In week five, I started creating some of the Soldier’s animations. My first step was to focus on the parts that could be done with motion capture. This approach ensured that I could complete a significant portion of the animations quickly, a crucial factor given the sheer volume we needed to produce.
However, there was a unique challenge. All our animations were destined for Unreal Engine, which meant a different workflow than Maya. We couldn’t predetermine the camera angles, requiring the animations to look good from all sides. This is particularly tricky with motion capture, as it complicates the adjustment process. Ensuring the animations looked right from every angle added complexity and took up a lot of my time, but it was essential for the quality we aimed for in our project.