Pose language
We define the angles, compression and asymmetry that make this character readable.
SCENE 01 / THE DIFFICULT STEP
Give the character weight before giving them speed.
Xemadavo develops character animation and rigs around intention, silhouette and the physical consequence of every choice.
PERFORMANCE BEFORE POLISH
A rig is useful when the character can hesitate, commit and change their mind.
Control behaviour
The rig protects volume and appeal while giving animators meaningful choices.
Shot rhythm
Timing, overlap and eye direction serve the scene rather than a generic motion recipe.
INTERACTIVE FRAME BENCH
Choose the intention. Then build the body around it.
Each rehearsal reveals a different requirement for silhouette, facial range and secondary motion.
BEAT A / LISTEN
The face moves less. The attention moves more.
A listening beat needs small brow changes, an active eyeline and enough jaw control to hold a thought before speech.
- Rig priority
- Independent brows, eyelids and jaw compression
- Pose test
- Can we read the reaction without the dialogue?
DRAWER 02 / ARMATURE
The controls should disappear into the performance.
We design for the actual shots: contact, balance, face range, costume drag, prop interaction and the moments where the character must hold still without feeling dead.
Body mechanics
Stable feet, predictable arcs, useful IK/FK transitions and deformation that protects the designed shape.
Facial performance
Controls organised by intention and readable combinations, not an overwhelming catalogue of isolated shapes.
Production resilience
Naming, selectors, versioning and tests support real shot work and safe handoff.
SCENE 03 / WALK
A walk cycle is a biography in six poses.
Foot pressure, pelvis rhythm, arm delay and head stability tell us whether the character is hurried, guarded, hopeful or pretending not to be tired.
- CONTACTWhat reaches first?
- DOWNWhere does the weight settle?
- PASSWhat stays protected?
- UPWhat expectation lifts the body?
BODY FORCE
Build the line of action through the prop.
A convincing push connects intent, foot pressure, spine and the resistance of the world.
OVERLAP
Let the costume finish the thought.
Coat, satchel and small accessories carry delay that describes material, speed and mood.
SCENE 04 / DIALOGUE
Two performances share one rhythm.
Speaking is only half the scene. We stage the listener’s eyeline, delayed reaction and body tension so the cut has somewhere meaningful to land.
- Clear eyeline and screen direction
- Contrasting stillness between characters
- Facial shapes that survive the camera distance
- Breaths and holds that support editorial timing
LOOK DEVELOPMENT / TURNAROUND
The character must remain readable when the light changes.
We test silhouette, eye contrast, face planes and material response before a rig or puppet enters repeated production.
Discuss a character test →WORKSHOP QUESTIONS
Before the first rehearsal.
01Can you work from an existing character design?
Yes. We identify the shapes and asymmetries that must survive posing, deformation and camera distance before defining controls.
02Do you provide animation and rigging together?
The scope can include either or both. A performance test is often useful even when the primary deliverable is a rig.
03Can you improve an existing rig?
Yes. We begin with the shots that fail, reproduce the problem and repair controls or deformation in focused slices.
04How do you decide which facial controls are necessary?
We work backward from emotional beats, dialogue range, camera distance and the combinations animators need most often.
05What does handoff include?
The agreed handoff may include control maps, selectors, usage notes, tests, version information and a short continuation backlog.
No matching question. Bring it to the workshop.
OPEN A PRODUCTION NOTE
Put the difficult beat on the stage.
Tell us about the character, the emotional problem and the shot or control that currently refuses to work.
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