sidekicksart
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Broad Strokes
🕑 Added 2024-07-30 15:42:46 +0000 UTCI've been asked before about my process for creating animations, so I thought I'd give a overview of my process for anyone who was curious, or for those who wanted to try making animations themselves!
For those who simply want to see the final product, the video is attached below.
I've included images of each step, and below I'll give a description below of what's happening for each of them.
Let's animate some lewd stuff!
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Step 1: I make all my animations in Blender, a free program. It's the swiss army knife of 3D art, and can handle a ton of different applications, including drawing, modeling, rendering, compositing, animation, video editing, and a ton of other stuff. Here I've brought in two models, one of Enticia's model of Jack from Beastars, and a sex toy model I made myself. Both of these models are rigged and ready to go.
Step 2: The first thing I like to focus on is composition. I like to start with an initial animation layer of the base Pose, so I can work around it. Once I get the pose I like, I situate the camera where I like it, so it can focus on the action.
Step 3: This animation has some interacting moving parts; the penis, toy, and hand all move in sync with one another, which would be a pain to animate each individually by hand. Here I save time by setting up 3 Bone Constraints: The first is so the penis always points towards the center of the toy, the second is that the entrance of the toy always points to the penis, and the third is so that the hand always stays attached to the toy. Now I can animate all 3: the toy, hand, and penis, all by just moving the toy around.
Step 4. This is the primary action, the Stroke. This is the focal point of the animation, so it should look the cleanest. I also added in the animation on the balls, as they're also important to hammer out early. You can see how as I move around the toy, our constraints from before automatically move the hand and penis as well. You can also see that of our 60 frames in our animation, I only work with 59 of them. This is important for looping animations, as omitting the last frame allows for a smooth loop.
Step 5. I start animating the Tail here; I like to have a bit of wag back and forth, to show excitement. You'll start to notice how by layering in multiple little animations on top of one another, the whole loop feels more natural.
Step 6. Here's where a lot of the personality comes from; by shifting the hips forward and back and allowing a bit of bend in the upper lower back, I can add a nice subtle thrusting motion.
Step 7. Here I add in some subtle elbow and shoulder motion to compliment the thrusting. Sometimes just a small, reserved motion on these auxiliary parts can add a lot of realism.
Step 8. This one is also subtle, but I animate the chest muscles to make a breathing loop. I like to make and tweak the blendshapes of the belly to make the breathing a bit more labored, and I think it helps sell the action.
Step 9. Here I add in a secondary head nod; I tried to keep in mind the physics of the upper body move slightly later the further away it is from the the hips, as it really sells the weight of the head. Also, I add in the initial ear waggle.
Step 10. I wanted a bit more from the ears as he rocks back and forth, so I added in a secondary swinging animation to make them a bit more light and airy.
Step 11. Facial animation can be very time consuming, depending on the shot, but I know I just wanted something small; the eyes and eyebrows doing a slight dip, and a small amount of slack on the jaw sells the face.
Step 12. You'll notice that Jack's left hand hasn't been following his hips as they thrust; here I add a bone constraint so that the hand sticks to the hips, and add some very small wiggling to the fingers, just to keep them from feeling too stiff.
Step 13. To complete the skeletal animation, I add a bit of give to the toes, making the pads of the foot squish a bit against the ground. With all that done, we can move onto fluids!
Step 14. Here I've exported our animation to an alembic file, and brought it into Liquigen. Traditionally fluid animation has been a very tedious and slow process, but Liquigen runs on the GPU, so it is very fast, and the node-based system allows for easy editing and iteration until the cum looks up to par. Here I animate the Cum Emission rate and the Speed to get the look I want.
Step 15. Bringing the fluid back into Blender, we do a test playback to make sure that everything looks good.
Step 16. With the fluid out of the way, time to make our environment! I'll be honest, you can get away with a ton by just using a generic drawn background, and making a ground plane to match it. Here you can see the entire environment is literally 2 planes. You'll notice that Jack looks a little out of place here, but we'll fix that with the shader.
Step 17. Here in Jack's body shader, I add an Overlay node to add a bit of warm pink to his body. This makes him fit in a lot better in the scene. I do the same for his toy as well.
Step 18. Having a static camera feels a little lifeless, so I add in a bit of camera shake here; nothing too crazy, but just enough to give it a bit of variety in the shot.
Step 19. Compositing allows you to tweak the image of your scene; here I keep it really simple, just some Bloom to help sell the summer vibe, as well as letting the colors blend together a bit more.
Step 20. Finally, it's time for foley! I've amassed a good amount of sound effects from various online sellers, so it's time to put them to use. Here you can see the tracks in the video editor, from bottom to top, the breathing sounds, the summer environment SFX, the sound of cum splatting, the toy stroking, the rendered frames of our animation, and lastly, my signature.
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And we're done! I hope this overview of my process was informative, and for those of you who are interested in making animations, I hope this gives you a bit of a guideline for making your own creations!
Thank you, and best of luck!
Comments
Robert
Jerk clock
