{"id":21521,"date":"2026-02-11T11:37:51","date_gmt":"2026-02-11T08:37:51","guid":{"rendered":"https:\/\/bimsolutions.ge\/eng\/?p=21521"},"modified":"2026-02-11T11:37:51","modified_gmt":"2026-02-11T08:37:51","slug":"creating-an-anime-short-in-just-3-days-with-autodesk-flow-studio","status":"publish","type":"post","link":"https:\/\/bimsolutions.ge\/eng\/blog\/creating-an-anime-short-in-just-3-days-with-autodesk-flow-studio\/","title":{"rendered":"Creating an Anime Short in Just 3 Days with Autodesk Flow Studio"},"content":{"rendered":"<p>Creative projects\u00a0don\u2019t\u00a0always begin with ideal conditions. Sometimes they start with a tight deadline, a small room, and a simple question:\u00a0<em>What can I make with the tools I already have?<\/em><\/p>\n<p>That was the starting point for\u00a0<strong><em>SWITCH<\/em><\/strong>, a short animation created by Masahiro Yoshida, technical sales for Flow Studio at Autodesk Japan. Designed for an exhibition at a Japanese anime\u00a0creators\u2019\u00a0event, the film was produced in just\u00a0<strong>three days<\/strong>\u00a0using\u00a0<strong>Autodesk Flow Studio<\/strong>, alongside 3ds Max and Arnold.<\/p>\n<div style=\"width: 1140px;\" class=\"wp-video\"><!--[if lt IE 9]><script>document.createElement('video');<\/script><![endif]-->\n<video class=\"wp-video-shortcode\" id=\"video-21521-1\" width=\"1140\" height=\"641\" preload=\"metadata\" controls=\"controls\"><source type=\"video\/mp4\" src=\"https:\/\/bimsolutions.ge\/eng\/wp-content\/uploads\/2026\/02\/main.mp4?_=1\" \/><a href=\"https:\/\/bimsolutions.ge\/eng\/wp-content\/uploads\/2026\/02\/main.mp4\">https:\/\/bimsolutions.ge\/eng\/wp-content\/uploads\/2026\/02\/main.mp4<\/a><\/video><\/div>\n<h3 id=\"workingnbspunder-tight-timelinesnbsp\" class=\"wp-block-heading\"><strong>Working Under Tight Timelines<\/strong><\/h3>\n<p>Rather than assembling a large team or complex setup, Masahiro chose a deliberately minimal approach. He filmed himself performing the action in his own room, using standard\u00a0live-action\u00a0footage\u00a0instead of traditional motion-capture equipment.<\/p>\n<p>The goal\u00a0wasn\u2019t\u00a0to recreate a full studio pipeline. It was to see how far an\u00a0AI-assisted workflow could go when time and resources were limited.<\/p>\n<p>Those constraints shaped the project in practical ways, but also creatively. The confined space, the single performer, and the short schedule all became part of the experiment.<\/p>\n<div style=\"width: 1140px;\" class=\"wp-video\"><video class=\"wp-video-shortcode\" id=\"video-21521-2\" width=\"1140\" height=\"641\" preload=\"metadata\" controls=\"controls\"><source type=\"video\/mp4\" src=\"https:\/\/bimsolutions.ge\/eng\/wp-content\/uploads\/2026\/02\/main-2.mp4?_=2\" \/><a href=\"https:\/\/bimsolutions.ge\/eng\/wp-content\/uploads\/2026\/02\/main-2.mp4\">https:\/\/bimsolutions.ge\/eng\/wp-content\/uploads\/2026\/02\/main-2.mp4<\/a><\/video><\/div>\n<h3 id=\"refining-the-scene-in-3ds-maxnbsp\" class=\"wp-block-heading\"><strong>Refining the Scene in 3ds Max<\/strong><\/h3>\n<p>After exporting the animation from Flow Studio as USD, Masahiro imported the scene into\u00a0<strong>3ds Max<\/strong>\u00a0to prepare it for rendering.<\/p>\n<p>He notes that the\u00a0bones can appear large\u00a0after import, which is easy to manage by scaling them using the Bone tools. Small end bones can also be hidden in the viewport to keep the scene readable.<\/p>\n<div style=\"width: 720px;\" class=\"wp-video\"><video class=\"wp-video-shortcode\" id=\"video-21521-3\" width=\"720\" height=\"1080\" preload=\"metadata\" controls=\"controls\"><source type=\"video\/mp4\" src=\"https:\/\/bimsolutions.ge\/eng\/wp-content\/uploads\/2026\/02\/main-4.mp4?_=3\" \/><a href=\"https:\/\/bimsolutions.ge\/eng\/wp-content\/uploads\/2026\/02\/main-4.mp4\">https:\/\/bimsolutions.ge\/eng\/wp-content\/uploads\/2026\/02\/main-4.mp4<\/a><\/video><\/div>\n<p>The surrounding environment was modeled directly in 3ds Max. Objects like books were duplicated using an Array modifier with randomized scale and rotation, while elements such as windows were created using Boolean operations so they could be easily adjusted later in the modifier stack.<\/p>\n<div style=\"width: 720px;\" class=\"wp-video\"><video class=\"wp-video-shortcode\" id=\"video-21521-4\" width=\"720\" height=\"1080\" preload=\"metadata\" controls=\"controls\"><source type=\"video\/mp4\" src=\"https:\/\/bimsolutions.ge\/eng\/wp-content\/uploads\/2026\/02\/main-5.mp4?_=4\" \/><a href=\"https:\/\/bimsolutions.ge\/eng\/wp-content\/uploads\/2026\/02\/main-5.mp4\">https:\/\/bimsolutions.ge\/eng\/wp-content\/uploads\/2026\/02\/main-5.mp4<\/a><\/video><\/div>\n<h3 id=\"stylized-rendering-with-arnoldnbsp\" class=\"wp-block-heading\"><strong>Stylized Rendering with Arnold<\/strong><\/h3>\n<p>For the final look of\u00a0<em>SWITCH<\/em>, Masahiro used\u00a0Arnold\u00a0with a toon\u00a0rendering\u00a0workflow.<\/p>\n<p>To begin, he changed the\u00a0render\u00a0filter to Contour in the Arnold\u00a0render\u00a0settings. This step is\u00a0required\u00a0to enable toon rendering.<\/p>\n<p>The toon shader was then applied by connecting it to Map to Material or a similar material setup. Once connected, Arnold is ready to\u00a0render\u00a0outlines and toon-style shading.<\/p>\n<div style=\"width: 720px;\" class=\"wp-video\"><video class=\"wp-video-shortcode\" id=\"video-21521-5\" width=\"720\" height=\"1080\" preload=\"metadata\" controls=\"controls\"><source type=\"video\/mp4\" src=\"https:\/\/bimsolutions.ge\/eng\/wp-content\/uploads\/2026\/02\/main-6.mp4?_=5\" \/><a href=\"https:\/\/bimsolutions.ge\/eng\/wp-content\/uploads\/2026\/02\/main-6.mp4\">https:\/\/bimsolutions.ge\/eng\/wp-content\/uploads\/2026\/02\/main-6.mp4<\/a><\/video><\/div>\n<p>With toon\u00a0rendering\u00a0active, Masahiro focused next on shaping the\u00a0<strong>edges and line work<\/strong>.<\/p>\n<p>He lowered the\u00a0<strong>Angle Threshold<\/strong>\u00a0to increase the number of detected edges, then adjusted\u00a0<strong>Edge Width<\/strong>\u00a0to control overall line thickness. While fine-tuning these settings, he recommends adding\u00a0color\u00a0to the outlines or slightly darkening the base\u00a0color\u00a0texture and using it as the edge\u00a0color, making the results easier to evaluate.<\/p>\n<p>Overall line thickness is set using\u00a0<strong>Edge Width<\/strong>\u00a0in the\u00a0render\u00a0filter settings, while\u00a0<strong>Edge Width Scale<\/strong>\u00a0in the toon shader allows for more precise adjustments. To add visual variation, Masahiro connected\u00a0<strong>noise or gradient nodes<\/strong>\u00a0to Edge Width Scale, creating subtle changes in line thickness across the model.<\/p>\n<div style=\"width: 720px;\" class=\"wp-video\"><video class=\"wp-video-shortcode\" id=\"video-21521-6\" width=\"720\" height=\"1080\" preload=\"metadata\" controls=\"controls\"><source type=\"video\/mp4\" src=\"https:\/\/bimsolutions.ge\/eng\/wp-content\/uploads\/2026\/02\/main-7.mp4?_=6\" \/><a href=\"https:\/\/bimsolutions.ge\/eng\/wp-content\/uploads\/2026\/02\/main-7.mp4\">https:\/\/bimsolutions.ge\/eng\/wp-content\/uploads\/2026\/02\/main-7.mp4<\/a><\/video><\/div>\n<p>Once the outlines were\u00a0established, attention shifted to\u00a0<strong>shadows<\/strong>.<\/p>\n<p>Masahiro adjusted shadows by connecting a\u00a0<strong>Ramp shader<\/strong>\u00a0to the toon shader\u2019s\u00a0<strong>Base\u00a0Tonemap<\/strong>. To achieve a look closer to Japanese anime, he set the ramp\u2019s\u00a0<strong>colorinterpolation to Constant<\/strong>, creating clear, step-like transitions between light and shadow instead of smooth gradients.<\/p>\n<p>For\u00a0additional\u00a0stylistic expression, dot or\u00a0cross-hatch\u00a0nodes can be connected to the Ramp shader, allowing shadows to appear as dots or cross-hatching,\u00a0similar totechniques used in manga illustration.<\/p>\n<div style=\"width: 720px;\" class=\"wp-video\"><video class=\"wp-video-shortcode\" id=\"video-21521-7\" width=\"720\" height=\"1080\" preload=\"metadata\" controls=\"controls\"><source type=\"video\/mp4\" src=\"https:\/\/bimsolutions.ge\/eng\/wp-content\/uploads\/2026\/02\/main-8.mp4?_=7\" \/><a href=\"https:\/\/bimsolutions.ge\/eng\/wp-content\/uploads\/2026\/02\/main-8.mp4\">https:\/\/bimsolutions.ge\/eng\/wp-content\/uploads\/2026\/02\/main-8.mp4<\/a><\/video><\/div>\n<h3 id=\"a-workflow-built-for-experimentationnbsp\" class=\"wp-block-heading\"><strong>A Workflow Built for Experimentation<\/strong><\/h3>\n<p>What\u00a0<em>SWITCH<\/em>\u00a0demonstrates\u00a0isn\u2019t\u00a0just speed, but flexibility. By reducing the technical overhead typically associated with animation and motion capture, Flow Studio made it possible to move quickly from idea to execution.<\/p>\n<p>For Masahiro, this meant spending less time troubleshooting setup and more time experimenting with storytelling, timing, and visual style.<\/p>\n<h3 id=\"making-space-for-more-creatorsnbsp\" class=\"wp-block-heading\"><strong>Making Space for More Creators<\/strong><\/h3>\n<p>Projects like SWITCH show how AI-powered tools are opening doors for a wider range of creators. Indie artists, students, and small teams can explore animation workflows that once felt out of reach, now with far fewer obstacles in the way.<\/p>\n<p>With Flow Studio, attention shifts away from setup and technical overhead and toward creative choices \u2014 making it easier to try ideas, iterate quickly, and learn by doing.<\/p>\n<p>That spirit of experimentation extends beyond a single project. Join the\u00a0Creator Community\u00a0to see what others are making, share ideas, learn, and get inspired from fellow creators pushing their work in new directions.<\/p>\n<p>Sometimes, a short deadline\u00a0isn\u2019t\u00a0a limitation.\u00a0It\u2019s\u00a0an invitation to try something new \u2014 and with Autodesk Flow Studio, you can start experimenting with your own footage today.<\/p>\n<p>&nbsp;<\/p>\n<p>Article From: <em><strong><a href=\"https:\/\/www.autodesk.com\/\">www.autodesk.com<\/a><\/strong><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Creative projects\u00a0don\u2019t\u00a0always begin with ideal conditions. Sometimes they start with a tight deadline, a small &hellip;<\/p>\n","protected":false},"author":11,"featured_media":21522,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v19.6.1 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Creating an Anime Short in Just 3 Days with Autodesk Flow Studio - bimsolutions.ge<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/bimsolutions.ge\/eng\/blog\/creating-an-anime-short-in-just-3-days-with-autodesk-flow-studio\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Creating an Anime Short in Just 3 Days with Autodesk Flow Studio - bimsolutions.ge\" \/>\n<meta property=\"og:description\" content=\"Creative projects\u00a0don\u2019t\u00a0always begin with ideal conditions. 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