After reflecting on the planning process for body mechanics last week, I identified several key aspects that require careful attention. Additionally, considering the complexity of the animation and the need for thorough testing, I have decided to focus on animating a body mechanics sequence involving a character yawning and transitioning to a standing position.
(1) Final Frame: Standing Upright
Ensure that the final frame of the animation depicts the character standing upright, with a balanced posture. Avoid any forward lean that might suggest the character is about to lose balance and fall. Additionally, incorporate a visible weight shift to convey the upward transfer of the body’s mass during the transition to a standing position.
(2) Use the Perspective View
The perspective view refers to the angle between the front and side views, providing a more dynamic representation of the object. Below is an example showcasing different views of the helicopter model.
Fig 1. Front view from Maya Help website
Fig 2. Side view from Maya Help website
Fig 3. Perspective view from Polycount website
In the image above, both the front and side views of the model are visible simultaneously, providing a 45-degree angle of the model. This view is referred to as the perspective view.
Fig 4. Perspective view from Maya Help website
The image above is one of the tests I conducted last week. Although it is in perspective view, the side view of the model is barely visible. To improve this, it would be better to rotate the camera slightly to the left to achieve a more optimal perspective view.
This yawning stand-up animation serves as a better example of the perspective view.
(3) If the Arms Are Too Difficult to Animate, Hide the Arms and Focus on the Body
Animating in detail can be quite challenging, as the complexity increases with each additional body part involved. Therefore, I will focus on animating the body and legs of the model first. If time allows, I will also animate the character’s arms.
(4) Change the Starting Pose for a Smoother Animation
At the beginning of the animation, the reference shows different starting poses. While the first pose may be more visually appealing, animating the transition from the hand below the chin to placing it on the lap could be quite challenging. Therefore, starting the animation with both hands resting on the lap might be a more practical and effective option.
Blocking Animation of My Yawning Stand-Up Animation
Spatial Sample Count: Increased for environments or when the camera is static but the character moves quickly. Higher values improve the rendering quality but also increase render time.
Temporal Sample Count: Increased for scenes with character movement to reduce motion blur and improve smoothness. This can be adjusted via the command r.TemporalAASamples 464.
Render Warm-up Count: This setting allows the system time to prepare before the actual rendering starts, improving overall render quality.
Game Overrides: Console variables are used to control various settings, such as motion blur quality or other visual aspects. These variables allow you to define percentage values for specific features.
4. Additional Render Settings
Cinematic Settings: Setting everything to Cinematic results in higher rendering quality.
This can be done under the Scalability Settings in the rendering menu.
Frame Rate: Adjust the frame rate within the settings menu for smoother animation.
Render Output Location: You can change the location where the render output is saved, ensuring your files are organized.
5. Rendering Locally
For efficiency and speed, it is recommended to render locally rather than over the network.
Project Progress
Animation
As previously mentioned, I attempted to animate using Unreal Engine due to issues encountered when attempting to convert the file from Maya to Unreal Engine.
Challenges in Unreal Engine Animation and Transitioning Back to Maya
The video above illustrates the challenges I faced while working with Unreal Engine, as I was only able to produce a result like this.
I encountered several constraints and difficulties when animating in Unreal Engine. Given my limited familiarity with the software, I struggled to locate certain settings and functions, such as animating the fish’s tail within a hierarchy or controlling the graph editor. Additionally, there is a lack of comprehensive animation tutorials for Unreal Engine in comparison to Maya. As a result, I decided to revert to animating in Maya and then converting the files for use in Unreal Engine.
I attempted to select the skeleton root of the fish rig in Maya, bake the animation, and then export the animations to Unreal Engine.
Although further modifications are still required, the result appears improved compared to the previous version.
Shark Model
Shark: Choice of Colour
I modeled a new shark and performed initial texture tests to evaluate its appearance and fit with the design. Further refinements are planned based on testing outcomes.
Initially, I textured the shark in purple to match the background environment. However, this made it difficult to differentiate the shark from the background, reducing its visibility.
I experimented with various brush strokes in Procreate and found one particularly interesting. However, the result did not align with the overall animation style or the appearance of the other fish.
I opted for a plain texture in a lighter blue, ensuring better contrast with the environment in Unreal Engine.
I have completed the first draft of the critical report, incorporating a number of images to substantiate my arguments and references.
Throughout the writing process, I have encountered challenges in linking and transitioning between paragraphs, as well as organizing the extensive research information drawn from a variety of sources, including historical accounts, videos, scholarly articles, and books. To address this, I decided to adopt a clear structural approach. I now begin each paragraph in the main discussion with a concise topic sentence, followed by elaboration and explanation, supported by references or quotations. This is then followed by further analysis and reinforcement of the argument. By using this method, I aim to ensure that the essay is more organized and coherent.
I plan to consult with a few language tutors to seek guidance on improving and refining this approach.
This week’s lesson focuses on Body Mechanics, which refers to the study of how the body moves. Below are some examples:
Although different characters exhibit unique movements, they must all adhere to certain principles to ensure the animation appears smooth and logical. These principles are collectively referred to as mechanics. Effective mechanics ensure that a character’s weight shifts, poses, positions, pacing, and timing are executed appropriately and cohesively.
Referencing
In today’s lesson, we also discussed the concept of Referencing. Although I had previously filmed references of myself for the Weight Shift homework, I am still not entirely familiar with how it works in practice. During the lesson, we received valuable tips from a video, which emphasized the importance of maintaining the same camera angle for both the reference footage and the animation. This consistency allows for more effective utilization of the reference when creating the animation.
For example, in the 2D blocking animation I created (shown on the right), the animation uses the exact same angle as the reference on the left—specifically, a perspective view positioned between a front and side view. This alignment ensures that I can accurately reference each pose step by step, without needing to imagine poses that might otherwise be obscured.
In other words, if I were to use a side-view reference for my animation, I would need to visualize certain poses that are not clearly visible. For instance, I would have to imagine the exact placement of the character’s hands when she stretches them.
In addition to the reference mentioned above, I conducted further testing with references, assisted by Technician Roos.
Front and Side views of Standing Up from a Chair
Perspective View of Standing Sp from a Chair
Front and Side Views of Jumping Over Obstacles
2D Blocking animation and Testing
I began by sketching the key poses from the reference to create the blocking for the 2D animation. Then, I used a polygon to roughly animate the character’s body in Maya. I plan to further refine this by incorporating the character into the polygonal body and using it as a reference for the timing and pacing when I begin my actual 3D animation.
During today’s lesson, we were provided with various guidelines for writing a critical report. These include:
Paraphrasing
Understand the readings thoroughly and take clear, concise notes.
Summarizing
Condense the main ideas of the readings effectively.
In-Text Citation
Ensure citations are included consistently throughout the text.
Key Considerations
Relate all resources back to the research question being addressed.
Quoting
Use quotation marks (“ ”) for direct quotations. For example:
Paul Wells suggests, “…”
Use terms like “clearly” or phrases such as “clearly, this might be a factor” to indicate uncertainty or nuance in your argument.
Additionally, we learned that a literature review involves critical analysis and evaluation of previous research on a given topic. It should be well-organized and structured to address a clearly articulated research question.
Progress on Critical Report
At present, I have completed the following sections of my work:
Abstract
Keywords
Introduction
Literature Review
References
I have conducted research using Google Scholar and books from the library. I now plan to begin writing the main discussion chapters.
Below are some key findings from my research so far:
Mickey Mouse occupies a significant, if secondary, position in Benjamin’s writings on cinema and experience.
Impact of Medium Shifts from Cinema to Television
The transition from cinema films to television significantly impacted the portrayal of animated characters, expanding their reach to larger and more diverse audiences. With television, characters appeared in longer and more frequent segments, often totaling eight hours a week rather than the shorter 50-minute runtime of traditional cinema. This extended exposure allowed audiences to see these animated personalities evolve in depth and nuance, fostering a stronger connection with viewers and establishing them as regular, relatable figures in daily life.
Changing Presentation of Animated Characters as Performers
As animated characters adapted to the television format, they often took on new roles as hosts or guides, developing a sense of self-awareness that let audiences perceive them as performers. This approach gave viewers a glimpse into the “real” side of these characters, encouraging a more personal connection. For example, in The Mickey Mouse Club, Mickey Mouse took on a hosting role, frequently engaging directly with viewers and guiding them through the program’s segments, reinforcing his role as a leader and friendly companion. Similarly, in The Bugs Bunny Show, Bugs Bunny was presented more as an actor in various roles rather than as a singular, fixed character, making him feel more dynamic and versatile to audiences.
Based on the feedback received for my previous walk cycle assignment, I must incorporate the following adjustments.
Issues and Explanation
(Front View)
For the front view, it is essential to ensure that the body of the “Walker” model follows a motion resembling the shape of the number eight to maintain a proper Arc.
Arcs
As outlined in Week 1’s blog, Arcs are a fundamental aspect of most animations.
Figure-1: I Want to be…an Animator Website
from the movement of the hands to the table,
Figure-2: I Want to be…an Animator Website
or the movement of the legs from the center to the right,
Figure-3: I Want to be…an Animator Website
or even the swinging motion of an arm, these movements often follow arcs. Animating along arcs results in smoother and more realistic motion. The image above illustrates arm movement forming a shape similar to the number eight, which I aim to replicate in my animation.
I attempted to reference this woman’s hand movement to observe whether a “figure-eight” arc is achieved.
Figure-4: I Want to be…an Animator Website
Furthermore, the nature of arcs also varies depending on the amount of force applied to the movement.
(Side View)
I also need to address the issue of the heel not maintaining the same position as in the previous frame. If left uncorrected, this could give the impression that the model’s foot is sliding, potentially making it appear as though the model is about to trip.
Additionally, there was an issue with Knee Popping in my animation.
Knee Popping
Video-1: Alexander Williams(How to Fix Knee Pops in a Walk Cycle)
This occurs when the knee bends in one frame and then abruptly straightens and extends in the next, creating a jarring, unnatural effect in the animation. To resolve this, it is important to ensure that the knee maintains a slight bend throughout the animation, preventing any sudden or harsh transitions.
Another issue with my animation is that the foot lifts off the floor too quickly. In a natural walk, the foot remains in contact with the ground for a bit longer before lifting, with the toe staying in contact longer than the heel. Therefore, the foot in this segment of the animation should be positioned as indicated by the blue line.
Further Polish Result
In the revised version, I resolved the previously identified issues and incorporated additional refinements to enhance the animation’s fluidity. For instance, when the heel makes contact with the ground, the entire foot does not touch the surface simultaneously in the subsequent frame. Instead, the heel contacts first, followed by the toes, creating a subtle flipping motion that adds a slightly exaggerated, cartoon-like effect to the walk.
Nevertheless, some instances of knee popping remain problematic. For example, as the foot touches the ground, the knee transitions abruptly from a straight position to a bent one. I am uncertain whether this appears unnatural and intend to seek clarification from my tutor.
In today’s lesson, we explored various lighting techniques in Unreal Engine (UE), alongside some modeling methods.
Although I have previously studied lighting in my prior courses, I continue to find it fascinating, as it encompasses more than just the light we perceive. When creating or adjusting lighting, several factors must be considered, including:
Shadowing (with softer angles)
Ray tracing
Reflections
Source angles
Direct lighting & Indirect lighting
Bounced light
Each of these elements plays a critical role in achieving a realistic and dynamic lighting environment.
Project Progress
Environment
I tried to modify the colours of the environment to make it look more vibrant.
Before
After
Animation
I did some brief animating in UE specially for position and timing. All the details will be fixed afterward.
Since today was designated for feedback, I implemented revisions based on my tutor’s guidance and recommendations.
Project Progress
The changes and progress of my project are outlined as follows.
Model and Rigging for the other character
For the secondary fish interacting with the main character, I conducted online research to determine suitable fish models. Initially, I aimed to select more realistic fish models to contrast with the main character. This distinction helps convey to the audience that the main fish, feeling different from the others, is anxious about its unfamiliar environment. The following are a few models I have considered.
However, even if the other fish have different styles or color schemes from the main character, their similar species may make it challenging to convey the protagonist’s fear effectively, especially within a 30-second animation. Therefore, I decided to use a shark as the other character to communicate this idea more directly.
Animation
I tested the timing and positioning of the fish in Maya. To assist with this, I saved the UE environment as an FBX file and imported it into Maya, using it as a reference for the distance the fish need to move and the appropriate scaling.
However, I encountered several issues:
I struggled to achieve accurate sizing and positioning for the fish.
Despite adjustments, the camera angle in Maya remains noticeably different from the one in UE.
2. I was unable to import the animation from Maya into UE.
There seem to be issues with the rig or model that prevent me from importing the fish into UE (with the rig and animation separately), as it repeatedly flags naming issues.
I attempted several methods in Maya, such as combining meshes, deleting history, adjusting skeleton hierarchy naming or namespaces, and modifying various settings. Despite these efforts, the animation still cannot be imported into UE.
After multiple attempts to resolve this issue without success, I decided to create the animations directly in UE. I am now in the process of re-rigging the fish within UE.
After receiving feedback on my previous walk cycle assignment, I need to implement the following changes.
Fig-1: Animator’s Survival Kit P.108
Before addressing the necessary adjustments, it is essential to review the content covered in last week’s blog. Specifically, we examined the different poses that constitute a walk cycle, including:
Contact
Down
Pass Pos
Up
Contact
In an effective walk cycle, it is essential to maintain a well-defined curve.
Fig-1: Animator’s Survival Kit P.103
As illustrated in this screenshot from the book, curves are visible above the model’s head and at the feet. This imaginary curve should remain consistent throughout the walk cycle to ensure smooth and natural motion.
In my previously submitted assignment, the Contact Poses and Down Poses did not descend sufficiently to maintain a consistent curve. Additionally, the poses were not adequately spaced, resulting in a lack of clarity. Addressing these two issues will be my primary focus for improvement.
Contact Poses
Down Poses
Another issue with my blocking animation is that the feet are either not fully in contact with the floor or are sinking below it, which creates an unnatural appearance. To resolve this, I adjusted the foot positioning to ensure proper contact with the ground.
Walk Cycle(Spline)
After addressing the issues mentioned above, I made additional refinements, such as ensuring the feet remained stable and did not move in unintended directions. The result of these adjustments is as follows.
In today’s lesson, we explored various aspects of animation narrative, editing, and character roles. We reviewed foundational narrative structures, including the three-act structure, Freytag’s Triangle, and the Monomyth, among others. These frameworks provide a basis for building compelling and cohesive stories in animation.
Three-act structure
This is a fundamental structure common to all stories, consisting of a beginning, middle, and end. In the beginning, the background of the characters is introduced, and they soon face various conflicts. The climax represents the peak of tension, where characters experience the most intense conflicts, often through a pivotal or action-packed scene that serves as the story’s most thrilling moment. Importantly, the story’s beginning and end should reflect change, ensuring that the characters or circumstances are different by the story’s conclusion.
Examples of Montage Editing
In addition to narrative structures, we also explored film editing techniques, with a particular focus on montage editing. I find montage editing especially interesting, as it conveys messages without depicting the entire scene. Instead, it presents select shots related to the action, prompting the audience to infer what occurred. For instance, in a murder scene, rather than showing the actual stabbing, the film might show a knife dripping with blood, allowing viewers to imagine the event themselves. This approach engages the audience’s imagination, making the scene both powerful and suggestive.
I decided to search for more film examples that effectively use montage editing to convey action or emotions without showing explicit details. This technique fascinates me, and seeing how different films use it could deepen my understanding of how selective shots can shape audience perception and heighten the storytelling impact.
Up (2009)
In this well-known Pixar movie, montage editing is used masterfully to depict the lifelong relationship between the protagonist, Carl, and his wife, Ellie. In just 2-3 minutes, this scene encapsulates their entire journey together, from childhood, through marriage, to old age, and ultimately to Ellie’s passing. This condensed portrayal, achieved through a series of carefully selected shots, allows the audience to experience the depth of their relationship in a brief but profoundly emotional sequence, illustrating how montage can convey complex, time-spanning narratives in an impactful way.
Tangeled (2010)
In Tangled, there is a similar montage sequence, but with a unique twist: it’s a musical montage. The narrative progression is guided by the song “When Will My Life Begin?” which reflects Rapunzel’s emotions and daily routines. This form of montage, where music drives the narrative flow, is commonly found in Disney and Pixar films. The song’s lyrics and rhythm not only enhance the visuals but also provide insight into the character’s feelings and desires, making the sequence both entertaining and revealing of Rapunzel’s inner life.
Continuity
In terms of continuity, we explored several techniques for connecting two or more unrelated shots, each offering unique methods to enhance storytelling. Here are some examples:
Graphic Relations
Graphic Matching: This technique links two unrelated scenes by using similar visual elements. For example, a shot might transition seamlessly from a circular object in one scene to a similar shape in the next, creating a cohesive visual flow.
Rhythmic Relations
This method connects unrelated shots through the use of rhythm or music, providing a sense of continuity by aligning with the beats or mood of the soundtrack.
One concept that particularly surprised me was how animation conveys messages that live action sometimes cannot. Animation brings the impossible into reality, making it easier to accept unusual or exaggerated ideas. Even if a story appears bizarre or fantastical, animation allows it to seem natural rather than odd. This unique quality of animation encourages audiences to think outside the box and embrace creative possibilities that may be challenging to convey in live action.
Story having ending as the beginning
In today’s class, we also discussed films that have endings mirroring their beginnings. This concept immediately reminded me of The Lion King (1994). The film begins with the birth of Simba, the future king of the Pride Lands, and Mufasa proudly presenting him to the animals in a grand ceremony. The movie then concludes with Simba returning to the Pride Lands, symbolically taking his place as king, and mirroring the opening scene as he presents his own cub. This circular structure is a clever narrative device that does not confuse the audience but rather adds depth to the story, showcasing Simba’s growth and the cyclical nature of life.
Imitations or Influences of Disney’s Hyperreal Animation Aesthetic
Several animation studios and forms have been influenced by Disney’s hyperreal aesthetic, characterized by highly detailed, fluid character movements, and expressive environments. For instance, Pixar, a subsidiary of Disney, has perpetuated this style in films like Toy Story (1995) and Finding Nemo (2003), where realistic textures, lighting, and smooth animation contribute to a hyperreal world. Similarly, DreamWorks’ Shrek (2001) employs a similar aesthetic, using detailed environments and character animation to enhance visual storytelling. Both studios aim for a balance of realism and fantasy, following Disney’s example but with their own innovations in terms of technology and thematic exploration.
Studios/Animators Resisting Disney’s Aesthetic
In contrast, some animation studios actively resist Disney’s hyperreal aesthetic by embracing different styles that emphasize abstraction, artifice, or visual simplicity. For example, Studio Ghibli, under Hayao Miyazaki, tends to favor a more hand-drawn, organic approach to animation, focusing on naturalistic yet stylized visuals that prioritize atmosphere and emotional depth over hyperrealism. In Princess Mononoke (1997), the studio’s aesthetic is marked by less emphasis on smooth, fluid movement and more on expressionist backgrounds and a stylized rendering of characters. Similarly, Aardman Animations’ stop-motion films like Wallace & Gromit (1989) resist hyperrealism by focusing on textured, often exaggerated character models and exaggerated, non-realistic movement.
Aesthetic Comparison of Dumbo Sequences
In the Pink Elephants on Parade sequence from Dumbo (1941), two distinct animation traditions emerge. The sequence exemplifies Disney’s West Coast style, which is grounded in the classic Hollywood tradition, with smooth, realistic character movements and detailed animation, as seen in the rest of the film. However, the “Pink Elephants” scene employs a more avant-garde, surreal East Coast style, characterized by nonlinear narrative, exaggerated, rubbery graphics, and an emphasis on visual experimentation. The scene’s abstract style, with its dreamlike sequences, contrasts sharply with the film’s otherwise realistic visual tone, providing a unique, jarring aesthetic shift.
Disney might have included this sequence to push the boundaries of animation and show the versatility of the medium. It highlights the ability of animation to evoke complex emotions and depict surreal experiences that live-action cinema could not. The inclusion of this scene may also reflect Disney’s desire to explore different artistic expressions within the framework of mainstream animation, offering a playful and imaginative divergence from the film’s usual realism.
Progress on Critical Report
I am currently working on my Critical Report. While the topic has been confirmed, the content is still in development. During a recent discussion with my language tutor, I was advised that my current draft resembled more of a summary and description than a critical analysis. He suggested that I include more background information about the relevant historical period and explore the underlying reasons for changes in animated personalities. To address this feedback, I plan to consult additional resources, such as Re-Imagining Animation: The Changing Face of the Moving Image by Paul Wells, as well as scholarly essays and reports, including “Animating Hierarchy: Disney and the Globalization of Capitalism,” “Animation and Critical Theory” by Alla Gadassik, Richard McIntire’s work for the NAACP in The New York Times, and animated short films available on platforms like YouTube.
Furthermore, I intend to focus on three prominent animated characters, examining their history, characteristics, and conceptual evolution in depth.
