Bored.

Roughs of what I sit around doing while others are making me wait. Don't get excited about it, the tangents are still in step.
Two guys juggling sounds pretty simple. After all, it's a repeater, right? Well, kinda. It's constantly throwing and catching, mostly everything is in "figure eights." To break up the pattern a little bit, I modified a vibration formula- you make two patterns of action, and then you interleave them together in different combinations. It's an old trick. Tracking the pins was the challenge. I decided to animate them the old fashioned way too. The cheat would be to use a script or expressions for the rotation. Nothing in nature is going to act that perfectly. The thumbnails for the motion of the pins, if you're into how I got them to move with the spin in Maya.

Playing with rigs

Who knows. Maybe sheep do walk on their hands...

I changed a few things about these monsters before I started my scenes. Some eye control issues and strange scalers I couldn't figure out. What I learned, I think, from working with these rigs daily for the last several months is that you have to work with what you got and it is what it is. If you know enough about the rig and know what the limits are, you can get some pretty flexible action from the worst skeletal setup. Of course, it better have principles. The only way to really know what kind of action you're going to be able to get out of a rig is to make it do things you may never have to do in an actual scene. Then when you sit to plan, you know ahead of time what you're up against.

Good animation I think makes up for a bad rig. Really doesn't go the other way around. Bad animation makes the best art bad. That's the hard part about 3d. Got to love that kind of challenge if you're an animator.