Category: Advanced and Experimental 3D computer Animation Techniques 1

Final Previs

Changes made

1. Changes on the new shot

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.

My Previs Progress

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

1. 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

1. 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.

My Previs Progress

This is my current previs progress.

Changes made

1. 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

1. 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.

My Previs Progress

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.

My Previs Progress

Changes made

1. Missing Connection Shots
2. Details of the Character Movements
3. Speed of Movement
4. 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.

My Previs Progress

This week, I am focusing on revising the previous work. I have made adjustments to each shot in order to enhance the smoothness and bring them closer to the final desired outcome.

Changes made

The changes I implemented primarily encompass the following areas:

1. Timing
2. Pacing
3. Framing
4. Proportion
5. Modeling

While focusing on the adjustments recommended, I occasionally overlooked certain compositional principles, particularly the rule of thirds in framing. For wider shots, I realized that incorporating closer shots might improve the visual impact and provide a more balanced perspective.

In terms of proportion, I paid particular attention to the relationship between the building and the human figures, ensuring that both elements were appropriately scaled to create a cohesive and realistic representation.

As for modeling, I enhanced the first shot by adding a path, trees, and taller fences, effectively transforming the scene into a park-like environment. Additionally, in a scene where a car is depicted speeding, I widened the road and introduced streetlights to reinforce the impression of a busy roadway. These modifications collectively contribute to a more dynamic and immersive visual narrative.

Changes to be made

There are still several areas I need to refine:

1. Timing
Some shots appear awkward in terms of timing. For instance, certain sequences are too rapid, which makes it difficult for the audience to fully comprehend crucial moments, such as when the balloon slides under the car. To address this, I plan to extend the duration of these shots to allow for better visibility and smoother transitions.

2. Transitions
In the scene where the balloon is floating towards the sky, the subsequent shot transitions to a view of the park. However, this change feels abrupt, as if something is missing in between. I believe inserting a shot that bridges the two scenes would help the audience better understand the direction in which the balloon is traveling, creating a more seamless and coherent flow.

3.Proportion
There are still proportion issues to address, particularly when duplicating props across different shots. I did not initially account for the scale, which resulted in human props being as large as trees. This inconsistency needs to be corrected to maintain visual realism and balance throughout the scene.

My Previs Progress

This is the updated previs for this week.

Changes made

I have primarily revised the final camera angle to depict the balloon nearly colliding with the cactus, only to be saved by an external intervention, as opposed to simply having the balloon drop to the ground with someone retrieving it.

Additionally, I have made minor adjustments to the movement of the floating ball. Instead of following a straight diagonal path, it now rises initially before drifting toward the city.

To refine this, I conducted further research to better understand the mechanics of this shot.

Furthermore, I have adjusted the pacing of several scenes. In the previous version, many sequences, including the car scene and the balloon floating scene, progressed too rapidly. I have now slowed them down to create a more balanced flow.

Lastly, I have organized my project files by shot, ensuring that each individual shot is less cumbersome to work with when making edits or adding new elements.

Changes to be made

For clarity and to enhance audience comprehension, my tutor has recommended adding an additional shot following the current one, in which the balloon is shown floating towards the city.

As the previs progresses, I am required to incorporate more complexity and detail. Rather than using simple cubes with incorrect proportions, I will focus on creating a more realistic and polished environment.

I will be taking reference from the central park.

With regard to the balloon animation, several key aspects require attention:

• Timing and Physics Considerations
• Stretch and Squash Effects

Currently, the timing of the balloon’s floating motion feels off, and in certain scenes (such as when the car passes by), the balloon should be slightly displaced by the air particles created by the car’s movement. I had initially overlooked this aspect, but I plan to review reference materials and implement the necessary adjustments as I continue refining the animation.

Additionally, I will apply stretch and squash techniques to the balloon, especially when it passes over the car, in order to make the movement appear more dynamic and exaggerated.

Something like this.

For the final shot, I intend to adjust the camera angle slightly to enhance both the clarity and excitement of the scene. At present, it may benefit from a more pronounced zoom in and out, particularly when the balloon is about to be struck by the cactus.

Establishing Shot

An effective establishing shot:

• Conveys the setting and location.
• Introduces key characters.
• Establishes connections between characters and their environment.
• Grounds the audience in the narrative and context.
• Enhances the audience’s understanding of the unfolding story.
• draws audiences in, making them feel almost like a character in the scene.
  • showing a house in the beginning each time of the show (eg. Simpson, Harry Potter)

This is an aspect I need to consider and develop further. As my animation currently lacks a specific style or iconic opening scene, it doesn’t stand out or make it easy for the audience to differentiate it from other animations. In the upcoming previs and animation, I will focus on addressing this to ensure my animation becomes unique and iconic.

Dark Knight

The character initially appears on the left side of the frame, followed by a shot where they are positioned on the right. The sequence concludes with a central shot, which emphasizes the significance of the key character.

• The use of handheld camera work is prevalent throughout, enhancing the dynamic feel of the scene.
• This technique helps guide the audience’s attention toward the main character or key focal point.
• Directional lines, formed by elements such as buildings, lighting, and other visual cues, are strategically employed to direct the viewer’s gaze.

Although this is something I have learned previously, I did not fully apply it in my past storyboards and animations. Moving forward, I will pay closer attention to the placement of characters and props to create a more effective composition.

180 rule

The 180-degree rule dictates that, during a conversation between two characters, one must remain on the left side of the frame while the other stays on the right.

If either character shifts position, the other must mirror the movement to maintain the spatial relationship and prevent disorientation for the audience.

This consistency in positioning ensures a clear visual understanding of who is speaking, preserving the continuity of the scene.

Establishing Character

Characters

• should be

1. compelling, nuanced, flawed, and active.

Let’s take the Joker as an example. He is undoubtedly not a good guy; he is an evil character with numerous flaws. However, it is precisely these flaws that make him appealing to the audience.

2. evoking emotions and make the audience want to know more.

Carl is a character who takes an unexpected action—attaching thousands of balloons to his house because he refuses to give up the memories of his late wife. This act resonates with the audience, reminding them of the things they cherish but may have had to let go of. At the same time, it sparks curiosity about what will happen next.

3. Considering their appearance and personality—are they shaped by past experiences

Tanjiro’s hands are notably rough, reflecting the immense effort he has put into training to slay demons as part of the Demon Slayer Corps, all in a desperate attempt to find a cure for his younger sister. This detail highlights his hardworking nature and his deep commitment as a protective brother.

Show, don’t tell—reveal traits through:

• Props, clothing, gestures, actions, music, and lighting

I often find it challenging to convey a character’s personality solely through their acting, appearance, camera angles, and outfit without dialogue. I plan to conduct more research in this area to better express the traits of the character that I intend to convey.

My Previs Progress

Character Bio

I have developed character biographies for both the main and supporting characters to clarify their personalities, ensuring that their actions align with their backgrounds, experiences, and traits within the context of the animation. I have found it particularly useful to include a section detailing the events before and after the narrative (“Before/After”) to gain a deeper understanding of the characters’ mental states during the story.

Furthermore, through the process of writing the character biographies, I realized that I aimed to maintain a positive narrative tone, culminating in a happy ending

My tutor recommended that I consider the character design, specifically suggesting that the character’s tail retain a rounded shape rather than a long, wiggly one, in order to create a more cohesive and streamlined appearance in relation to the other characters.

Updated Previs

I also made adjustments to the previs and connected various shots. Currently, the sequence feels somewhat disjointed, with issues arising in the timing, transitions, and the overall connection between shots. Upon receiving feedback, I will make further modifications and refinements as necessary.

Establishing the world

World-building involves constructing a world where the story takes place.

• Incorporating props helps guide the audience’s attention towards the central character, directing focus to the main element of the scene.

In the above scene, the ice cream in the background serves as a guide, directing the audience’s attention towards the central characters. The gradual shift in colours, from lighter pink to darker shades of pink and orange(vice versa), further enhances this focus.

Shot Testing & Moodboard

This is the moodboard I created for the balloon story. I envision the balloon taking a dog shape, as it is likely to be more appealing to the audience, particularly younger viewers. I also want the overall colour palette to feature bright and sharp tones, enhancing its visual impact.

However, the colour tone of both the environment and the character is quite similar, which makes it difficult for the protagonist to stand out. Based on my tutor’s advice, I took inspiration from the colour palette of The Incredibles to create a more distinct contrast between the character and the surroundings.

With the new moodboard, the protagonist is now more distinct and stands out clearly within the environment.

I also created some establishing shots and conducted tests with various camera angles for the previsualisation.

They are currently in the initial stage, so further modifications are needed. I will make adjustments, particularly to the transitions, the emotional tone conveyed by different shots, and the smoothness of the scene. Once these changes are made, I will link the shots together to create a more cohesive previsualisation for the animation.

Elements of Mise En Scene/ Camera animation

Use the golden ratio in storyboards – place key elements at the interest points for balanced composition.

In this image, the two red circles indicate the interest points where the main character (balloon) intersects with the guiding lines. Placing the character at these points creates a more balanced composition and effectively follows the rule of thirds.

This image shows the character not intersecting with the interest points, resulting in a less appealing composition for the audience.

• Plan before setting up the scene – ask key questions to ensure clarity and purpose.
• Guide the audience’s focus – a well-structured scene prevents confusion.
• Build up before major events – create anticipation and context to enhance impact.
• Use different shots intentionally – each angle conveys a specific emotion or meaning.

• Example: Shot 1 – Camera angle from inside a car, set in a darker outdoor environment.

Without showing the car, the audience can still understand that the scene takes place in a car. Additionally, shooting from a low angle creates a sense of pressure or impending action, making the scene feel more intense.

In my opinion, the elements above are essential when filming or planning. I need to study them in detail before creating storyboards and animating. Since there is so much to consider, waiting until I start the storyboard would be too late, and I might overlook important aspects.

The Hero’s Journey

Character and story are fundamental elements in animation, as highlighted by a Pixar senior animator. To create a vivid and appealing character, it is essential to follow the Hero’s Journey (refer to the image above). Many well-known characters have followed this structure, making them more engaging and memorable to audiences.

3 Storyboard Ideas

For this week’s task, we created three storyboards for our Final Major Project (FMP) or other animation work. This proved to be quite challenging for me. Although I had been recording ideas as they came to mind, developing three fully-formed concepts within a week remained difficult.

To generate ideas, I utilised mind mapping and conducted online research, including analysing YouTube short animations and exploring visual styles on Pinterest. Through this process, I developed the following three concepts.

Inspired by a real-life scene, when I returned home one day and saw a balloon floating on the street, I developed this story. It centres on a balloon that is simultaneously scared and worried about being crushed by a car, yet also excited by the experience. The story conveys the message that, even in extreme circumstances, we should remain positive, as this mindset can lead to a different, often better outcome.

For this story, I aim to depict a character searching for a coal rock, which, when found, will set him on fire, just like it did for others. The character exhaustively searches in various places, while everyone else succeeds, leaving him the only one who fails. In the end, he discovers the rock at home. This story conveys the message that the things we often seek are right beside us. It encourages being observant and appreciating the loved ones around us.

For the final story, I was inspired by the Frisbee disc. I am not entirely sure why, but I found it intriguing to imagine someone running on the Frisbee disc, and felt it could lead to an interesting narrative.

I developed a story in which the protagonist, like others, is focused on running as fast as possible. In his pursuit, he becomes so absorbed in competing that he neglects the time spent with family and overlooks the beautiful things, such as flowers, along his path. Eventually, he realises that time has passed quickly, and his family has grown older. In response, he runs in the opposite direction, hoping to find his family in a younger version. This story aims to inspire people to slow down and cherish their loved ones.

Among the three ideas, I am most interested in further developing the first balloon idea, as it is the most fully-formed. I already have a clear vision of the aesthetic and style I want to achieve.