Competency Based Learning Materials: 3D Animation NC Iii

COMPETENCY BASED
LEARNING
MATERIALS
3D ANIMATION NC III
INFORMATION AND COMMUNICATIONS
TECHNOLOGY (ICT) SECTOR
TECHNICAL EDUCATION AND SKILLS DEVELOPMENT
AUTHORITY
East Service Road, South Superhighway, Taguig City, Metro Manila
3D Animation NC Document No.
Date Developed: December 2021
III Date Revised: January 2022 Issued by: TESDA
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Developed by: Jennifer C. Macas Page 1 of 27
Learning Materials
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Competency Based Learning Materials
How to use the CBLM
Welcome!
The unit of competency, “Produce Key Drawings”, is one of the competencies of

3D ANIMATION NC III, a course which comprises the knowledge, skills and attitude
required for a TVET graduate tko possess.
The module, Produce key drawings, contains materials and activities related to
identifying learner’s requirements for you to complete.
In this module, you are required to go through a series of learning activities in

order to complete each learning outcome. In each learning outcome are Information
sheets, Self-Checks, Task Sheets and Job sheets. Follow and perform the activities on
your own. If you have questions, do not hesitate to ask for assistance from your
facilitator.
Remember to:
 Read information sheets and complete the self-checks. Suggested references
are included to supplement the materials provided in this module.
 Perform the task sheets and job sheets until you are confident that your outputs
conform to the Performance Criteria Checklist that follow the sheets.
 Submit outputs of the Task Sheets and Job Sheets to your facilitator for
evaluation and recording in the Accomplishment Chart. Outputs shall serve as
your portfolio during the Institutional Competency Evaluation. When you feel
confident that you have had sufficient practice, ask you trainer to evaluate you.
The results of your assessment will be recorded in your Progress Chart and
Accomplishment Chart.
You must pass the Institutional Competency Evaluation for this competency before
moving to another competency. A certificate of Achievement will be awarded to you
after passing the evaluation.
You need to complete this module before you can perform the module on
Creating Digital Animation.

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List of Competencies
COMPETENCY-BASED LEARNING MATERIALS
List of Competencies
No. Unit of Competency Module Title Code

Produce Key Drawings Produce Key Drawings
1 ICT313316
For Animation For Animation
Create 3D Digital CREATE 3D DIGITAL
2 ICT 313320
Animation ANIMATION
USE AN AUTHORING
Use an authoring tool
TOOL TO CREATE AN
3 to create an interactive ICT 313323
INTERACTIVE
sequence
SEQUENCE

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Unit of Competency
UNIT OF COMPETENCY : PRODUCE KEY DRAWINGS FOR ANIMATION
MODULE TITLE : PRODUCING KEY DRAWINGS FOR ANIMATION
MODULE DESCRIPTOR : This module covers the skills, attitude and

knowledge required to identify animation
requirements
NOMINAL DURATION : 320 hours
CERTIFICATE LEVEL : NC III
PRE-REQUISITE :
LEARNING OUTCOMES:
Upon completion of this module, the trained student must be able to:
LO 1. Identify animation requirements
LO 2. Produce key drawings
LO 3. Edit, revise and complete drawings

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LO1. IDENTIFY ANIMATION REQUIREMENTS
ASSESSMENT CRITERIA:
1. All relevant animation requirements from the storyboard, layouts and

director’s instructions or camera sheet are identified.
2. Animation requirements from the timings and soundtrack breakdown are
identified.
3. All necessary materials and equipment to be used are identified and prepared
according to the task to be undertaken
CONTENTS:
 Animation requirements
 Timings and soundtrack breakdowns
 Visualization and interpretation of creative concepts
 Interpreting scripts, specifications and instructions
 Principles and techniques of animation production
 Principles and techniques of animation
 Current animation methods and techniques
 Life drawing and translation to animated characters
 Color theory, line, dimension, depth and their application on the screen
 Appropriate software application
CONDITIONS:
Students / trainees must be provided with the following.
 animation table/light box

 animation disc
 photocopying machine
 storyboard
 layout drawings
 director’s instruction camera sheet
 soundtrack breakdown
 model sheets
METHODOLOGY:
 Lecture/ Discussion
 Hands on
 Exercises
 Demonstration
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 Viewing multimedia
ASSESSMENT METHOD:
 Written exam
 Practical exam Observation in workplace
 Interviews/ questioning

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LO2. PRODUCE KEY DRAWINGS
1. Key drawings produced are complete with relevant details from material and
styles.
2. Drawings produced complied with soundtrack breakdown.
3. Quantity of key drawings produced is sufficient to establish the action and
ensure that they are within the standard set for the agreed design/model.
4. Key drawings produced are within the constraints and types of production.
5. Line test is undertaken to ensure smooth flow of movement
CONTENTS:

 Character drawing
 Cartoon drawing
 Drawing skills
 Communication skills
 Presentation skills
CONDITIONS:

 animation disc
 storyboard
 layout drawings
 model sheets

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METHODOLOGY:
 Hands on
 Exercises
 Demonstration
ASSESSMENT METHOD:
 Written exam

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LO3. EDIT, REVISE AND COMPLETE KEY DRAWINGS
1. Corrections to key drawings, animated elements and images are made after
review by relevant personnel.
2. Key drawings with animation breakdowns are clearly labelled.
3. Key drawings are clearly identified, safely and securely stored in accordance
with company procedures
CONTENTS:

 Cartoon drawing
 Drawing skills
CONDITIONS:

 animation disc
 storyboard
 layout drawings
 model sheets

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METHODOLOGY:
 Hands on
 Exercises
 Demonstration
Resources
ASSESSMENT METHODS (Institutional)
 Reports
 Written/Oral examination
 Demonstration
 Hands – on/Machine Problem
 Direct Observation
 Case Analysis
METHODOLOGIES
 Self-pace/Modular
 Dual Training System
 Distance Learning
 Peer Teaching / Mentoring

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RESOURCES:
TOOLS EQUIPMENT MATERIALS

Qty Description Qty. Description Qty. Description
Operating system Computer with peripherals Reference Book
Ergonomic computer Modules
Mark–up Languages
tables and chairs
(HTML, DHTML,
Learning materials/
XHTML, SGML, VRM, LCD Projector
guide
XML)
Printer Learning elements
Internet Browsers OHP Hand-outs
(Netscape Navigator,
Printable
Internet Explorer,
storyboard
Mozilla, Opera)
Software e.g. Interactive Flash
- Maya movies
- Director
- Toon Boom
Adobe PDF
Graphics software
documents
FTP client and server
Practice materials
software
Animation disc CD’s
QUALIFICATION OF INTSTRUCTORS/TRAINERS
TRAINERS QUALIFICATIONS
Animation NC III
Trainer’s Qualification TQ III
 Must be a holder of TESDA Animation NC III or equivalent

 Must have completed Training Methodology III (TM III) course or equivalent
 * Must have at least 2-years relevant industry experience.
 Must be physically & mentally fit.
* Optional: Only when required by the hiring institution.

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Information Sheet 1.1-1
Learning Objectives:
After reading this Information Sheet you should able to:
1. Define the 3D Animation Process
2. Explain the 3D Animation Process
In LO 1 of the Module on Producing Key Drawings for animation, you learned the
animation requirements and you also learned how timings and soundtrack
breakdowns, visualization and interpretation of creative concepts, interpreting scripts,
specifications and instructions, principles and techniques of animation production. You
also learned the current animation methods and techniques, life drawing and translation
to animated characters and the Color theory, line, dimension, depth and their
application on the screen using the appropriate software application. In this module you
will learn further about 3D Animation Process.
In this section we will discuss further more about the process of Animation.
3D Animation Process
Animation is the rapid display of a sequence of images to create an illusion of
movement.
Also Animation is a series of still drawings that, when viewed in rapid succession,
gives the impression of a moving picture. The word animation derives from the Latin
words anima meaning life, and animare meaning to breathe life into.
The most common method of presenting animation is as a motion picture or video
program, although there are other methods. This type of presentation is usually
accomplished with a camera and a projector or a computer viewing screen which can
rapidly cycle through images in a sequence. Animation can be made with either hand
rendered art, computer generated imagery, or three-dimensional objects, e.g. Puppets
or clay figures, or a combination of techniques. The position of each object in any
particular image relates to the position of that object in the previous and following
images so that the objects each appear to fluidly move independently of one another.
The viewing device displays these images in rapid succession, usually 24, 25 or 30
frames per second.

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Types of Animation
Traditional animation
Also called cel animation or hand-drawn animation, was the process used for
most animated films of the 20th century. The individual frames of a traditionally
animated film are photographs of drawings, which are first drawn on paper. To
create the illusion of movement, each drawing differs slightly from the one before it.
The animators' drawings are traced or photocopied onto transparent acetate sheets
called cels, which are filled in with paints in assigned colors or tones on the side
opposite the line drawings. The completed character cels are photographed one-by-
one onto motion picture film against a painted background by a rostrum camera.
The traditional cel animation process became obsolete by the beginning of the 21st
century. Today, animators' drawings and the backgrounds are either scanned into
or drawn directly into a computer system. Various software programs are used to
color the drawings and simulate camera movement and effects. The final animated
piece is output to one of several delivery media, including traditional 35 mm
film and newer media such as digital video. The "look" of traditional cel animation is
still preserved, and the character animators' work has remained essentially the
same over the past 70 years. Some animation producers have used the term
"tradigital" to describe cel animation which makes extensive use of computer
technology.
Examples of traditionally animated feature films include Pinocchio (United States,
1940, and Akira (Japan, 1988). Traditional animated films which were produced with
the aid of computer technology include The Lion King (US, 1994) Sen to Chihiro no
Kamikakushi (Spirited Away) (Japan, 2001).
Full animation
Refers to the process of producing high-quality traditionally animated films, which
regularly use detailed drawings and plausible movement. Fully animated films can
be done in a variety of styles, from more realistically animated works such as those
produced by the Walt Disney studio(Beauty and the Beast, Aladdin, Lion King).
Many of the Disney animated features are examples of full animation, as are non-
Disney works such as, The Iron Giant (US, 1999).
Limited animation
Involves the use of less detailed and/or more stylized drawings and methods of
movement.
Live-action/animation
Is a technique, when combining hand-drawn characters into live action shots.
Examples would include Who Framed Roger Rabbit (USA, 1988), Space Jam (USA,
1996).
Stop-motion animation

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Is used to describe animation created by physically manipulating real-world objects
and photographing them one frame of film at a time to create the illusion of
movement.
Model animation
refers to stop-motion animation created to interact with and exist as a part of a live-
action world.
Puppet animation
typically involves stop-motion puppet figures interacting with each other in a
constructed environment, in contrast to the real-world interaction in model
animation.
Cutout animation
is a type of stop-motion animation produced by moving 2-dimensional pieces of
material such as paper or cloth.
Silhouette animation
is a variant of cutout animation in which the characters are backlit and only visible
as silhouettes
3D animation
Is digitally modeled and manipulated by an animator. The animator starts by creating

an external 3d mesh to manipulate, a mesh is a geometric configuration that gives
the visual appearance of form to an 3D object or 3D environment. The mesh may
have a lot of vertices which are to geometric points which make up the mesh, it is
given an internal digital skeletal structure called an armature that can be used to
control the mesh with weights. This process is called rigging and can be
programmed with movement with key frames.

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Animation Principles
After reading this Information Sheet you should be able to;
1. Identify the Animation Principles.

2. Define each of the Animation Principles.
In the previous Information Sheet, we have discussed the different types of

Animation Process and the definition of Animation itself. In the previous LO’s you
were introduced with the Animation Terms and Terminologies.
In this lesson, you will be introduced in the Animation Principles.
Twelve Basic Principles of Animation

Twelve Basic Principles of Animation is a set of principles of animation
introduced by the Disney animators Ollie Johnston and Frank Thomas in their 1981
book The Illusion of Life: Disney Animation.
Johnston and Thomas in turn based their book on the work of the leading Disney
animators from the 1930s onwards, and their effort to produce more realistic
animations. The main purpose of the principles was to produce an illusion of characters
adhering to the basic laws of physics, but they also dealt with more abstract issues,
such as emotional timing and character appeal.

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The 12 principles
1. Squash and stretch
Illustration of the "squash and stretch"-principle:

Example A shows a ball bouncing with a rigid, non-dynamic movement.
In example B the ball is "squashed" at impact, and "stretched" during fall and rebound.
The movement also accelerates during the fall, and slows down towards the apex (see
"slow in and slow out").
The most important principle is "squash and stretch", the purpose of which is to give a
sense of weight and flexibility to drawn objects. It can be applied to simple objects, like
a bouncing ball, or more complex constructions, like the musculature of a human
face. Taken to an extreme point, a figure stretched or squashed to an exaggerated
degree can have a comical effect. In realistic animation, however, the most important
aspect of this principle is the fact that an object's volume does not change when
squashed or stretched. If the length of a ball is stretched vertically, its width (in three
dimensions, also its depth) needs to contract correspondingly horizontally.
2. Anticipation
Anticipation is used to prepare the audience for an action, and to make the action
appear more realistic. A dancer jumping off the floor has to bend his knees first; a golfer
making a swing has to swing the club back first. The technique can also be used for
less physical actions, such as a character looking off-screen to anticipate someone's
arrival, or attention focusing on an object that a character is about to pick up.
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Anticipation: A baseball player making a pitch prepares for the action by moving his arm
back.
3. Staging
This principle is akin to staging as it is known in theatre and film. [ Its purpose is to direct
the audience's attention, and make it clear what is of greatest importance in a scene;
what is happening, and what is about to happen. Johnston and Thomas defined it as
"the presentation of any idea so that it is completely and unmistakably clear", whether
that idea is an action, a personality, an expression or a mood. This can be done by
various means, such as the placement of a character in the frame, the use of light and
shadow, and the angle and position of the camera. The essence of this principle is
keeping focus on what is relevant, and avoiding unnecessary detail.
4. Straight ahead action and pose to pose

These are two different approaches to the actual drawing process. "Straight ahead
action" means drawing out a scene frame by frame from beginning to end, while "pose
to pose" involves starting with drawing a few key frames, and then filling in the intervals
later. "Straight ahead action" creates a more fluid, dynamic illusion of movement, and is
better for producing realistic action sequences.
On the other hand, it is hard to maintain proportions, and to create exact, convincing
poses along the way. "Pose to pose" works better for dramatic or emotional scenes,
where composition and relation to the surroundings are of greater importance. A
combination of the two techniques is often used.
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Computer animation removes the problems of proportion related to "straight ahead
action" drawing; however, "pose to pose" is still used for computer animation, because
of the advantages it brings in composition. The use of computers facilitates this method,
as computers can fill in the missing sequences in between poses automatically. It is,
however, still important to oversee this process and apply the other principles
discussed.
5. Follow through and overlapping action

Follow through and overlapping action is a general heading for two closely related
techniques which help to render movement more realistically, and help to give the
impression that characters follow the laws of physics. "Follow through" means that
separate parts of a body will continue moving after the character has stopped.
"Overlapping action" is the tendency for parts of the body to move at different rates (an
arm will move on different timing of the head and so on). A third related technique is
"drag", where a character starts to move and parts of him take a few frames to catch
up. These parts can be inanimate objects like clothing or the antenna on a car, or parts
of the body, such as arms or hair. On the human body, the torso is the core, with arms,
legs, head and hair appendices that normally follow the torso's movement. Body parts
with much tissue, such as large stomachs and breasts, or the loose skin on a dog, are
more prone to independent movement than bonier body parts. Again, exaggerated use
of the technique can produce a comical effect, while more realistic animation must time
the actions exactly, to produce a convincing result.
Thomas and Johnston also developed the principle of the "moving hold". A character
not in movement can be rendered absolutely still; this is often done, particularly to draw
attention to the main action. According to Thomas and Johnston, however, this gave a
dull and lifeless result, and should be avoided. Even characters sitting still can display
some sort of movement, such as the torso moving in and out with breathing.
6. Slow in and slow out

The movement of the human body, and most other objects, needs time to accelerate
and slow down. For this reason, animation looks more realistic if it has more drawings
near the beginning and end of an action, emphasizing the extreme poses, and fewer in
the middle. This principle goes for characters moving between two extreme poses, such
as sitting down and standing up, but also for inanimate, moving objects, like the
bouncing ball in the above illustration.

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7. Arcs
Most natural action tends to follow an arched trajectory, and animation should adhere to
this principle by following implied "arcs" for greater realism. This can apply to a limb
moving by rotating a joint, or a thrown object moving along a parabolic trajectory. The
exception is mechanical movement, which typically moves in straight lines.
As an object's speed and momentum increases, arcs tend to flatten out in moving
ahead and broaden in turns. In baseball, a fastball would tend to move in a straighter
line than other pitches; while a figure skater moving at top speed would be unable to
turn as sharply as a slower skater, and would need to cover more ground to complete
the turn.
An object in motion that moves out of its natural arc for no apparent reason will appear
erratic rather than fluid. Therefore when animating (for example) a pointing finger, the
animator should be certain that in all drawings in between the two extreme poses, the
fingertip follows a logical arc from one extreme to the next. Traditional animators tend to
draw the arc in lightly on the paper for reference, to be erased later.
8. Secondary action
Adding secondary actions to the main action gives a scene more life, and can help to
support the main action. A person walking can simultaneously swing his arms or keep
them in his pockets, he can speak or whistle, or he can express emotions through facial
expressions. The important thing about secondary actions is that they emphasize,
rather than take attention away from the main action. If the latter is the case, those
actions are better left out. In the case of facial expressions, during a dramatic
movement these will often go unnoticed. In these cases it is better to include them at
the beginning and the end of the movement, rather than during.
9. Timing
Timing refers to the number of drawings or frames for a given action, which translates to
the speed of the action on film. On a purely physical level, correct timing makes objects
appear to abide to the laws of physics; for instance, an object's weight decides how it
reacts to an impetus, like a push. Timing is critical for establishing a character's mood,
emotion, and reaction. It can also be a device to communicate aspects of a character's
personality.

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10. Exaggeration
Exaggeration is an effect especially useful for animation, as perfect imitation of reality
can look static and dull in cartoons. The level of exaggeration depends on whether one
seeks realism or a particular style, like a caricature or the style of an artist. The classical
definition of exaggeration, employed by Disney, was to remain true to reality, just
presenting it in a wilder, more extreme form.
Other forms of exaggeration can involve the supernatural or surreal, alterations in the
physical features of a character, or elements in the storyline itself. It is important to
employ a certain level of restraint when using exaggeration; if a scene contains several
elements, there should be a balance in how those elements are exaggerated in relation
to each other, to avoid confusing or overawing the viewer.
11. Solid drawing

The principle of solid drawing means taking into account forms in three-dimensional
space, giving them volume and weight. The animator needs to be a
skilled draughtsman and has to understand the basics of three-dimensional shapes,
anatomy, weight, balance, light and shadow, etc. For the classical animator, this
involved taking art classes and doing sketches from life. One thing in particular
thatJohnston and Thomas warned against was creating "twins": characters whose left
and right sides mirrored each other, and looked lifeless. Modern-day computer
animators draw less because of the facilities computers give them, yet their work
benefits greatly from a basic understanding of animation principles, and their additions
to basic computer animation.
12. Appeal
Appeal in a cartoon character corresponds to what would be called charisma in an
actor. A character who is appealing is not necessarily sympathetic – villains or monsters
can also be appealing – the important thing is that the viewer feels the character is real
and interesting. There are several tricks for making a character connect better with the
audience; for likable characters a symmetrical or particularly baby-like face tends to be
effective. A complicated or hard to read face will lack appeal, it may more accurately be
described as 'captivation' in the composition of the pose, or the character design.

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Self Check1.1.-1
Identification:
Given the following statements, identify the type of animation process defined.
1. ____________is a type of stop-motion animation produced by moving 2-

dimensional pieces of material such as paper or cloth.
2. ____________ is a technique, when combining hand-drawn characters into
live action shots.
3. ____________ is a variant of cutout animation in which the characters are
backlit and only visible as silhouettes
4. ____________ typically involves stop-motion puppet figures interacting with
each other in a constructed environment, in contrast to the real-world
interaction in model animation.
5. ____________ ____________ involves the use of less detailed and/or more
stylized drawings and methods of movement.
6. ____________ refers to the process of producing high-quality traditionally
animated films, which regularly use detailed drawings and plausible
movement.
7. ____________ also called cel animation or hand-drawn animation.
8. ____________ is digitally modeled and manipulated by an animator
9. ____________ refers to stop-motion animation created to interact with and
exist as a part of a live-action world.
10. ____________ involves the use of less detailed and/or more stylized
drawings and methods of movement.

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Self Check1.1-2
Multiple Choice:
Choose the letter of the best answer. Write the letter of choice on your answer
sheet.
1. This principle corresponds to what would be called charisma in an actor.

a) Arcs
b) Appeal
c) Staging
d) Solid drawing
2. These are two different approaches to the actual drawing process.
a) Squash and Stretch
b) Follow through and overlapping action
c) Slow and slow out
d) Straight ahead action and pose to pose
3. Refers to the number of drawings or frames for a given action, which translates
to the speed of the action on film.
a) Arcs
b) Follow through and overlapping action
c) Timing
d) Appeal
4. Adding action to the main action which gives a scene more life, and can help to
support the main action.
a) Secondary action
b) Squash and stretch
c) Exaggeration
d) Slow in and slow out
5. An effect especially useful for animation, as perfect imitation of reality can look
static and dull in cartoons.
a) Appeal
b) Solid drawing
c) Exaggeration
d) Staging

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Answer Key 1.1-1
1. Cutout Animation
2. Live –Action Animation
3. Silhouette Animation
4. Puppet Animation
5. Stop Motion Animation
6. Full Animation Live
7. Traditional Animation
8. 3D Animation
9. Model Animation
10. Limited Animation
Answer Key 1.1-2
1. B
2. D
3. C
4. A
5. C

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LEARNING OUT COME # 2 Identify animation requirements

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CONTENTS:
 Cartoon drawing
 Drawing skills
6. Key drawings produced are complete with relevant details from material
and styles.
7. Drawings produced complied with soundtrack breakdown.
8. Quantity of key drawings produced is sufficient to establish the action and
ensure that they are within the standard set for the agreed design/model.
9. Key drawings produced are within the constraints and types of production.
10. Line test is undertaken to ensure smooth flow of movement
CONDITION:
Students/Trainee must be provided with the following:

 animation disc
 storyboard
 layout drawings
 model sheets
ASSESSMENT METHOD
 Written exam
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After reading this Information Sheet you should able to:
1. Define the 3D Animation Requirements
2. Explain the 3D Animation Requirements
In this section we will discuss further more about the requirements of Animation.
Maya animation provides you with the powerful tools you need to bring the characters
and objects in your scenes to life. These tools give you the freedom to animate any
attribute of an object and the control you need to successfully transform joints and
bones, IK handles, and models over time.
These are the following types of animation in Maya:
 Keyframe animation lets you transform objects or skeletons over time by setting
keyframes. For example, you can keyframe the joints and IK handles of a
character’s arm to create an animation of its arm waving.
 Driven key animation lets you link and drive the attributes of one object with
those of another object by setting driven keys. For example, you can key a
character’s X and Z translations as Driver attributes and a door model’s Y
rotation as the Driven attribute to create an animation of a character and a
swinging door.
 Nonlinear animation lets you split, duplicate, and blend animation clips to achieve
the motion effects that you want. For example, you can use nonlinear animation
to create a looping walk cycle for one of your characters.
 Path animation lets you set a curve as an animation path for an object. When you
attach an object to a motion path, it follows the curve during its animation. For
example, when you assign a car model to a motion path that follows a road in
your scene, the car follows the road when you play the animation.
 Motion capture animation lets you use imported motion capture data to apply
realistic motion to the characters in your scene. For example, you can use the
captured motion of a horse to animate the skeleton of a quadruped model.
 Layered animation lets you create and blend animation on separate layers. You
can modify an animation sequence on layers without permanently altering the
original, or simply organize your keyframe animation onto layers.
 Dynamic animation lets you create realistic motion using the rules of physics to
simulate natural forces. For example, you can use Maya ® Dynamics™ to create
effects such as sparks spraying from a welding torch or hail falling from the sky.

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 Expressions are instructions that you can type to animate attributes. For
example, you can write an expression formula that animates the flapping of a
bird’s wings.
Self-Check 1.2-1
Identification
1. Lets you transform objects or skeletons over time by setting keyframes.
2. Lets you link and drive the attributes of one object with those of another object by
setting driven keys.
3. Lets you split, duplicate, and blend animation clips to achieve the motion effects
that you want.
4. Lets you set a curve as an animation path for an object. When you attach an
object to a motion path, it follows the curve during its animation.
5. Lets you use imported motion capture data to apply realistic motion to the
characters in your scene.
6. Lets you create and blend animation on separate layers. You can modify an
animation sequence on layers without permanently altering the original, or simply
organize your keyframe animation onto layers.
7. Lets you create realistic motion using the rules of physics to simulate natural
forces.
8. Are instructions that you can type to animate attributes.
Answer key 1.2-1
1. Keyframe animation
2. Driven key animation
3. Nonlinear animation
4. Path animation
5. Motion capture animation
6. Layered animation
7. Dynamic animation
8. Expressions

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Competency Based Learning Materials: 3D Animation NC Iii

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Competency Based Learning Materials: 3D Animation NC Iii

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COMPETENCY BASED

How to use the CBLM

The unit of competency, “Produce Key Drawings”, is one of the competencies of

In this module, you are required to go through a series of learning activities in

3D Animation NC Document No.