In this course, we explored the process of recording video within Unreal Engine environments using mobile devices. This functionality can also be extended to support motion capture applications.
The workflow involves several key steps:(1) enabling the necessary motion capture plugins, (2) establishing a Live Link connection, (3) configuring remote sessions, (4) utilizing the Take Recorder in multi-user mode, (5) setting up the virtual camera, and (6) installing the Unreal VCam application on a mobile device.
During the practical sessions, we encountered several technical challenges related to network connectivity between the mobile devices and the host computer. These issues suggest that there are certain limitations inherent to this method, particularly in institutional or shared network environments.
To further evaluate the feasibility and performance of this approach, I intend to conduct additional testing using my personal device and home network.
Progress on my experimental project
By this week, I have developed greater clarity and confidence in my chosen direction. I have long been interested in exploring stop-motion animation, and this project presents an ideal opportunity to engage with the medium. Stop-motion allows me to deepen my understanding of animation through a more traditional, hands-on approach. Additionally, it offers a welcome break from prolonged screen time, which helps reduce eye strain.
To support this endeavor, I reached out to the Stop Motion Department at LCC. They kindly provided me with an induction, including access to materials, facilities, and relevant resources, as well as information on lectures and workshops available for further learning. This support has proven invaluable, enabling me to begin experimenting with different materials, developing concepts, and making full use of the resources provided.
I visited the LCC Arts Shop to purchase non-drying clay suitable for stop-motion modeling.
I immediately began sculpting my character with it.
While the clay was relatively easy to shape, I encountered difficulty attaching the body parts securely, as the material’s non-drying nature made it challenging to achieve stable connections. This presented a potential issue for animation, as unstable joints could hinder smooth movement.
To address this, I incorporated an internal armature, similar to a rig in Maya, to provide structure and maintain the integrity of the model during animation. This solution allows for more controlled and consistent manipulation of the character throughout the animation process.
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.
When viewing the animation, the audience should immediately understand the action and intent.
Example: A character throwing a snowball might first show excitement, then fear or surprise upon being hit.
Movement Dynamics:
Ensure the action has a clear arc from point A to point B.
Introduce obstacles or complications to create tension or surprise.
Makes the animation more engaging and less predictable.
Example: A character attempts to jump into a pool but slips and falls instead.
Character & Story Elements:
Include contrast in personality traits to add depth.
Example: A character who is capable of violence but gently cares for a flower.
Employ exaggeration to enhance the clarity and appeal of pantomime.
Blinking will not be included at this stage.
Technical Notes:
The camera will be locked in place for now (subject to change later depending on scene requirements).
Reference Selection
While some references are useful for body mechanics alone, choose those that also convey character personality.
Personality is crucial for engaging and believable animation.
Avoid relying solely on motion-focused references lacking emotional intent or context.
Workflow Checklist
1. Planning
Begin with conceptualizing the animation.
Mentally visualize the sequence.
Voice record yourself performing the scene to help establish timing and tone.
Import audio into Maya and block out keyframes based on this initial timing.
Utilize Anamotolong timing tools to assist with early planning.
Journaling: Maintain a record of your daily work.
Note key decisions and approaches.
This helps preserve consistency and avoid unintended changes to core elements.
2. Blocking
Start with clear, strong poses.
Ensure all body parts are keyed together during blocking to maintain control and consistency.
Optional:
Use stepped mode for clean pose-to-pose visibility.
Alternatively, stay in spline mode and use the “.” and “,” keys to toggle between poses.
3. Animation
Work section by section.
Aim for 1 second of spline animation per day.
Prioritize clarity and refinement within each segment.
Watch playblasts, not just Maya’s viewport, to better evaluate motion, weight, and timing.
Emphasize the movement of:
Head
Hands
Waist
These areas are most critical for expressive animation.
Lower body movement is less essential in many cases but should still be addressed as needed for balance and realism.
Progress on my shot
This week, we were tasked with completing the planning phase for a body mechanics animation shot. During the brainstorming process, I developed several initial ideas. However, I quickly realized that the timing of these concepts far exceeded both the project limitations and my original expectations. This prompted me to reconsider the scope of my ideas and explore more concise alternatives.
Additionally, I was interested in continuing with a concept from my previous work—specifically, the balloon story used in last semester’s previs assignment. I saw this as an opportunity to begin developing the opening sequence of my Final Major Project (FMP) and begin refining it early.
However, upon further review, I recognized that the beginning of that scene lacks the physical complexity typically required in a body mechanics shot. It involves minimal weight shifts, limited upper and lower body dynamics, and few expressive movements of the hands or feet. As a result, while the idea holds narrative value, it may not be the most appropriate choice for fulfilling the technical goals of this week’s body mechanics exercise.
Reflection on First Idea – Fencing Animation
The initial concept I developed involved a fencing sequence. In this story, a fencer repeatedly attempts to strike a dummy but fails, even after trying various techniques, including a spin. Eventually, in a humorous twist, the fencer surrenders by handing the sword to the dummy, playing on the idea of slapstick comedy.
However, upon further consideration, I realized that the story was quite long and complex. Beyond the body mechanics required for the character’s movements, conveying the full narrative would likely demand a significant amount of time and effort to execute effectively. The extended duration, combined with the intricacy of the movements, would pose considerable challenges both in terms of animation and meeting the project’s time constraints.
As a result, I decided to abandon this idea in favor of a more manageable approach that better fits the project’s requirements.
Reflection on Balloon Story Concept – Previs Continuation
This idea essentially represents the beginning of my balloon story from last term’s previs project. I expanded the narrative by adding more detail, such as the boy poking the balloon at the end, in an attempt to enrich the scene. However, upon further evaluation, I determined that this idea also wasn’t suitable for the current body mechanics shot assignment.
The movements involved were limited to slight rotations of the upper body and minimal hand and head motions. While the concept had potential for emotional expression, it lacked the necessary physical complexity, particularly in terms of body mechanics. There was little to no significant weight shift or dynamic movement in the body, which is essential for the assignment.
As a result, I recognized that I needed to develop an idea that would incorporate more substantial body mechanics, such as weight shifts, turning movements, and more dynamic use of the hands, feet, and torso.
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.
This week, I have continued to refine the previsualization (previs), making incremental improvements to enhance its polish and realism.
Changes made
1. Curves I adjusted the curves of the floating balloon to improve its movement and visual flow, ensuring it appears more natural and aligned with the intended animation.
2. Proportions
Tree: As the balloon floats higher in the sky, the trees in the background should appear significantly smaller, reflecting the vast distance. I made this adjustment to enhance the realism of the scene, ensuring the proportions align with real-world perspectives.
Yellow Balloon: In the previous version, the yellow balloon appeared disproportionately large. To correct this, I reduced its size, making it more consistent with the surrounding elements in the scene.
3. Timing and Spacing In a moment where the balloon nearly collides with a car, the balloon’s upward motion was too abrupt, which felt unnatural. I revised the timing to create a smoother transition. However, the motion still appeared unnatural as the balloon moved vertically rather than diagonally, as it would in real life.
Additionally, I refined the curves in the graph editor to correct some unexpected movements. Certain sections of the animation had overly smooth transitions, marked by ease-in and ease-out, which were inappropriate for this scene. I adjusted the curves to ensure a more straightforward and realistic motion.
4. Additional Shot I introduced a new shot just before the balloon almost collides with a branch in the bushes. This additional shot enhances the sequence by providing a smoother and more intense transition, evoking a sense of excitement and tension.
Changes to be made
However, an issue emerged in this updated previs regarding the height difference between two consecutive shots. In the first shot, the balloon descends, but in the next shot, it moves upward before descending again. Additionally, the background in the latter shot suggests a higher vantage point, creating an inconsistency with the earlier scene, which appears closer to the ground. I plan to address this discrepancy in the next iteration of the previs.
According to Research.com, it is crucial to narrow down your research question when beginning a study. Given the constraints of word limits and the need for a focused thesis, it is essential to select a specific field of inquiry to ensure that the research remains clear and manageable. Below are the key steps for effectively narrowing down a research question.
Steps to Defining a Good Research Topic:
Topic Knowledge: Begin by gaining a solid understanding of the topic you are interested in. This foundational knowledge will guide your decision-making process.
Formulating a Working Question: Based on your knowledge of the topic, draft a working research question. This question should be broad enough to allow for exploration, but specific enough to provide clear direction.
Conducting Preliminary Research: Investigate existing literature to refine your question. This step will help you identify gaps in the current body of knowledge and further narrow your focus.
Establishing an Appropriate Timeframe: Consider the timeframe within which your study will take place. For example, when will the events or phenomena mentioned in your thesis occur? Defining this timeframe will make your research question more focused and manageable.
Choosing Between Qualitative and Quantitative Research: As discussed in previous lessons, understanding whether your research will be qualitative or quantitative is essential.
Quantitative Research: Quantitative research questions establish a clear link between the research question and the research design. These questions typically cannot be answered with a simple “yes” or “no” response. Additionally, quantitative questions avoid using terms such as “is,” “are,” “do,” or “does.” Rather, they are framed in a way that allows for the measurement and analysis of data.
Qualitative Research: Qualitative research questions, in contrast, tend to be more open-ended and flexible. These questions are often designed to “discover,” “explain,” or “explore” particular phenomena. They may address broad or specific areas of study, and they are typically non-directional and adaptable (Creswell, 2013). Qualitative research is often used when the aim is to understand deeper, contextual meanings.
Research Frameworks for Structuring Your Topic:
There are several frameworks that can assist in constructing a clear and focused research question. Two commonly used frameworks are the PICOT and PEO models.
The PICOT Framework: Introduced in 1995 by Richardson et al., the PICOT framework is widely used in clinical and evidence-based research. It helps structure research questions by addressing the key elements of the study, including the population, intervention, comparison group, outcome, and timeframe. The components of the PICOT framework are as follows:
P: Population, patients, or problem
I: Intervention or indicator being studied
C: Comparison group
O: Outcome of interest
T: Timeframe of the study
Example: “In adult patients with chronic pain (P), does acupuncture (I) compared to traditional pain medication (C) reduce pain levels (O) within six months (T)?”
The PEO Framework: The PEO framework is particularly useful for qualitative research. It includes the following elements:
P: Population being studied
E: Exposure to preexisting conditions or factors
O: Outcome of interest
The PEO framework is ideal for research that seeks to understand experiences or perceptions within a given population, especially when a comparative group or intervention is not the primary focus.
Avoid Vague Terminology:
It is important to avoid using vague terms such as “explore” in the formulation of your research topic. While “explore” might seem appealing, it is often too broad and does not provide enough direction. A well-defined research topic should be specific in every aspect to ensure clarity and focus.
