Nileshkumar Varma

Elephant

Elephant

Hulk

Hulk in angry mode

8 ways locomotion movement

Kratos walk

Kratos is looking for some to kill

Hulk smash

Dragon

Dragon Fly

Sword_combat_Fight

Slice

Dead-Pool

Tiger

Tiger-jump

Run and Throw

Hangging

Idle Cycle

Idle cycle of Player for the Card

Bats man celebration

Bats-man celebration is victory

Bats man hitting Six

Bats man hitting Six in funny way

Catch and Drop

Fielder tryed to take a catch and drop it

Emotes of Batsman

This is bat balance emote of Bats man after achieving the goal

Emote Bhangra

Player celebrating is acchivement

Boundary Line Catch

Two Fielder taking a catch at Boundary Line

3rd Umpire Call

Umpire call for 3rd Umpire

Fielder Dive

Fielder is Diveing to stop the ball

Emote Firing

This is the Firing emote for Bowler celebrating wicket

Bats-man Dive

Bats-man Dive to save himself from Run out

Emote Yawing

For a bowler its a easy to take a wicket

Wicket Keeper

Wicket keeper

Idle-cycle

Idle-cycle , bowler Idle-Cycle and Player Run cycle

Crowd clapping

Crowd_clapping

Crowd idle animation

Kingdon come deliverance II

Starlink Battle for Atlas

Character and creature animation — motion planning and game integration.

NBA 2K23

Thelma the Unicorn

The croods family tree

Fast and Furious Spy Racers

Character animation for the Fast and Furious Spy Racers TV series at Technicolor.

Kamp Koral : SpongeBob

All Hail King Julien

Animator on King Julien series at Technicolor Creative Studios.

Puss in Boots

Character animation for Puss in Boots at Technicolor Creative Studios.

Maya the Bee

Heidi

WallyKazam

Ra-one

Dhoom 3

From Raw Motion Capture to Polished Character Animation

The animation you see here began as a raw video clip — nothing more than real human movement recorded on camera. Using an AI-based tool, that footage was converted into an FBX file, essentially translating the body's movement into a rough 3D skeleton. From there, the real craft began inside Autodesk Maya. The FBX data was mapped onto a rig using Maya's Human IK system, which acts as a universal translator between different skeleton structures. Once the motion was properly mapped, Human IK's retargeting feature transferred all of that movement onto the actual character rig — making the character move in the same way as the original footage. However, raw motion capture data — even when AI-generated — is never clean enough to use directly. It carries jitter, noise, and a mechanical quality that reads as lifeless on screen. So the animation went through a thorough cleanup pass: removing unwanted noise, stabilising joints, and correcting any technical errors introduced during the retargeting process. The most important stage came last: refining and elevating the performance. Key poses were pushed further to read more clearly and with more intention. The 12 core principles of animation — including anticipation, follow-through, overlapping action, squash and stretch, and timing — were applied deliberately throughout to give the movement energy, weight, and personality. The result is an animation that started as a two-second AI output and became a fully crafted piece of character performance — combining the efficiency of modern AI tools with the artistry that only hands-on animation skill can provide.

8 ways locomotion movement

Why 8‑Way Locomotion Matters Player Control & Immersion: In most games, players move characters in multiple directions (forward, backward, strafe left/right, diagonals). A full 8‑way system ensures smooth transitions without snapping or sliding. Natural Flow: Instead of blending just forward and sideways walks, having dedicated diagonal cycles avoids awkward foot sliding and keeps weight shifts consistent. Performance & Feel: When the animation matches the input direction precisely, the character feels responsive yet organic — the player senses weight, balance, and realism. Directional Blending: Game engines often blend between cycles depending on joystick angle. With 8 directions, blends are smoother and avoid distortion. Speed Variations: Walk cycles can be layered with run cycles, crouch walks, or strafe variations, giving a complete locomotion set. Idle to Walk: A well‑designed transition from idle to walk ensures the character doesn’t “pop” into motion but eases into it.

Automation & Pipeline Tools — MEL Scripting for Animators

One of the most impactful ways to improve an animation pipeline isn't always visible on screen — it lives behind the scenes, in the tools that empower artists to work smarter. Over time, a comprehensive library of custom MEL scripts has been developed inside Autodesk Maya, each one designed with a single goal in mind: eliminate repetitive manual tasks so animators can stay focused entirely on the creative work. Every script was born from a real problem on the floor — a task that was eating up valuable time, breaking an artist's flow, or simply didn't need a human making the same click fifty times a day. Whether it's automating constraint setups, batch-processing animation data, managing character spaces, or streamlining the export pipeline, these tools handle the technical heavy lifting quietly in the background. The philosophy behind every script is straightforward: if a computer can do it, a computer should do it. This frees animators from the mechanical side of production and puts their energy exactly where it belongs — in performance, storytelling, and creativity. The result is a measurably faster pipeline. Tasks that once took hours are reduced to seconds. Errors caused by repetitive manual work are minimised. And most importantly, artists arrive at their creative decisions earlier in the day, with more mental energy to spend on what actually matters. These tools aren't just scripts — they are a long-term investment in the quality and efficiency of every project they touch.