In this 2.49 tutorial Jaymz uses a lattice to animate a human heart.

This tutorials covers how to create a more advanced type of facial rig, showing you how to use the “stretch to” constraint to give the face a more fluid way of animating. The “stretch to” is great for things like lips and eyelids (which is shown in this tutorial); in addition, I show you how to make the eyelids “stick” to the eyeball surface, so there’s no unwanted gap between the two while animating.

Learn how to make a tornado with the particle system with a lattice to control the flow of the particles.

Blender’s constraint system offers a very powerful feature-set. In this video tutorial we will look at how to rig a piston using several constraints.

Learn how to make objects explode and then assemble together with the use of the explode modifier, the particle system, and the sequencer.

Here I will attempt to explain my recent dealings with using Blender Shape Keys to produce convincing lip-sync (Lip-synchronisation, ie: “speech”) for simple, humanoid characters.

This is aimed at people with an understanding of Blender fundamentals like vertex loops, face loops, sequencer and of course, Blender’s new Shape Key system. If these terms mean nothing to you, then you may well struggle to keep up. If you’re familiar with them then I hope this tutorial will prove to be a breeze and your characters will be speaking so fluently you’ll have trouble shutting them up!

Using soft bodies and a wind force you can take a lowly plane with a very simple texture and make it look like a realistically billowing flag.

In this tutorial we are going to look at how to animate a gear train in Blender with constraints, such that all the gears follow the lead of a single empty. This technique offers a much cleaner system with less margin for error

Using the shape keys you can morph an object between two different shapes and use them to create separate facial expressions. Learn how to use the shape keys to simply morph a box in this tutorial.

A nice zoom technique where a focused object keeps its original size, but you see more and more of the background. You often see that in films and thats why I called it ‘cinematic zoom’ first. Later on I was told that its actually called a ’vertigo zoom’.