Hello, this is the end of the page where I'm the star :)
I'm Lisa Martijn, Technical Animator and student at The Game Assembly in Malmö.I love animation in all shapes and forms and have loved it for as long as I can remember. One of my hobbies, aside from gaming and making clay figures for D&D, is watching obscure animated movies from different parts of the world.My main areas of interest when it comes to animation is scripting, rigging and generally optimizing pipelines to ease the animation process.Outside of animation I enjoy spending my time outside, especially in nature and I love singing. I also like to scratch my creative itch by creating cosplays of various characters, crafting home made things and generally create.My cats are my pride and joy. Tipp, my baby, as pictured to the right, and Poppi also nicknamed "Stinky"Thanks for reading :)
Introduction
Rigging manually started to become tedious, so I wanted to automate the process. I started learning Python by writing a script that could spawn various parts of a skeleton and thus having to avoid naming every individual bone.


The plan
I wanted to create a script that spawned, FK controls, IK controls and a functionality to switch between them. My goal was also for the user to have control over the size, color and shape of the controllers.
Result
I was able to implement most of what I set out to achieve. The user can select a body part and generate a fully functioning IK and FK with a switch and they can select any controller and change its attributes. It even has a "save to JSON" function.I also recieved feedback on the UI design so I changed it to be less distracting and easier to use.

Reflection
If I had more time, I would have loved to make a library of shapes for the controllers, so that the rig could be customised even further. I am however satisfied with how well the work followed the plan and I'm eager to do more scripting in the future.

Concept By Giulia Carli
Introduction
Kerbe is a collaborative project between Isak Zillén, who made the model, Anders Nilsson, who animated and gave user feedback on the rig, and me, who created the rig.The goal was to create a game ready character from concept to engine implementation.
The plan
My initial plan for Kerbe was to separate her into two rigs. A main body rig that I made with help from my Autorigger 3000 scripts, and a face rig made using the Meta Human for Maya Rig.The idea was to be able to record motion capture animations for the body and sync them up in Unreal Engine with face animations recorded with Live Link Face for Meta Human.

Meta Human Rig applied to Kerbe face in Maya

Close up on face rig
The process
A rig is only useful if an animator can use it. Thanks to a lot of feedback, I was constantly iterating and improving parts of the rig for an easier animation process.It became clear at one point that Kerbe would need a poseable face so I made the decision to focus on the body rig and make a simple face rig for her.
Result
The final Kerbe rig includes:
- Arms and legs with IK and FK switch
- Space switches on shield, sword and dagger
- Face Rig, including Look At and Blink attributes
- Corrective joints for the eye lens
- Hair controls
- Togglable visibility on controls for hair, face, tunic and armor

Full body rig :)

Face and hair control test
Takeaways
Rigging Kerbe has taught me a lot about keeping in mind the needs of the animator and making sure my work can be properly implemented in engine.
Introduction
"Where is my money" is the implementation of my Kerbe Rig in a dialogue sequence into Unreal Engine 5
Motion capture test of my face
The motion capture data in Motion Builder
The plan
My intetntion was to record motion capture animations for a dialogue sequence with an NPC. I would use the Meta Human Live Link feature to record animations for the face and sync it up with the body.I also wanted the player to be able to walk up to the NPC and trigger the sequence with a buttonpress
Results
I set up a level sequence in Unreal that played a conversation between Kerbe and a Meta Human NPC. The sequence play when the player gets close enough to the NPC and press the "E" button.Due to having to prioritize the Kerbe rig, I was unable to implement mocapped facial animations on Kerbe like intended.
My attempt to add the face in Unreal
The animation in question
Technical difficulties
I managed to record one facial animation for the NPC then I ran into technical difficulties with the Live Link Face app and Unreal and I wasn't able to import more. I therefore had construct the scene around the limited facial animations I had available.
Reflection
Had I known that the Kerbe Rig would have needed more time than I planned, I would have scoped the "Where is my money?" project lower to ensure a better quality end result. Still managed to implement much of what I wanted so I'm satisfied with the result.
Other angle of the punch

Spite: Ashes of Ephtael is a Top-Down Action Role-Playing GameThe Game Assembly Project #5Production time:• 14 weeks half time

I made all rigs, including:
- Player (Cinder)
- Popcorn Enemy
- Common Enemy
- Bloater Enemy
- BossI also made all animations for the Bloater Enemy










Artists
• Dante Norling Eklöf
• Linus Bergström
• Oliver Andersson
• Oliver Lincke
Technical Artists
• Markus Norén
• Marinó Fannar Bjarnason
• Nora Kemphe
Animators
• Anders Nilsson
• Viktoriia Shvydak
Programmers
• Brian Wannstam
• Camilo Chavez Torres
• Christian Le
• Jonas Anders
• Linus Rodhammar
• Wiktor Ciechonski
Level Designers
• Love Lustig
• Nom Köhler
• Tiger Tjellesen
Audio Designers
• Björn Djurnamn
• Kimberly Palsäter

Bardo is a Side-Scrolling Narrative PlatformerThe Game Assembly Project #3Production time:• 12 weeks half time
I made all rigs except for the player, including:
- Bug Enemy
- Lantern Enemy
- Big BrotherAnimated 2D VFX for the playerAnimated the Bug EnemyI also made an outline shader in Maya with the help of Ameer Khalid




Maya Toon Shader test
Offseted duplicate with black material test
Frame by frame drawover test
Final shader for the game






Artists
• Isak Zillén
• Oscar Hofling
• Veronica Perez
• Marcus Carlson
Animators
• Anders Nilsson
• Linus Berglind Kvarnryd
Music
• Joel Paulin Hugo
Programmers
• Algot Sandow
• Joel Paulin Hugo
• Johannes Keczan
• Christoffer Nilsson
• Melvin Tureson Nilsson
Level Designers
• Ediz Mehmet
• Erik Andersen
Audio Design
• Erik Andersen
Maruk: Shipwrecked is a 3D Collectathon PlatformerThe Game Assembly Project #6Production time:• 14 weeks half time

My contributions:
- Made the assets for and animated he intro and the outro cinematics- Wrote and animated the cave cinematic- Cleaned motion capture animations for the player
- Made the main menu fly over video
Main menu fly over sequence
Intro
Outro
Audio Design by Kimberly Palsäter
Cave Scene

During breaks, I painted with Urchin models
Artists
• Dante Norling Eklöf
• Linus Bergström
• Oliver Andersson
• Oliver Lincke
Technical Artists
• Markus Norén
• Marinó Fannar Bjarnason
• Nora Kemphe
Animators
• Anders Nilsson
• Viktoriia Shvydak
Programmers
• Brian Wannstam
• Camilo Chavez Torres
• Christian Le
• Jonas Anders
• Linus Rodhammar
• Wiktor Ciechonski
Level Designers
• Love Lustig
• Nom Köhler
• Tiger Tjellesen
Audio Design and Game Music
• Kimberly Palsäter

Slashimi is an Isometric Hack And Slash Adventure GameThe Game Assembly Project #4Production time:• 6 weeks half time
Artists
• Emmet Motamed
• Emil Nilsson
• Veronica Perez
Animators
• Tristan Martinez
Level Designers
• Lukas Ax
• Nom Köhler
• Frans Witting

Programmers
• Fredrik Furuskog
• Christoffer Nilsson
• Jonathan Rozenberg
• Elisia Boikov Sivertoft
• Daniel Strömblad
Audio Design
• Marcel Bascour
• Maja Rodrick

Flesh in The Cogs is a Mobile Puzzle GameThe Game Assembly Project #2Production time:• 6 weeks half time
I made all rigs except for the player, including:
- Flesh Wall Enemy
- Flesh Flower Enemy
- Flesh Biped EnemyI also made some player animations





Axelerate is firts-Person 3D collectathon game where the player rides on a hover board and grinds rails.
I worked on Axelerate my second year at Uppsala University. It was my first 3D game and I learned so much about the animation pipelines because I did most of it myself.


The animations I did back then might not be my proudest, but they are what made me take the leap learning animation proper.
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