Blender animation (character and object)

Expert animation means every frame on screen is a choice: key poses the audience reads, holds and snaps placed by hand, spacing designed, arcs checked. The Blender Studio stance is to block stepped, spline late and in parts, and judge from the shot camera at real speed. An agent cannot scrub, so it measures instead: per-frame positions, spacing charts, arc checks, framing, an onion-skin image, a curve plot, and a playblast it actually looks at. If a sibling skill named here is missing from your available skills, ask the user to install it (

npx skills add scenario-labs/skills --skill <name>

); unattended, proceed from tool schemas and flag the gap.

REQUIRED BACKGROUND: scenario-blender-expert (execution channel, review loop, 5.2 API changes). Shot planning, cameras and animatics belong to scenario-blender-previs-storyboard; building the rig to scenario-blender-rigging.

Toolkit:

scripts/bx_anim.py

(keying, blocking-to-spline, curve checks, measurement, staging, playblast light, knee-pop, flip and balance checks, onion-skin and curve images, one-object

bouncing_ball

; API in procedures.md, tested on 5.2.1) and

bx_review.playblast

Stance (the expert delta)

Stay stepped long ("Blocking+"). Hjalti Hjalmarsson: juniors spline too early; computer in-betweens are "unintentional interpolated poses" that make notes hard. Keep adding hand-made breakdowns while stepped; splining is short and late.
Never convert the whole blocking to Bezier. Rik Schutte: key every main control on every key pose, copy each pose to the end of its hold ("pillars"), then spline the body only; face and fingers stay stepped until their own pass. Measured on 5.2.1: the naive conversion drifted 84% of the next move across a hold, the pillars held at exactly 0.
Snaps are authored. Rik: hold, then change pose in 2 to 3 frames; only big deliberate moves are left to interpolation. [added, measured] A contact inside continuous motion (a jump landing) is not a hold: pillaring it cut the body's speed at impact from 0.101 to 0.007 m per frame, a floaty landing.
Odd frames, even gaps; breakdowns shape arcs and steer the eye. Alex Nagy: key poses on odd frames with even spacing so a true middle frame exists. The breakdown sets the arc first, the timing second; favoring it late leaves more travel for the last frames, and the fastest part draws the eye.
The handle type is a timing decision. AUTO_CLAMPED keeps holds flat; AUTO overshoots between two equal keys (Alex uses it to push a pose or cushion a settle); VECTOR for hard hits, contacts and take-offs (Alex, Dillon Gu); FREE for burst spacing and exact arcs (Raymond Luc, Joey Carlino).
Lead with one part, layer the rest. Rik blocks a torso-only rhythm pass first; Dillon leads body mechanics with the COG and acting with the head or eyes. Overlap goes into the blocking, and a head never turns on one axis only (Rik).
Lip sync is rhythm before shapes. Rik: jaw first, stepped, opened big only on accents; off-sync is a missing preparation, not a global offset; M, B, P closed at least 2 frames and closed before the sound.
Spacing is felt, arcs are checked, the shot must read. Raymond: the audience should feel spacing tricks, not see them. Pablo Fournier: arcs are the most important check (root, hands, feet, nose), in camera space. Hjalti (in scenario-blender-previs-storyboard): after each cut the eye must find one thing, so a subject lost in an empty frame fails however good the curves are.

Establish first

Input	Why it changes the plan	Default when silent
Medium, fps	Film 24 (Hjalti); games often 30 with fixed hit or release frames (Picaut)	24 fps
Camera	Locked acting shot: judge only through the camera (Rik). Moving, re-framable or gameplay camera: poses work from every direction (Leo Silly-Pelissier, Picaut)	locked camera
Style	Stepped on twos and never splined (Sprite Fright shots, Rik) vs splined; stylized vs naturalistic (Leo)	splined, stylized
Rig	Control names, IK/FK, rotation modes. Generated Rigify [verified]: `torso` , `hips` , `chest` , `head` , `foot_ik.L` , `upper_arm_fk.L` , `jaw_master` ; `["IK_FK"]` on `upper_arm_parent.L` (0 IK, 1 FK); legs have `IK_Stretch` 1.0; rest legs are 99.6% straight; main controls QUATERNION	FK arms when arcs matter, IK when hands touch things (Joey, Tony Garcia)
Named object	A brief that names the animated object expects every channel on it	one object, `bouncing_ball(obj=...)`
Audio, transcript	Beats, accents, phoneme preparation	beats from the brief
Reference	Timing and beats, never a trace (Hjalti)	none: write a beat list
Budget	Rik: about 3 s a week in big studios, 5 to 6 s on his acting shot; Flow: 2 s per animator per day	state what the budget buys

Workflow

Plan. Beat list with frames: every acting beat in order (Hjalti counts about 8 per shot), sub-beats notice, react, realize, respond (Rik), the leading part per beat. With audio,
```
audio_envelope
```
+
```
accent_frames
```
; hit a pose just before its audio peak (Alex). Start mid-action (Rik). GATE: beat table written.
Set up and stage the shot (P1, P18): fps, range, sound, passepartout 0.99, Simplify for previews. Place the camera, then
```
staging_report(subject, frames)
```
with the real render size: subject height, how much of the frame the action covers, entry, final pose margin. Playblast look:
```
playblast_lighting(key_dir=(0, 0, 1))
```
(overhead key converted to Workbench's camera space: the shadow sits under the subject, the gap is its height, contact is where they meet),
```
floor_slab
```
,
```
rotation_texture
```
on anything that rolls. GATE:
```
flags
```
empty;
```
shadow_frames
```
visible in the air and touching at a contact; camera stills looked at.
Block A, key poses stepped. Strongest, longest-held pose first (Alex). Build each pose COG, feet (weight over the support foot, feet never twins, knees soft), hips, chest, head, arms. Pose in world terms with
```
world_pose
```
(rig axes are arbitrary), key with
```
key_pose(..., keytype='EXTREME')
```
, CONSTANT, all main controls. GATE: pose strip
```
onion_skin(frames=keys, spread=...)
```
shows clear silhouettes and contrast;
```
balance_report
```
margin >= 0 on held poses.
Blocking+ (still stepped).
```
breakdown
```
at the middle frame with per-part
```
factors
```
(COG dips, extremities delayed at 0.2 to 0.3, directed part favored late; after a take-off the body is ballistic, about 2/3 of the rise in 3 of 7 frames, and the feet must follow);
```
ease_inbetweens
```
for 20/80 (Pablo); overshoots and settles; overlap offsets; key types as a confidence map (Hjalti). GATE: stepped playblast approved; notes on intent stopped (Leo: none after Block B).
Spline the body with
```
blocking_to_spline(rig, body_bones, transition=3, interpolate={...})
```
: big moves and continuous contacts in
```
interpolate
```
; VECTOR on foot contacts and take-offs. GATE:
```
hold_drift
```
< 1e-5,
```
overshoots
```
only wanted settles, face still CONSTANT,
```
motion_report
```
without unintended constant spacing,
```
ballistic_fit
```
on the airborne COG with
```
g_ratio
```
near 1.0 and a small residual,
```
limb_extension
```
never above 1.0.
Re-inject energy (Leo: splining softens): timing accents, overshoots, desynchronized parts,
```
offset_keys
```
1 to 2 frames per chain link (Dillon), head lag 2 to 3 frames in cycles (Joey), contacts that slide rather than glue (Rik). Fingers: little overlap, no bounce. GATE: arcs clean in camera pixels (
```
to_camera(..., res=(w, h))
```
,
```
motion_report(dims=2)
```
).
Face and lip sync, stepped (P6, P7): jaw rhythm, corners (never dead center), shapes from a pose library on the lower face minus the jaw, accents and asymmetry in small doses, tongue last, then spline the face. Eyes dart in 1 to 2 frames and lead the head; brows 3 to 10 frames (Rik). GATE:
```
transitions
```
meets those counts; accents clearly fewer than syllables.
Polish.
```
foot_slip
```
under 1 mm,
```
lowest_point
```
for penetration,
```
rotation_flips
```
empty (
```
fix_rotation_flips
```
),
```
limb_extension
```
under 0.99 wherever the leg should stay bent, smears 1 frame (Pablo), burst spacing only now (Raymond), subdivision on. GATE: critique.md rubric passes on the final playblast, onion skin and graph image.

Variants. Bouncing ball (P16, P18):

bouncing_ball(obj=ANIM_ball, first_apex=-3, fit=False, ...)

keys ONE object: exact parabolas under one gravity through whole-frame contacts, odd or even flights so small hops keep their height, squash on the contact frame and stretch along the velocity through a world-aligned squash modifier (the roll is never twisted), roll = distance / radius, constant-deceleration roll, a 6-frame hold.

first_apex

before

start

throws it in from off-screen. Weight mapping is [added]: tune by render. Walk (Joey, 30 fps): contact 0, down 5, passing 10, up 15, 40-frame cycle; heel curve straight during contact, root linear with REPEAT_OFFSET (P5). Jump:

tests/code/blender-animation/test_rigify_jump.py

is the worked example (Rigify human, blocking to spline).

Numbers

Item	Value	Source
Snappy pose change	2 to 3 frames after the hold	Rik
Aggressive change	4 frames instead of 8	Alex
Hold to read an idea	6 frames	Alex
Settle	1 to 2 frames, 4 soft	Alex
Reaction after stimulus	about 6 frames	Rik
Eye dart / brow change	1 to 2 / 3 to 10 frames	Rik
Ease rule	80% of the remaining way per in-between (slow-in); mirror 20%	Pablo
Smear	1 frame, sometimes 2	Pablo
Micro-anticipation	last 1 to 2 frames before hit or release pushed to an extreme	Picaut
Head lag in a cycle / foot offset	2 to 3 frames / 1 frame	Joey / Rik
Real gravity at 24 fps	acceleration 0.01703 m/frame^2; a quadratic fit's leading coefficient is half (-0.00852). `gravity()`	physics [added]
Subject size in frame	12% of frame height minimum, 15% or more for a single subject	[added] E3: both runs measured 10%
IK leg extension	under 0.99 of full length while meant bent; above 1.0 = IK stretch	[added]
Pinwheel on a rolling object	roll per frame under 360 / sectors degrees	[added] wagon-wheel

Quality gates

Measurable: slot named after the character; key poses CONSTANT and typed before approval;

hold_drift

~0;

overshoots

only on settles;

foot_slip

< 1 mm;

lowest_point

never below the floor (sample sub-frames);

transitions

for darts, brows, snaps, plosives;

ballistic_fit

g_ratio near 1 at real scale;

motion_report

: sharp turns only at contacts, no arc wobble or start-stops inside a move;

staging_report

flags empty with shadow frames visible;

limb_extension

rotation_flips

balance_report

as above;

roll_aliasing

ok. Visual (open every image): pose strip, onion skin through the shot camera with tracks,

graph_image

, playblast frame sheets (subject size, entry, shadow gap closing at contacts, spin readable), orbit views when the camera is not locked.

Common mistakes

Mistake	What it looks like	Fix
Whole blocking to Bezier	"floaty spaghetti"	`blocking_to_spline` with pillars, body only
Pillar on a continuous contact	body brakes before impact	put that frame in `interpolate` ; VECTOR on the foot
AUTO handles on a hold	hold drifts past the pose	AUTO_CLAMPED; AUTO only for a settle
Heel curve eased during contact	foot slides (5.8 cm per step measured)	VECTOR or zero-length FREE handles
Jaw open on every syllable	chattering mouth	big opens on `accent_frames` only
BOUNCE easing for a ball	no squash frame ever shows	`bouncing_ball` or keyed whole-frame contacts
Squash on a parent that also aims	pattern twists on stretch frames (55 degrees measured on the old rig)	`squash_modifier` (world axes) on the object itself
Flights rounded to even frames	hops lose or gain height, gravity changes per bounce (0.98 to 1.31 measured)	whole-frame contacts, odd flights allowed, one gravity
Framing the whole set	subject 10% of frame, top 40% empty	move in or shorten the travel until `staging_report` is clean
`display.light_direction` read as world	shadow hidden behind the subject (0 px)	`playblast_lighting(key_dir=...)`
Arcs checked in normalized camera coords	false sharp turns at apexes (aspect squeezes x)	`to_camera(..., res=(w, h))`
Legs straight at stand or push-off	IK stretch lengthens the leg (18% in the first jump draft)	soft knees, feet breakdown after take-off, VECTOR take-off

Blender 5.2 notes

```
action.fcurves
```
is gone: channelbags via
```
bpy_extras.anim_utils
```
(
```
bx_anim.channelbag
```
). Assigning an action animates only if a slot matches; otherwise set
```
ad.action_slot
```
.
One layer per action (
```
layers.new
```
raises); layer with the NLA plus an ADD or COMBINE action (
```
push_layer
```
).
```
keyframe_points.insert
```
gives BEZIER AUTO_CLAMPED; a Keyframe reference dies at the next insert on that curve.

Headless:

anim.keyframe_insert

fails;

pose.breakdown

and

pose.blend_to_neighbor

need explicit

prev_frame

next_frame

;

render.opengl

refuses, so playblasts are Workbench renders.

Workbench
```
scene.display.light_direction
```
is camera-relative;
```
matrix_world
```
is stale until
```
view_layer.update()
```
, so convert after it.

GN modifier inputs key at

modifiers["X"].properties.inputs.Socket_n.value

Playblast audio: sound strip plus
```
render.ffmpeg.audio_codec = 'AAC'
```
.
Keymap: Up = previous key, Down = next (5.0). Not in 5.2: action layers, paste-pose blending, range world-space copy (5.3).

References

```
references/expert-notes.md
```
: principles, numbers and disagreements by expert, with timestamps; load when choosing between approaches or writing notes.
```
references/procedures.md
```
: full tested code for every procedure (setup, blocking, spline, walk, lip sync, facial timing, contact pin, slots, layers, pose library, playblast, measurement, ball, staging, knee/flip/balance); load before writing code.
```
references/critique.md
```
: the review rubric per stage, staging thresholds and their calibration, how these animators phrase notes; load at every gate.
```
references/sources.md
```
: the 14 source videos, what each is best for, best timestamps.

scenario-blender-animation

NPX Install

Tags

SKILL.md Content