.

On set, fight choreography is one of the more complicated aspects of mocap performance. My expertise helps to identify the design and style of the action in order to create dramatic action sequences efficiently while ensuring minimal amount of mocap editing.

In order to get the best results, animation rules have to be taken into account during sessions. What creates better results is when one teaches all the principles of Animation to the performers. Here are the rules I ''always'' bring with me during mocap sessions. Exaggeration, Anticipation, follow through & overlap, arcs, secondary actions, timing, avoid symmetry in your poses, avoid symmetry in your timing, wavelike motion, opposite action, line of action, path of action, clear silhouette and of course, lot's of fun!

COMBAT FLOW SHOULD FEEL NATURAL AND INTUITIVE
Our reactive brain is much faster than our cognitive brain. When we can consistently view our actions as though they “just happened” instead of a situation we need to deliberately initiate, we have successfully achieved an intuitive flow in combat.

WORK WITHIN THE BOX, THE BOX BEING THE GAME DESIGN

A good animation should not only look good, it should also support the game design. My objective is to deliver state of the art animations that will ''wow'' people without affecting the responsiveness of the game. The game design also defines the metrics of the actions. I collaborate with the game designers prior to any mocap sessions in order to lock-down all degree measurements and distances.

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