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
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 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.
In this week’s revision, my attention has been directed towards refining the finer details of the animation. Specifically, I have concentrated on incorporating the missing connection shots, enhancing the clarity of the character’s movements, and adjusting the speed and timing of these movements. Additionally, I have focused on improving the precision of the balloon’s squash and stretch to ensure a more accurate and dynamic representation. These adjustments aim to elevate the overall fluidity and realism of the animation, making it more engaging and visually compelling.
Changes made
Missing Connection Shots
Details of the Character Movements
Speed of Movement
Precision of the Balloon’s Squash and Stretch
1. Missing Connection Shots
To improve the narrative flow, I have added a transition shot of the cloud and sky. This shot serves to bridge the gap between the balloon’s ascent and its subsequent movement toward the city, viewed from a first-person perspective. This addition strengthens the visual continuity, providing a seamless link between the balloon’s journey and the unfolding story.
2. Details of the Character Movements
I have refined the character movements to enhance emotional expression and storytelling. At the beginning, I introduced a crying motion for the child, followed by the clown’s comforting gesture, where he offers the child another balloon. This change shifts the tone from sadness to one of cheerfulness, creating a more positive atmosphere. At the conclusion of the animation, I incorporated a gesture of the child grabbing and hugging the balloon, which helps convey a deeper sense of affection and attachment, enriching the narrative and allowing the audience to feel the child’s emotional connection to the moment.
3. Speed of Movement
I identified several instances where the pacing felt too abrupt. Notably, the sequence where the balloon rises at the beginning, as well as when it descends later, needed to be adjusted. By altering the speed of these movements, I was able to improve the overall flow of the animation, creating a more natural and visually pleasing rhythm that better supports the story.
4. Precision of the Balloon’s Squash and Stretch
In the previous version of the animation, the timing and rotation of the balloon’s squash and stretch were not consistent, particularly during the moment when the car approaches. I focused on refining the balloon’s deformations to ensure smoother and more accurate movements. These adjustments help to enhance the overall fluidity of the animation, making the balloon’s reactions more believable and dynamic.
Changes to be made
1. Details of the Animation
While the basic animation for the balloon and side characters is in place, their movements still lack the level of detail needed to elevate the overall animation. These movements feel incomplete and are still at an early stage. To address this, I plan to refine the animation, with a particular focus on adjusting the speed and adding finer details to make the characters’ actions more fluid and engaging. This step is crucial to ensuring that the animation feels more polished and cohesive.
2. Props
Although I am unsure if prop details are typically included in a previs, I believe they are an important consideration as I progress toward my final major project (FMP). Incorporating prop details will help enhance the realism and depth of the environment. Some key props that I plan to refine or adjust include:
Bushes: These play a significant role in a scene where the balloon nearly crashes into them at the end.
Buildings: Enhancing the design of the buildings will contribute to a more believable setting.
Balloon: The balloon itself will need further refinement, especially in how it interacts with its environment.
Road: The road surface and its details should be considered for a more grounded, realistic setting.
Park Chair: Adding more detail to the chair will help integrate it into the scene better.
Fences: Enhancing the fences will provide more context and texture to the environment.
Additionally, I may explore adding color, lighting, and test renders if time allows. These elements would further elevate the visual impact of the animation, providing a richer and more immersive experience.
3. Sound Design
I am currently seeking collaboration with a sound design graduate to enhance the auditory experience of my project. I believe that selecting the right music and sound effects is essential to complementing the visuals and enhancing the emotional depth of the animation. By working with a professional in sound design, I hope to find suitable audio elements that will effectively support the narrative and bring the animation to life in a more dynamic way.
