Deformation-ready character model
Deliverable: A character modelled with edge loops at every joint, demonstrated bending at shoulder, elbow and knee without pinching.
Course
The studio standard for character work, taught with the rigging and animation depth those jobs test — plus the naming and file discipline a shared pipeline actually requires.
6 modules · 4 months
Deliverable: A character modelled with edge loops at every joint, demonstrated bending at shoulder, elbow and knee without pinching.
Deliverable: A rig with IK and FK switching and named, grouped controls, graded by another student animating a pose set without any explanation from you.
Deliverable: A twelve-second character shot with a clear intent, blocked then splined then polished, presented with graph editor curves alongside the playblast.
Deliverable: A lit and rendered sequence using Arnold with render layers and AOVs, composited and delivered as a graded clip.
Every student gets placement assistance — that is what 100% placement assistance means. It is support for all, not a job for all. We do not promise a specific salary, a specific number of interviews, or placement at any named company, and you should be wary of anyone who does.
The technical difference between Maya and its alternatives is smaller than students expect. The organisational difference is not.
In a studio, your scene is opened by a rigger, then an animator, then a lighting artist, none of whom will ask you what anything is called. A file full of pCube42 and Group17 costs each of them an hour. Referencing, naming and outliner discipline are graded in this course because they are a real reason junior artists are kept on or let go.
The rigging project is graded by another student animating your character without a word of explanation from you.
Controls that make sense only to their author are the most common failure in small studios, and no amount of explaining fixes it. Watching someone struggle to find the hand control you thought was obvious is worth more than a lecture on naming.
Animators who go straight to smooth curves produce floaty work and cannot fix it afterwards.
Blocking in stepped keys forces you to decide the poses and the timing before any interpolation hides the decisions. The acting shot is required in all three stages, presented in sequence, because the discipline is the skill.
There is genuine animation and VFX work in India — Mumbai, Hyderabad, Bengaluru, Pune — across studios, advertising and increasingly games.
It is competitive, portfolio-driven, and entry salaries are modest before they climb. Anyone describing it as an easy, lucrative field is selling something. It is a real career for people who are prepared to build a reel that stands up.
Questions
Some 3D experience is expected — this course goes deep rather than starting from what a viewport is. Blender, 3ds Max or Maya basics all qualify. If 3D is entirely new, take the 3D Animation programme or Blender first, both of which build the foundations this assumes.
Pipeline. Maya has decades of studio tooling, scripting and integration built around it, and a large existing base of rigs, scripts and trained artists. Blender is technically capable and increasingly used in smaller shops. If your target is a large Indian animation or VFX house, their advertisements will say Maya.
In a studio your file is opened by a rigger, an animator and a lighting artist who have never spoken to you. Objects called pCube42 and a scene with everything at the root cost each of them time. Naming, grouping and referencing are graded here because they are a genuine reason juniors are or are not kept.
There is real work — animation studios, VFX houses, advertising and increasingly gaming, concentrated in Mumbai, Hyderabad, Bengaluru and Pune. It is competitive and portfolio-driven, and entry salaries are modest before they climb. We will be straight with you about that rather than describing an industry that does not exist.
Three details is all we need. A course advisor will call you back.
The complete 3D pipeline taught in order — model, texture, rig, animate, light, render — ending in a showreel, because a showreel is what an animation studio actually hires from.
The whole 3D pipeline in one free package — model, sculpt, shade, animate, render — so you can keep practising at home the day the course ends.
Digital sculpting taught form first — silhouette and anatomy before pores and wrinkles — and finished properly, with retopology and baked maps a pipeline can use.
Motion graphics and visual effects built on compositing fundamentals, so a keyed subject sits inside the shot rather than on top of it, and an animation moves like it has weight.
Next step
Tell us what you want to learn and we will help you pick the right course, batch and mode.