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Setting up a master file to control the final grade for an entire project minimises time spend testing renders: a trick Red Cartel used on its animated short, Lighthouse: Most large animation projects require you to keep track of many individual shots and grade them consistently at the end. You can use the Blender sequencer and compositor to do this. First, start an empty .blend file. This will be your master file. Link in every scene you need from the individual .blend shot files and place them in order along the timeline of the sequencer in the master file. (This helps the editor, since the Blender sequencer produces an OpenGL version of each scene, making it easy to see the latest work from each scene in real time.) You can now set the look and feel for each section of the animation. Select a group of shots that must have the same visual properties, and group those nodes together inside the master file, calling the group ‘Master Comp’ or something suitably witty. Go to each of the original individual shot files and link back to the Master Comp group.

Setting defaults for the file browser can save you a lot of time in the long run. Go to Edit > Preferences and on the left side choose File Paths. Here you can preset locations for individual data types. There’s another useful tip for file browsing I use all the time and don’t want to withhold from you. Type // in the file path field and it will take you directly to the current directory (folder where the blend file is saved). Have you heard of the Blenderkit or Sketchfab add-on? They both provide an online library with awesome free Blender assets and a plugin to directly search and import them from within the 3d viewport. The Blenderkit add-on is even preinstalled with Blender and just has to be enabled in the user preferences. Sketchfab is also free, but you must first download it from GitHub. In addition to 3d models, Blenderkit also offers materials and brushes. They are really useful to quickly import assets to fill up the scene.

Edge loops are incredible lifesavers for the same reasons above. They also make working with your model intelligently and efficiently really easy. Instead of grabbing an entire loop of faces one by one, you can select them all simultaneously and modify them together. To select all the vertices, edges, or faces in a mesh loop, click on any member of the family while holding Alt. It’s really easy to use the Knife tool to trace over a reference image or even another mesh or curve. For extremely complex patterns or anything else that you’d like to bring to life, however, the Knife Project tool can do some of the heavy lifting for you. To use Knife Project, you’ll need two things: your target mesh, and a mesh of the pattern, shape, text, or design that you would like to project onto it. This has to be a mesh, not just an image—you can import an SVG file into Blender and convert it to a mesh with the SVG Importer add-on enabled, however.

Setting up libraries of standard facial expressions speeds up your first lip sync pass: Pose Libraries are a great way to rough in animation, particularly for facial animation and lip sync. This is especially useful if your rig uses bones and drivers rather than exclusively relying on shape keys for phoneme shapes. I like to make a bone group for my lip sync controls and use those controls to create my phonemes. Each phoneme gets saved as a pose in my character’s Pose Library ([Shift]+[L]). When animating, select the bones in the lip sync bone group and press [Ctrl]+[L] to enter a library preview mode. You can then use your mouse’s scroll wheel or [Page Up]/[Page Down] to cycle through the poses in your library. Choose your pose and insert your keyframes. This works as your first rough pass on the lip sync to get the timing right. See extra information on https://3darts.org/.