In the class today we have been going through things on top of blocking. Originally I thought blocking is just setting up the basic key poses in Maya and that’s it. However, after the class today, I realised that it was actually way more than that. Blocking actually can include as much movement as spline, the more we make, the fewer difficulties we have to face later on, as blocking is the initial stage of animation. This way, we could shorten the things to do in spline, in spline later on, we could just focus on knee pops and clean ups.
Blocking
basic: poses, timing, spacing, motion
blocking +: adding more frames to the original blocking
*DO NOT HIT SPLINE
moving holds (NEED to have this if dont want animation to float)
everything is moving but it is holding at the same time
before making the next move, there will be slight movement before that
for a head turning animation to right
moving hold means before head turns —> body/head/hand etc might tilt left
Overshooting
after the movement, there might be more movement afterwards
for a head turning animation to right
overshooting means the movement after the turning —> body/head/hand etc might tilt to right
*can middle mouse drag the moving hold if need to change it to another timing
Copied-Pairs
frames to hold
eg want the movement to remain unchange(no inbetween) —> copy and paste them
The Golden Thread refers to the clear and logical connection between a research project’s aim, objectives, and goals. This alignment ensures coherence and consistency throughout the study.
1. Research Aim (High-Level Statement)
The research aim articulates the overarching purpose of the study. It should be stated clearly and concisely, providing a broad indication of what the research seeks to explore or achieve.
Example:
Topic: Employees’ experiences of digital transformation in retail Human Resources (HR)
Research Aim: This study aims to explore employees’ experiences of digital transformation within the context of retail HR.
2. Research Objectives
Research objectives break down the broader aim into specific, actionable components. They outline the steps that will be taken to achieve the aim and should be framed in a way that guides the research methodology and analysis.
Clearly describe each objective.
Ensure objectives are focused and feasible within the scope of the research.
They should collectively address the research aim in a systematic manner.
3. Research Goals (Following the SMART Framework)
Research goals should adhere to the SMART criteria to ensure they are practical and effective in guiding the project:
Specific: Clearly defined and unambiguous.
Measurable: Include criteria for tracking progress and measuring outcomes.
Achievable: Realistic and attainable within the available resources and timeframe.
Relevant: Aligned with the broader research aim and scholarly or practical needs.
Time-bound: Defined by a clear timeline or deadline.
Things to bear in mind when writing
Note-Taking Tips:
When taking notes, particularly while quoting or summarizing specific phrases, it is essential to clearly distinguish between direct quotations and paraphrased content.
Use quotation marks (“”) to denote direct quotes. For paraphrased material, indicate clearly that the content is a summary in your own words.
This practice is crucial because, over time, it becomes increasingly difficult to recall whether a specific phrase was directly quoted or paraphrased, which can lead to issues of accuracy or unintentional plagiarism during the writing process.
can shoot video reference/ online references(combine)
keep doing it until good takes
should be detailed
when see it —> know what’s happening
eg throwing a snowball
excited before throwing —> then getting scared when he get hit
From point A → B
make it hard create obstacles for the characters
make it hard for audience to guess what happen next
entertaining to watch
eg jumping into a pool but ended up slipped and fall
Contrast in personality
eg killing but take care of flower
**wont be doing blinks
Pantomine:
exaggeration
Lock the camera in place(at this point, may change later)
good reference but some are pure body mechanics without personalities
need personalities of character
Workflow Checklist
planning
blocking
Journaling
note down what Ive done to make sure not changing some key parts
**all of the body parts needs to be keyed together!!!
Anamotolong timing tool
before making the animation
imagine the animation in mind and voice record yourself put it into Maya and keyframe according to a few timing of that
watch things in playblast instead of Maya
Working in sections
Do 1 second a day for animation(Spline)
The most important body movement is head, hand, weist
lower part of the body is not that essential
if want to use blocking without changing keys into stepped
—> can use spline but use “. ,” to check pose to pose
Progress on my shot
This week, we are asked to complete some planning for a body mechanics shot. I have came up with a few ideas, and relised that I the ideas that I have in mind’s timing is way more longer that the limit and my expectation.
We have now entered a new term, with a focus on the concept of experience—both in terms of exploring it and experimenting with how it can be created and understood. In today’s session, we began by examining a series of definitions that distinguish between various roles and forms of engagement, which are crucial when designing experiences across different mediums.
The term user was particularly emphasized and was contrasted with other related terms:
Audience – someone who watches
Customer – someone who buys
User – someone who actively engages or does
Character – someone who performs
Player – someone who plays
Avatar – someone or something that replaces the self in a virtual or narrative space
This breakdown highlighted how the notion of a user is often at the center when we speak about creating interactive or immersive experiences. It was humorously noted that the only individuals who refer to customers as users are drug dealers—underscoring the importance of using terminology precisely, especially in fields like design, technology, and media.
We were also introduced to the work of artist and world-builder Ian Cheng, particularly his speculative science fiction project Life After BOB. This animated film and the subsequent installation, which was exhibited in Berlin, offer a compelling example of how narrative, technology, and audience experience can be integrated. Cheng is known for his expertise in constructing complex digital worlds and interactive systems, and his interviews were recommended as valuable resources for further insight into innovative experience design.
This lesson not only introduced foundational terminology but also encouraged us to think critically about how different kinds of users engage with experiences, systems, and narratives—an essential perspective for any creative or research-driven practice in experience design.
Ideation
After the introduction to experience design, I began generating ideas for my experimental project:
Extension of my FMP Develop the balloon dog further by making it interactive, allowing for greater audience engagement and memorability.
2. Experiments on my FMP Test whether plain 3D animation is sufficient or if additional elements—such as interactivity or immersion—are necessary.
3. My Areas of Interest
Stop-motion
InteractiveInstallation
Regardless of the direction, I must define a clear target audience and consistently design the experience around their needs and expectations.
In today’s lesson, we revisited key concepts in research methodology, with particular emphasis on the distinction between primary (first-hand) and secondary (second-hand) research. Our tutor also underscored the critical importance of credibility in academic writing. Specifically, we were reminded of the necessity to properly credit all sources used in our theses to uphold academic integrity and avoid potential legal or ethical violations.
Additionally, we were encouraged to consider several essential criteria when selecting sources and developing our academic essays:
Truth Value: The reliability and accuracy of information must be assessed, especially given the abundance of misinformation available online.
Applicability: The relevance of a source to the research topic is crucial. Irrelevant information can undermine the clarity and coherence of the essay, making it unnecessarily lengthy and imprecise.
Consistency: Maintaining a clear and focused argument throughout the essay is vital. All supporting points should align with the central thesis to ensure logical flow and cohesion.
Neutrality: Adopting an objective tone enhances the professionalism of an academic text. In the past, I often incorporated online sources without adhering to a structured evaluative process. This session highlighted the importance of critical source selection and the value of presenting information impartially.
We also discussed the need for transparency in the research process. For example, if surveys are conducted, it is important to include appendices detailing respondent demographics and responses to ensure clarity and replicability.
Furthermore, the rationale behind various stages of the research process was explored—for instance, the justification for conducting a literature review. One particularly clear definition of method was offered: it refers to the specific steps involved in conducting research. These steps might include initial investigation, data collection, drafting, analysis, and so forth.
To deepen our understanding, we also examined insights from Yilmaz, who explains that quantitative and qualitative research methods represent distinct but equally valid approaches. Each is based on different philosophical foundations and employs its own frameworks, procedures, and techniques. It is therefore important for educational researchers—especially those at the graduate level—to develop familiarity with both approaches to choose the most appropriate one for their research objectives.
This reflection helped to consolidate my understanding of the foundational elements of academic research and underscored the importance of structure, critical evaluation, and methodological rigor.
We also watched a video in class to deepen our understanding of frameworks and their influence on the conclusions we draw. The video began with a simple example and then progressed to a more complex scenario to illustrate the concept. It showed that when a child receives a pet, they interpret the animal based on pre-existing frameworks—mental structures developed through prior experiences. For instance, the child may dismiss unrelated categories such as toys or plants and then classify the pet as a dog or a cat based on familiar characteristics like having four legs. This may occur even if the animal is actually a horse or a zebra. The example emphasized the importance of having a diverse and accurate set of frameworks to interpret new information correctly.
In the context of interviews, the video explained that interviewers may also apply different frameworks—essentially their perspectives or biases—when interacting with various interviewees. For example, an introverted candidate might be interpreted differently depending on the interviewer’s framework, potentially affecting the outcome of the interview.
This lesson was particularly enlightening for me, as I had previously assumed that frameworks were concepts confined to academic writing. I now realize that they are commonly used in everyday life, often unconsciously, and that being aware of them can improve both our academic analysis and real-world interactions.
Another key takeaway from the session was a practical approach to identifying relevant frameworks for our research topics. The process begins with clearly understanding the topic and identifying its core keywords—for example, terms such as IT, art, or environment. These keywords serve as the foundation for conducting further research.
Once the keywords are established, the next step involves performing a targeted Google search by combining the keyword with the term “framework” (e.g., “Business Strategy Framework”). The initial visual results, particularly the first 20 images, can provide insight into common frameworks associated with the topic. Visual representations that include directional arrows are particularly useful, as they often indicate logical flow or structural relationships within the framework.
After identifying a potentially useful framework image, it is essential to verify its academic credibility. This can be done by checking whether the framework appears in scholarly sources, such as research papers found through Google Scholar. If the framework is cited in peer-reviewed literature, it is advisable to examine the original context and description provided by the authors.
Further, reviewing additional academic papers that reference or apply the same framework can provide a deeper understanding of its applicability. Searching for terms such as “extension” in these papers may also reveal expanded or modified versions of the framework, offering more nuanced insights relevant to the research topic.
This method ensures that the selected framework is not only visually comprehensible but also academically valid and appropriately aligned with the objectives of the research.
In my previous blog post, I discussed concerns regarding the newly introduced shot, which appeared somewhat unnatural. Following my tutor’s feedback, I made adjustments to improve the animation’s coherence. Specifically, I modified the movement of the balloon—rather than passing underneath the car, it now floats above it without being compressed. This change enhances the shot’s visual clarity and maintains a more believable motion.
Additionally, I experimented with incorporating a drifting effect similar to that in a reference shot. This refinement aims to create a more dynamic and visually engaging sequence. Further adjustments may be necessary as I continue refining the animation, ensuring it aligns with the intended narrative and stylistic goals.
2. Fixed the shot after
Following the adjustments to the previous shot, I addressed an issue in the subsequent shot that did not adhere to the 180-degree rule. By making the necessary corrections, I ensured continuity in spatial orientation, preventing any potential confusion for the audience. This revision enhances the overall coherence of the sequence, maintaining a clear and consistent visual flow.
3. Fixing the speed
For this shot, I adjusted the timing by creating a slower beginning that gradually accelerates towards the end. However, while making these modifications, I encountered an issue where the animation became increasingly slow and unresponsive. Restarting the computer did not resolve the problem, prompting me to seek assistance from my tutor.
Through this process, I discovered that the lag was caused by the presence of trees in the scene, which had wind simulation applied. This significantly increased the file’s complexity and processing load. As the trees were not essential to the shot, I opted to remove them to optimize performance. Moving forward, I will also explore referencing the environment into my file, which should further reduce the file size and improve efficiency.
Future of previs
As I progress toward my final major project (FMP), I intend to refine this previs into a fully realized animation. Once the previs is finalized, I will enhance it further by improving animation fluidity, refining transitions, and incorporating more realistic and detailed character designs and environments. Rather than relying solely on existing models and pre-rigged characters, I aim to develop custom assets and rigs to achieve a higher level of visual and narrative depth.
While the current previs remains in a rough state, it serves as a foundational step toward a more polished and immersive final version. I look forward to refining and elevating the quality of the animation in the near future.
In this version of the previs, I have made incremental refinements by adding more details to improve clarity, particularly for viewers unfamiliar with the sequence. These adjustments aim to enhance the narrative flow and ensure a more comprehensible visual presentation.
One aspect I remain uncertain about is the newly introduced camera angle in the second part of the sequence, where the balloon is nearly compressed inside the car. I am considering whether this perspective effectively conveys the intended tension and spatial relationships. Further evaluation and potential refinements may be necessary to achieve the desired impact.
Changes made
More details to the environment
In this version of the previs, I have refined the environment to improve visual clarity while maintaining a simplified approach. The road has been adjusted to resemble a more realistic path, ensuring that its function is easily understood by the audience, even without intricate details.
Additionally, I have added more definition to the buildings, moving beyond basic cube shapes to provide a clearer sense of structure and depth. These refinements contribute to a more coherent and immersive setting, making the previs more accessible to viewers unfamiliar with the scene.
2. Change of movement
In addition to implementing my tutor’s suggestions, I made an additional modification by introducing moving cars into the scene. Previously, the absence of motion made the car appear unnaturally static on the street, which felt somewhat disconnected from real-world dynamics. By adding this movement, the animation now flows more smoothly and creates a greater sense of realism. The outcome has been effective in enhancing the overall believability of the scene.
3. Speed of the floating balloon
In several scenes, I have refined the timing by adjusting the speed to create a more dynamic and engaging visual flow. Specifically, I incorporated an ease-in effect at the beginning of certain shots, allowing the balloon to enter the frame gradually before exiting more quickly. This adjustment adds a sense of natural movement and variation, making the shots feel more dynamic and visually compelling rather than static or monotonous. Additionally, the subtle motion in the camera further enhances the overall cinematic quality of the sequence.
4. Change of shot
The most significant update in this version of the previs is the addition and modification of a key shot. Initially, Shot 8 shared the same camera angle as an earlier shot near the beginning of the animation. However, based on my tutor’s feedback, I recognized that repeating the same shot could feel redundant and disrupt the visual flow of the sequence.
To address this, I conducted additional research on shot composition and storytelling techniques, which reinforced the importance of variation in cinematography. As a result, I reworked Shot 8 to introduce a fresh perspective, enhancing both the visual interest and narrative clarity of the animation.
I decided to revise the shot by having the camera follow the balloon as it floats underneath the car, ultimately getting squashed. Initially, this change felt somewhat disconnected from the subsequent shot, where the balloon floats upwards towards the sky. The transition between these two shots appeared awkward, disrupting the overall flow of the sequence.
As I continue to refine this transition, I plan to explore ways to make the shift in motion more seamless, ensuring a smoother progression between these contrasting moments.
To improve the transition, I extended the duration for the balloon to float toward the sky. While this adjustment helped, the sequence still felt somewhat disjointed, and I was unable to resolve the issue on my own. To address this, I plan to seek guidance from my tutor during the next tutorial, hoping to gain insight into how to better refine the transition and enhance the overall flow of the animation.
Changes to be made
Connection of shots
One issue I have yet to fully address is the connection between the newly added shot and the following one, particularly in relation to the 180-degree rule in cinematography. According to this rule, it is preferable to avoid shots where the camera moves 360 degrees around the main character, as this can disrupt spatial orientation for the viewer. Instead, the camera should maintain a consistent perspective, either staying within the front and side views or the back and side views, but not transitioning abruptly between the front view in one shot and the back view in the next.
I plan to revisit this section to ensure the camera angles follow the 180-degree rule more effectively, creating a smoother and more intuitive visual flow.
In the previous shot, the camera follows the balloon from behind, but in the subsequent shot, it captures the balloon from the front. This transition creates a break in spatial continuity, violating the 180-degree rule. To resolve this, I plan to adjust the camera angle in the next shot to a slightly side view, rather than a fully frontal perspective. This change will help maintain a consistent spatial relationship between the shots, ensuring smoother continuity and better alignment with cinematic conventions.
What I like about this version: This version feels more organized, and I now view it as a true previsualization. With the added details, I can more clearly envision the final outcome, which gives me a stronger sense of direction for the animation’s development.
2. What I do not like about this version: Despite the improvements, there are still aspects that need refinement. Specifically, the transition between certain shots feels slightly awkward, and some of the camera angles could be more consistent to enhance spatial continuity.
3. What should I change on top of George’s comments: In addition to the feedback provided by my tutor, I recognize a few areas that require further adjustments. For instance, I need to revisit the 180-degree rule to ensure smoother transitions between shots, and I also plan to refine the timing of the balloon’s movement to make the pacing feel more natural.
4. Animating the Clouds: To add more realism to the scene, I animated the clouds, which I feel significantly improved the atmosphere. The movement now mirrors the natural drift of clouds, contributing to a more dynamic and lifelike environment. I am pleased with the outcome, as it enhances the overall immersion of the scene.
5. What I have learned while working on this version of the previs: Throughout this process, I’ve gained a deeper understanding of how to balance technical execution with artistic intention. I’ve also refined my skills in shot composition and timing, which will be invaluable as I continue to develop the animation.
6. Challenges Faced: One of the most challenging aspects of this stage was adjusting the curves in the graphic editor, particularly in the shots where the balloon floats under the car. This required careful manipulation to achieve the right flow and timing. Although the process was difficult, it was a valuable learning experience that improved the overall quality of the animation.
Changes to be made
Environmental Details and Props: Upon rewatching the previs, I noticed a discrepancy in the level of detail across different parts of the scene. Some sections feature well-developed buildings, while others rely on simple geometric shapes like cubes and cones as background elements. For a more polished and professional version of the previs, especially if it is to be presented to an audience unfamiliar with my story, I will need to refine the environment and props. This will make the scene more visually coherent and help the audience better understand the context, even if they are not familiar with the narrative.
2. Camera Angles: Initially, I believed that using the same camera angle twice within the animation could help the audience better understand the continuity of the scene. However, after receiving feedback from my tutor, I now realize that using identical camera angles can lead to redundancy, especially when the shots are not closely connected. In this case, to avoid repetition and maintain visual interest, I have decided to change one of the shots to a different camera angle, ensuring the sequence feels more dynamic and engaging.
3. Speed of the Balloon: The balloon’s movement still requires refinement, particularly in terms of easing in and out during certain scenes. In some shots, the balloon’s descent is overly gradual, which disrupts the flow of the animation. For future revisions, I plan to adjust the timing so that the balloon moves slower at the beginning of its ascent or descent, particularly when it is near the camera, and accelerates as it moves away, such as when it is floating upwards or falling. This adjustment will create a more natural and dynamic motion, improving the overall pacing and realism of the animation.
