Yolanda's Blog

In today’s class, we began a new topic: voice acting, which will be the focus of our next task in this unit.

Voice Acting

Voice acting is an essential component of most animations. It is not simply about pointing at something and exclaiming, “Look!” Instead, it involves using facial expressions, voice modulation, and body gestures to effectively convey a story. Voice acting brings characters to life and deepens the audience’s emotional connection to them.

We were shown a helpful example of voice acting and referencing in animation:

This video illustrates different stages of animation production and highlights the critical role of referencing in professional workflows. Previously, during my undergraduate studies, I often created animations from scratch without using references. At the time, I viewed referencing as a form of cheating. However, the final outcomes often felt awkward or unconvincing. Since I began using references, I have found the animation process much easier and the results significantly more polished.

Anticipating the Voice Acting Task

I am particularly excited about the upcoming voice acting task. It is a skill I have not previously explored, and I look forward to learning through both practice and detailed feedback. I am eager to start developing ideas as soon as possible.

Key Insights and Techniques from Today’s Class

We also received valuable tips and observations regarding effective animation:

• Referencing is most effective when everything is captured in one take.
• It is important to reshoot until the performance feels right.
• Animators must evoke real emotion to make the audience connect with the character.
• Emotional expression should go beyond a single feeling; for example, instead of simply showing anger, it is more impactful to illustrate a shift between emotions such as frustration, confusion, or acceptance.

The tutor provided the following guidelines for animation:

• Ensure the animation is both clear and sincere.
  • Clarity: Is the action understandable in a single moment?
  • Sincerity: Does the character feel authentic and human? For instance, subtle gestures like coughing or touching one’s hand can express nervousness.

A good animation example we saw portrayed an emotional shift—from being worried to feeling happy and confident. This reminded me that I had not previously considered how conveying emotional transitions could enhance storytelling. I used to focus on generating ideas that I could complete quickly, which I now recognise as avoiding challenges rather than facing them. This mindset limited my growth as an animator. I now understand that embracing complexity is necessary for improvement.

Character Study: Understanding Before Animating

Another highlight from today’s class was the emphasis on character study. Before beginning any animation or voice acting, it is important to understand how a character behaves and feels. This starts with imagining how the character would enter a room, based on their emotional state and personality.

We viewed an insightful video demonstrating this process:

This kind of pre-animation exercise helps animators gain a deeper understanding of the character’s traits and motivations. It not only enhances the quality of the animation but also saves time in the later stages, as the animator is already familiar with how the character moves and reacts.

Today’s session provided a deeper appreciation of voice acting, referencing, and emotional clarity in animation. It also made me more aware of the importance of preparation and character study. I look forward to applying these insights in the next stage of our project and to developing my skills further in this area.

Final Spline for Body Mechanics

In this version, I addressed the issues identified last week. As I progressed, I noticed a significant improvement, particularly after I began removing unnecessary frames and adjusting the poses. However, I could not help but feel that, given more time, I would have preferred to start over entirely. There were numerous problems throughout the process that made me realize the importance of more consistent practice. With stronger foundational skills, I believe I could reduce the number of mistakes and, in turn, make the cleanup and polishing stages far less frustrating.

Planning of Voice Acting

I have selected three dialogues for my voice acting animation project. Below are two of the primary choices I intend to use. The third dialogue, while still under consideration, may be too lengthy for the scope of this project and will be kept as a backup option.

For the first idea, I focused on incorporating the required emotional shift. I found this particularly challenging when it came to facial acting, which proved to be more difficult than body acting due to the need for greater subtlety and detail in facial expressions. Initially, I attempted to exaggerate the expressions to convey the emotion more clearly, but the result felt unnatural. After several adjustments, I was able to produce a version that more effectively captured the intended emotion and served as a stronger reference.

Unfortunately, I was unable to use the dialogue mentioned above, as it originated from an animated film. While we were advised not to select lines from popular movies, I hadn’t realized that this guideline also applied to animated films. I now understand that using such material can lead to unintended comparisons with the original performance, which may undermine the effectiveness of my own interpretation. This is an important lesson that I will keep in mind for future projects. As a result, I decided to shift my focus to the second idea.

The second idea is based on a segment from The Tonight Show Starring Jimmy Fallon. For this reference, I aimed to enhance the staging and incorporate a dynamic rhythm shift—from fast to slow—to make the performance more engaging and visually compelling. I found this approach more effective and personally prefer this reference. I’m looking forward to moving into the blocking stage with this one.

In this week’s lesson we get to choose one thing that we wanted to explore and swap next week.

Projection Mapping

Today, we learned how to link an application with a projector to enable projection mapping. One key feature we explored was the masking tool, which allows users to draw and define the shapes or surfaces they plan to project onto. Once the shapes are mapped, we can import our animations into the software and align them accordingly.

Additionally, we were introduced to a tool similar to a sequencer in MadMapper. This feature enables users to organise and control the playback of animations in a sequence, allowing for smooth transitions and dynamic presentation control.

I found this tool to be extremely useful and see strong potential for incorporating it into future work. I had considered using projection mapping before, but I had never taken the time to learn the process. To my surprise, it was more accessible than I expected. Given its creative possibilities and ease of use, I will definitely consider using it, possibly for my Final Year Project exhibition.

This session was a valuable introduction to a technique that combines technical skill with creative presentation. It has opened up new possibilities for how I can enhance my future visual projects.

Experimental Project Progress Update

I am currently in the testing phase of my project, experimenting with different armature techniques and aesthetic styles. I am also exploring whether the model might work better without an armature at all.

At first, I tried sculpting my character using only clay, without any internal support. However, the clay could not hold its shape. It would not stay together and kept falling apart.

This led me to research how to build effective armatures to give the model structure and stability.

This process of trial and error is helping me understand not only the technical needs of the materials but also how the inner structure can affect the overall look. I am looking forward to improving both the form and the style as I continue.

Although it sticks well to the body, the shape looks strange.

This is the simplest armature tutorial video I could find and try, but it does not seem to work well. I had trouble adding clay onto the armature because the clay kept breaking when I tried to push it in.

I tried another technique by poking the wire into the clay and attaching them together, but it did not work well either. When I moved the rig, it easily fell apart. I will need to fix this issue using other methods.

For the aesthetic, I want to keep everything simple. I plan to draw the background, characters, and props using white lines so that the focus stays on the balloon dog. I will do more testing to see how well this style works.

Progress on my experimental project

Building upon previous feedback and research, I have developed a new narrative element to integrate into my 3D animation. Specifically, I plan to include an imaginative sequence from the perspective of the balloon dog, envisioning what might happen moments before it is nearly struck by a car. This addition allows me to incorporate a distinct visual style—potentially through stop-motion or an alternative technique—to represent the dog’s internal thoughts or fears. Not only does this enhance the emotional resonance of the scene, but it also aligns with my broader exploration of using mixed media to signify shifts in perception or reality within the narrative.

In addition, I have considered incorporating stop-motion animation into the credits for both the stop-motion and 3D portions of the project. This decision was inspired by the traditional practice often seen in cinema, where distinct stylistic choices are made to enhance the overall viewing experience. I believe this could add a unique and playful touch to the final presentation.

However, I must ensure that the transition between the 3D animation and stop-motion is seamless. To achieve this, I plan to match key elements, such as items or colors, across both mediums, maintaining a cohesive aesthetic. It is essential that I confirm these design choices early in the process to avoid unnecessary revisions, which could lead to inconsistencies in the final result. Additionally, I intend to vary the camera angles—avoiding repetitive shots in the same direction—to keep the sequence visually engaging and dynamic.

Currently, I am in the process of preparing the stop-motion animation, and I aim to begin filming as soon as possible, as the project timeline is quickly approaching its end.

Progress on Body Mechanics Animation

Today, we did not learn any new material but continued refining our existing work.

For my part, I focused on improving my project. However, I encountered several challenges. At one point, I became unsure of what I had already completed, what still needed to be done, or even the purpose behind some of the changes. I was making revisions based solely on my tutor’s instructions, without a clear understanding of the overall direction. As a result, I began to feel lost and uncertain about how to proceed with the polishing process.

To address this, I decided to attend class and speak with a classmate to gain advice and feedback. I believed that hearing another perspective could help clarify my thoughts before presenting the work to my tutor for further feedback. This experience reminded me of the importance of seeking guidance and reflecting critically when facing creative obstacles.

Lately, it feels like things are not working very well. I have been trying to fix the issues step by step, but in doing so, I have ended up adding more frames that capture incorrect poses. Each attempt to correct one problem seems to uncover another—such as misplaced foot positions or awkward timing. Still, I continue to work through it, focusing on each flaw as it appears, hoping that persistence will eventually lead to clarity.

I tried to further polish my parts, including adding the bending of the back after the character and the overshooting hand movement at the end. However, it still does not seem to be working very well. I will continue refining it based on the feedback and hope it will improve soon.

Spline again!!

Throughout the first term, we explored spline multiple times as part of our foundational animation training. Now, returning to this stage again, I find myself approaching it with a more informed perspective—particularly in relation to industry-standard workflows.

Prior to taking this course, I had a misconception about how spline was used in professional animation. I had assumed that much of the animation process was carried out entirely in spline mode. However, as I’ve progressed and gained a clearer understanding of the production pipeline, I’ve come to realize that this is not the case.

In professional practice, the majority of the animation work—especially the planning of key poses, breakdowns, and moving holds—is actually completed during the blocking stage. Spline, contrary to what I initially believed, functions primarily as a final polish phase. It is where the animator smooths out transitions, refines timing, and adds subtle details to bring the performance to life.

This shift in understanding has significantly changed how I approach my own animation workflow. I now place greater emphasis on making my blocking as strong and detailed as possible, ensuring that the intent and rhythm of the performance are already well-established before entering spline. This not only streamlines the process but also allows the spline stage to focus more effectively on refinement rather than major structural changes.

Progress on Body Mechanics animation

This is my weekly progress update.

I attempted to implement the feedback provided by my tutor; however, I encountered several challenges that made the process frustrating. One significant issue arose when I switched the animation mode from blocking to spline: the left hand of the character began rotating continuously without stopping. In an attempt to resolve this, I added keyframes to stabilize the motion. While this provided some improvement, it still did not produce an ideal result. Additionally, I experienced problems with the sword’s material, which was intended to be transparent but did not render as such.

Overall, I am not satisfied with the current spline version. I underestimated the amount of time and work required, assuming it would only involve implementing the suggested changes. In reality, the process was more demanding and required reworking poses to ensure visual clarity—for instance, preventing body parts from overlapping in ways that obscure the character’s silhouette (as seen in the reference image below).

One particular moment that stood out as problematic was the section where the character steps back after successfully pulling the sword. This part feels awkward, although I am currently unable to identify the exact issue. I plan to consult with my professor for further feedback and suggestions on how to improve it.

That said, there was one aspect of the animation I found quite successful: the final overshoot of the character’s hands. I was pleasantly surprised by how smooth it appeared. Initially, I expected to spend significant time polishing that section, but the use of IK (Inverse Kinematics) for the hands contributed to a more natural and fluid motion.

By keyframing the hand controllers directly, the arm movement followed intuitively, eliminating the need for detailed frame-by-frame adjustments. This is a valuable technique I will consider applying in future projects.

My tutor highlighted key areas for improvement, specifically spacing and posing. He also recommended modifying the ending to have the character fall to the ground, which could help simplify some of the current issues. Nonetheless, I am inclined to continue refining my original idea. I see this as an opportunity to challenge myself, improve my understanding of body mechanics, and build confidence in tackling similar tasks in future animation work.

What is NDisplay?

nDisplay is a technology used to render and project video content onto screens with non-standard or irregular geometries. A prominent example of its application is in 3D anamorphic displays.

These types of screens are increasingly prevalent in densely populated urban areas. I have often found them visually striking and have long been interested in understanding the underlying physics. Observing the displays from different angles appears to produce varying visual effects, which has further sparked my curiosity about the principles that govern their operation.

How to make NDisplay?

“Such visual effects can be efficiently rendered in Unreal Engine using nDisplay through a relatively straightforward process. The first step involves initiating a project configured for nDisplay support.

Next, the target display surface—intended to project the video content—is imported into Unreal Engine.

Subsequently, the video content is mapped onto the imported display geometry to ensure accurate alignment and visual coherence.

That essentially completes the process.

One particularly interesting aspect is that the animated content is typically positioned behind the screen geometry. This configuration is essential for maintaining correct perspective and reflective behavior, which contributes to the illusion of depth and realism.

Additionally, I was surprised to learn that the content displayed across multiple screens must be rendered separately, rather than being treated as a single continuous display. I had initially assumed it functioned as one unified surface.

Furthermore, the 3D visual effect is only perceptually effective from specific viewing angles and positions. Outside of these optimal vantage points, the illusion can break down, resulting in distortions or visuals that appear incongruent with the intended perspective.

Progress on my experimental project

This week, I have been refining my concept in response to constructive feedback from both my primary tutor and a specialist in stop-motion animation.

Initially, my intention was to create a stop-motion animation trailer to promote a larger 3D animation project on platforms such as Instagram and other social media. Consequently, I opted for a portrait-oriented frame to align with the visual standards and user behavior typical of these digital platforms.

Upon further reflection, I came to realize that producing a stop-motion trailer for a 3D animation could potentially create confusion for the audience, as the two mediums convey different visual expectations and stylistic cues. This realization prompted a significant shift in my approach: rather than using stop-motion as a standalone promotional tool, I decided to integrate it within the 3D animation itself as a narrative device. This method enables the stop-motion sequences to serve a functional purpose within the story, enhancing the narrative by representing specific moments such as a character’s imagination, memories, or visions of the future.

This technique has been employed effectively in various films and animations to signify shifts in perspective or reality. For example, in Enchanted, the transition from traditional 2D animation to live-action cinematography underscores the protagonist’s movement from a fantastical realm into the real world, providing a clear visual distinction between the two settings.

A particularly compelling example of this technique can be observed in Black Myth: Wukong. In this game, each time the protagonist, Wukong, defeats an enemy, the narrative shifts to reveal the backstory of that character. These flashbacks are presented in a variety of visual styles, including 2D animation and stop-motion. Rather than feeling disjointed or inconsistent, these transitions enrich the storytelling by offering a distinct aesthetic for each character’s history, thereby enhancing the emotional depth and narrative complexity. Moreover, this approach showcases the artistic versatility of the studio, highlighting its ability to work across multiple animation styles. This not only sustains viewer interest but also reinforces the creative identity of the production, making the overall experience more dynamic and engaging.

This multi-style approach to storytelling is something I am seriously considering incorporating into my own project. It offers an opportunity not only to enrich the narrative but also to demonstrate a broader range of technical and creative skills.

In addition to conceptual development, I also visited the stop-motion studio this week to familiarize myself with the available equipment. This hands-on exploration gave me a clearer understanding of the practical resources at my disposal and will inform how I plan and execute the stop-motion segments of my animation.

Following my tutor’s recommendation, I explored a practical setup for capturing stop-motion animation, which involves positioning the camera overhead, placing the character centrally within the frame, and situating the background elements—or a green screen—beneath. I found this method to be both efficient and intuitive. Compared to using a tripod or rig to suspend the character, which would require time-consuming post-production work to digitally remove the support structures, this approach offers a cleaner and more streamlined workflow during both production and editing stages.

What have we learnt?

In today’s class, we explored more advanced aspects of blocking than I initially anticipated. At first, I understood blocking as simply setting up the key poses in Maya. However, after the session, I realized that blocking involves much more than that. In fact, blocking can incorporate significant movement, similar to spline, and the more detailed our blocking is, the fewer challenges we will face later on. Since blocking is the foundational stage of animation, investing time in it reduces the work required during the spline phase, where we can focus on refining knee pops and performing cleanup tasks.

Key Concepts in Blocking

Basic Blocking:

• Establishing key poses, timing, spacing, and initial motion.

Blocking +:

• Expanding on the original blocking by adding more frames, refining the initial movement.

DO NOT HIT SPLINE:

• It is essential not to automatically convert to spline during this stage. The focus is on solidifying the animation’s structure.

Moving Holds:

• Moving holds are critical to prevent the animation from appearing static or “floating.”
• These are moments when a character is holding a position while still subtly moving.
• For example, before the head turns to the right, the body, head, or hand might slightly tilt to the left.

Overshooting:

• After a movement, there may be residual movement that follows through.
• For example, after a head turns to the right, the body, head, or hand might continue to move slightly to the right, creating an overshoot effect.

Copy-Pairs:

• Sometimes, you may want to hold a specific frame without any in-betweening. To achieve this, you can copy and paste the frame to maintain the pose or position for a desired duration.

Additional Tips:

• To adjust the timing of a moving hold, you can use the middle mouse drag to shift its placement.

By understanding these advanced principles, I can now approach the blocking phase with greater depth and attention to detail, ultimately streamlining the later stages of the animation process.

Breakdown:
Breakdowns are the in-between poses that help define the motion between key poses. For example:

• Waving: Shows the movement of the arm as it waves.
• Bending: The poses between straight and fully bent positions.
• Leg Walking: The in-between frames showing the movement of the legs as they walk.

Arcs:
Arcs are the curved paths followed by moving objects or body parts. They are crucial for making movement feel natural and fluid. Even if there are some mistakes in the animation, arcs help improve its overall quality.

In short, breakdowns define the in-between poses, and arcs ensure smooth, natural motion. Both are key for creating believable animation.

Body Mechanics Progress

This week, I revisited and re-shot the reference footage for my sword-pulling animation, focusing on enhancing both the emotional expression and the physicality of the character’s performance. In particular, I worked on exaggerating the celebratory moment when the character successfully pulls the sword from the stone—emphasizing the joyful “Yay!” to make the moment more expressive and readable. I also aimed to increase the sense of physical effort during the pulling motion by incorporating more stretch into the body and adding several follow-through steps after the sword is released.

During the reference shoot, I paid close attention to body mechanics, particularly the weight shift required to convincingly portray the character’s struggle. Initially, I attempted to simulate resistance by embedding a stick into a heavy object, mimicking the sword-in-stone scenario. Unfortunately, I was unable to find a prop with enough resistance, which made the performance feel less grounded. As a workaround, I asked a friend to hold the stick tightly, allowing me to better simulate the character’s physical effort.

Even with this adjustment, I felt that my acting lacked dynamism. This prompted me to be more expressive during the animation blocking stage, pushing poses and timing beyond what was captured in the reference. I also made a conscious effort to add more curvature to the character’s poses. I’ve come to realize that I need to think more about how the character’s form changes dynamically during movement—incorporating curves throughout the body to avoid stiffness and to create more appealing, fluid motion. In particular, I am beginning to understand that different body parts should move with offset timing, similar to how different parts of a bouncing ball move in a chain reaction, emphasizing follow-through and overlapping action.

After shooting the reference, I sketched thumbnail drawings to explore key poses and refine the composition. I focused on using more curved lines to accentuate movement and silhouette clarity.

For the blocking phase, I experimented with using locators—a technique I had not previously utilized. Although there was an initial learning curve, I found it extremely helpful, especially in sequences where the character travels through space. Locators allowed me to plan the overall timing and trajectory of the character by animating the main control first, and then transferring that motion to the individual body part controls. This helped establish a strong foundation for the animation early on.

In this pass, I also decided to add more keyframes during blocking, aiming for a version that was closer to the spline stage. This approach allowed me to reduce the amount of refinement needed later and gave the animation a more finished appearance early on. I am relatively pleased with the results; the animation feels more polished than my previous work during my undergraduate studies. However, I do acknowledge that the improved result may also be partly due to the higher-quality rig I am currently using.

In summary, this week’s work provided a valuable opportunity to reflect on both technical and performance-related aspects of character animation. Key takeaways include the importance of pushing acting choices, creating curvature in poses, and treating different body parts with staggered timing to enhance fluidity. Going forward, I will continue polishing this animation, with particular attention to refining movement arcs and emphasizing believable, expressive motion.

What is blocking?

1. Terminology from Film and TV

• Blocking is a term borrowed from film and television, though it is also essential in animation. It refers to the initial setup of key poses and the foundation of the animation’s movement.
• In animation, blocking can be seen as the “skeleton” of the animation, where the core poses and movement arcs are defined.

2. Blocking in Animation

• When translating an idea from reference to animation, blocking serves as the foundation for conveying the action. However, reference and final animation should not be identical. The animation should be adjusted to suit the intended style, mood, or emphasis.
  • Example: A character’s head might be tilted more towards the audience than in the reference, or they may not be as upright as the reference suggests. These small adjustments help to create a more dynamic, personalized animation.
• Be mindful of contrast in shapes between the different poses to ensure visual interest and clarity in movement.

3. Tips for Effective Blocking

• Efficiency is key in the blocking phase. It’s essential to get the idea out quickly without over-detailing, focusing on the major poses and timing first.
  • Copy-paste can be a helpful technique to speed up the process when creating repetitive actions or movements.
• Don’t neglect hand and finger movements—it’s crucial to also fix the hands, fingers, and wrists, not just the palms or the basic position of the arms.
• While it’s tempting to rely heavily on the timing of your reference material, avoid being too dependent on it. The reference should guide the action but should not define the final product too rigidly.
• Tools like Anamonolok can be helpful for visualizing the timing and ensuring that the poses transition smoothly.
• When working with FK/IK (Forward Kinematics/Inverse Kinematics), remember to switch between them as needed to get the most fluid motion.
• While working in stepped mode, always check your animation in spline mode to ensure smooth transitions and adjust poses where necessary.

4. Mental Tip

Embrace Imperfection

• Perfection is often unattainable in the early stages of any animation. It’s essential to focus on completing the work first and refining it later. As the saying goes, “It’s better to have something finished than something perfect that’s never completed.”
• Progress is achieved through iteration, and continual improvement is a natural part of the creative process.

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Synchronization of Movement

Coordinating movement across the body is crucial for achieving fluid and realistic animation. Small adjustments to each part of the body help to create harmony and maintain proper weight distribution.

In animation, all body parts should move and be keyed simultaneously to maintain consistent, believable motion. For instance:

When animating the arm, the movement of the shoulder must also be taken into account, as it will naturally be affected by the arm’s motion.

Progress on my shot

After revisiting my earlier concepts, I came up with a completely new idea for my animation, though it still involves a sword. The concept centers around the act of pulling a sword from its sheath, a gesture commonly seen in many films, particularly those involving royalty or epic battles.

To make the animation more unique and engaging, I decided to add a slapstick element at the end: the sword breaks as it is drawn from the sheath. This unexpected twist adds humor and surprise to the scene, providing both a visual and narrative contrast.

I find this new idea to be more compelling and manageable compared to the previous concepts. It offers a good balance between complexity and feasibility, and I have already filmed several references to guide the animation process.