Start with the contact position, establish the weight shift and hip movement, then work out to the extremities. For a game walk specifically, talk about the loop length (typically 1-2 seconds), how you check the loop at playback speed, and how you handle foot sliding. Mention whether you use stepped or spline curves and why.

Describe a real example — locomotion blend tree in Unreal or Unity, with separate blend spaces for idle/walk/run/sprint. Explain how parameters (speed, direction, stance) drive transitions, how you handle interrupts cleanly, and how you flag animation requirements back to engineers. Studios want to know you understand the runtime system, not just the authoring side.

Ask clarifying questions before revising: “When you say heavier, do you mean slower anticipation, more squash on impact, or longer follow-through?” Directors often use subjective language because they’re reacting emotionally, not technically. Your job is to translate the feeling into a specific change and then confirm before spending time on the revision.

Check joint orientation consistency, control hierarchy, gimbal lock in shoulder and hip rotation, whether the rig has working IK/FK switching, and whether skin weighting is clean at problem areas (armpits, knees, wrists). Common issues: broken mirror poses, misnamed controls, rigs not zeroing out cleanly, and missing constraints on face controls.

Pick a specific piece — not “my demo reel” generically. Describe the brief or goal, what performance or mechanical choice you made early that defined the outcome, a specific problem you solved (weight, timing, a transition), and how the final piece serves its game context. Interviewers want to see craft awareness and intentional decision-making.

Describe the pipeline: receiving raw .fbx or .bvh data, retargeting to the game rig, cleaning jitter and noise with euler filter or smoothing curves, fixing foot sliding with IK correction, and adding secondary motion. If you have no direct mocap experience, be honest and describe your understanding of the workflow and what you’d focus on learning first.

Naming conventions, version suffixes, and a personal notes document for each asset. At studios using Perforce or version control, each iteration gets a clean check-in with a comment describing the change. If notes come verbally, write them down in front of the director before leaving the session. Studios lose faith in animators who apply the wrong notes or repeat the same error twice.

Minimize bone count in game rigs versus cinematic rigs. Use additive animations where possible rather than full body re-keys. Compress animation curves by removing redundant keys without losing silhouette fidelity. Understand your target frame rate and budget, and test animations in-engine early rather than polishing in DCC only to find performance issues at integration.

Build a fast, clear anticipation, a strong smear or squash on the impact frame, and a recovery that can be interrupted after a minimum hold time. Mark interrupt windows explicitly in the state machine. Work with designers on the feel — hitbox timing should align with the visual impact frame, not lead or lag it. This is a design-animation collaboration question as much as a pure animation one.

Name something specific: facial animation, four-legged locomotion, stylized versus realistic weight. Describe the resource or practice method you’re using — specific online courses, studying reference, breaking down game footage frame by frame. Vague answers signal complacency. Specific answers signal a growth mindset studios are willing to invest in.

Walk through your export settings: FBX version, bake vs. no bake, joint vs. control export, root motion setup, and unit scale. Common failures: scale coming in at 100x or 0.01x, root motion not translating correctly, animations not looping due to mismatched first/last frame, and blend shapes not exporting. Knowing what goes wrong shows production experience.

Show work in-engine at game frame rate, not just viewport playblasts. Include state machine context if possible — a character moving through locomotion states shows more than an isolated loop. Show gameplay context (how does the attack feel in a combat sequence?) rather than isolated clips. Include any work that has shipped; studios value production experience over polished personal projects.