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3D Computer Animation Fundamental immersion

Week 6: UE ControlRig

Lesson Today

In today’s lesson, we explored the rigging process for an octopus, a dragon, and a character within Unreal Engine (UE). Rigging involves adding a skeletal structure and control systems to a model to enable animation in the subsequent stages. I find rigging in UE both intriguing and challenging. Although various plugins in UE streamline the rigging process, it remains difficult to retain and apply the required blueprint configurations, which are essential for effective rigging. I believe additional practice would enhance my proficiency in this area.

Project Progress

I utilized an alternative model and integrated plugins to construct the environment, as the previously downloaded file was an HDMI image, which did not meet the project requirements. This format restricted character movement around rocks and corals, which is essential for achieving a realistic effect. Consequently, I opted to modify my approach.

Environment and Camera Angle

Using the available resources, I arranged models and configured elements such as lighting, god rays, shadows, and cameras. This version represents an initial test of the environment setup.I utilized an alternative model and integrated plugins to construct the environment, as the previously downloaded file was an HDMI image, which did not meet the project requirements. This format restricted character movement around rocks and corals, which is essential for achieving a realistic effect.

Consequently, I opted to modify my approach. Using the available resources, I arranged models and configured elements such as lighting, god rays, shadows, and cameras. This version represents an initial test of the environment setup.

At present, I am satisfied with the results and plan to proceed with blocking the animation for the character, particularly the fish.

However, I encountered an issue when reopening Unreal Engine on a different computer, as the downloaded textures for the models and surfaces were missing. I plan to seek a solution for this issue through online resources and by consulting my tutor.

Animatic

Before beginning the animation of the fish, I created an animatic to provide a preview of the character’s movement and camera angles. This process aids in better planning for the animation, as I am using Maya to create the animation and Unreal Engine to build the environment.

Rigging

I attempted to rig the fish I had previously found, but encountered some issues in the process. Due to its shape and the fact that it was sculpted, I had difficulty inputting the skeleton (the bones highlighted in white) into the model.

The “fins” of the fish were not moving correctly with the controllers. I have decided to use a different model for my animation to determine whether the same issues persist.

This rig appears more suitable for use, as it allows me to add controllers to enhance the animation.

For my fish texture, I plan to use purple as the main colour for the environment and yellow for the fish, creating a strong contrast that helps the fish stand out from the background. This approach is inspired by the color palette in the following padlet.

I am going to change the main colour for the environment after I solved the texture issue in Unreal Engine.

I tried to reference the colour from the colour padlet above, but it does not really give a good result and rather seems like the sea was poisonous or cursed. I would continue experimenting with the colours by importing the fish to the environment together with doing the animation,

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3D Computer Animation Fundamental animation

Week 6: Walk Cycle

Weight Shift(Spline)

For the previous homework about weight shift, I modified the version from blocking to spline.

I find the outcome somewhat bouncy and unstable, possibly due to excessive movement in the body and the ankle of the leg. To address these issues, I made adjustments and created the next version of the weight shift.

Walk Cycle

Fig-1: Animator’s Survival Kit P.108

In every walk cycle, there are five key positions: contact, down, passing pose, up, and another contact, as illustrated in the image above. The repetition of these movements creates the foundation of a walk cycle. Regardless of whether the character is a princess or a superhero with distinct personalities and traits, they all adhere to these fundamental principles in their walk cycles.

Fig-1: Animator’s Survival Kit P.119

Walk Cycle: Reference

I find this reference quite useful, as it outlines each movement within the walk cycle and includes a grid that helps me better understand the shifts of different body parts.

Walk Cycle: Outcome

I am uncertain about the body tilting left and right, as it appears somewhat awkward to me. I plan to address this issue to improve the overall animation.

Upon reviewing the animation from the front view, I noticed that the body has shifted to the left. This presents another issue that I need to address.

I attempted to remake the walk cycle by following the tutorial’s guidance and found that copying and pasting frames is much more efficient than recreating each pose from scratch. Additionally, I incorporated a subtle shift of the ball’s body in the front view, making the movement appear more natural.

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3D Computer Animation Fundamental animation

Week 5: Animating Weight shifts

Ball with tail(Spline): Previous Homework Changes

Following feedback on my previous assignment, I implemented several modifications. These included refining the trajectory arc, adjusting the time the ball remains airborne, and altering the shape of the ball during its ascent and descent. Additionally, I modified the tail’s form to ensure it follows the ball’s motion more cohesively.

This reflects the revisions made to the earlier version.

This is the revised version, incorporating adjustments to the trajectory arc, airtime, and the shape of both the ball and its trailing tail throughout the motion.

Weight Shift

In today’s lesson, we focused on weight shift. The primary objective of the animation homework is to ensure that the weight accurately follows the leg bearing the load.

In other words, when the weight shifts from right to left, the body should initially tilt slightly to the right. As the weight transitions to the other side, it should then tilt slightly to the left, creating a sense of movement. Additionally, it is essential for the body to maintain alignment with the line of balance throughout the animation.

Line of Balance

Fig-1: EtheringtonBrothers

We must ensure that in every frame, when a line is drawn between poses, the distribution of positive and negative space on the left and right remains balanced. This approach mimics the actual balance that a person exhibits in the real world.

Weight Shift: Reference

For this task, I recorded several reference videos of myself, experimenting with both faster and slower movements. My goal was to incorporate exaggeration into my actions; however, upon reviewing the footage, I felt that the level of exaggeration was inadequate. After further attempts, I captured improved results that more effectively convey the desired effect.

Weight Shift: Planning

While planning the animation, I found it challenging to map out each keyframe as the animation complexity increased. In simpler animations, such as a bouncing ball, planning was more straightforward; since the ball lacks limbs, it was easier to illustrate overlapping details like shape variations and speed adjustments without elements covering one another. However, as the animation involves more complex forms—like characters with legs—layering different elements can create confusion, making it difficult to keep the planning process organized.

To address this, I plan to use digital drawing tools with distinct colors for each frame in future projects, which should help clarify each element and improve readability in the planning phase.

Weight Shift: Outcome

My weight shift blocking ended up differing somewhat from the demonstration in class, as I based mine on a different reference video. Nonetheless, I did my best to align with the demonstration as much as possible, and this was the resulting animation. Some adjustments are still necessary, particularly regarding the rotation of the foot, body, and various angles.

Posing

This week, I created several poses based on the preliminary sketches I had drawn earlier.

Categories
Design for Animation, Narrative Structures and Film Language

Week 6: The Language Of Animation: Mise-en-Scène

About the lesson

In today’s lesson, we examined the concept of mise-en-scène, which encompasses all elements present within a scene, including settings, props, costumes, hair and makeup, facial expressions, body language, lighting, color, and the positioning of characters and objects. It is evident that the components utilized in film production are more extensive than we initially anticipated.

Moreover, the various elements within a scene convey distinct emotions, perspectives, and dynamics concerning both the shot and the characters. For example, a high-angle shot, which involves filming from above the character, creates a sense of diminishment and exerts pressure on the subjects positioned below. In contrast, deep focus, which employs both close and distant planes to maintain sharp clarity throughout the scene, emphasizes the actions and facial expressions of the characters.

A crucial point to consider is that every element included in the frame must be thoughtfully selected, as each choice influences the overall narrative and emotional impact.

Before taking this lesson today, I did not realize that the elements included in an animation or film are often intentional; I previously thought they were merely for artistic expression. I began researching the mise-en-scène of the classic film Joker, which features a multitude of artistic shots and a wide variety of lenses and camera angles used to convey different emotions and messages throughout the film.

Jocker (2019)

Joker (2019) - IMDb

Shallow depth of field

The use of shallow depth of field in Joker effectively creates a sense of isolation for the character, enhancing the viewer’s emotional engagement. This technique establishes intimacy, allowing the audience to connect more deeply with the character’s emotions and struggles. By limiting the focus to Joaquin’s performances, the cinematography draws attention to his nuanced expressions and movements, emphasizing the psychological depth of the character and intensifying the overall impact of the film.

Long Lenses

The Zeiss Compact Zoom CZ.2 70-200mm T2.9 lens offers full-frame coverage and eliminates focus shift, making it ideal for various cinematic applications. It is predominantly used in action scenes, such as chase and fight sequences, to effectively showcase the dynamics of the action. By utilizing long lenses, the cinematography allows the audience to immerse themselves in the energy of the scene, enhancing the overall viewing experience and heightening the sense of intensity and excitement.

Wide shots

The use of long lenses in Joker mimics the character’s perspective, creating a sense of intimacy that allows the audience to connect more profoundly with the character’s emotions. This technique draws viewers into the character’s experiences, enhancing the emotional resonance of the narrative. By delving deeper into Joker, I began to recognize the significance of the various languages employed in animation and film, highlighting how these techniques contribute to storytelling and emotional engagement.

Progress on Critical Report

I have drafted several sections of the report, including the abstract and the main discussion chapter. In the latter, I intend to address the following topics:

  1. The Impact of Medium Shifts from Cinema to Television
  2. The Changing Presentation of Animated Characters as Performers
  3. The Influence of Merchandising on Character Personalities

Additionally, I have encountered uncertainty regarding certain components, such as the selection of keywords and the distinction between the abstract and the introduction. I will seek clarification on these matters and inquire whether they are appropriate topics for discussion with my course tutor and my language tutor.

Categories
Design for Animation, Narrative Structures and Film Language

Week 5: Social and Political comment in animation

About the lesson

In today’s lesson, we explored various forms of entertainment media that incorporate political themes, as well as the genre of animated documentary. I am particularly intrigued by the 1992 film A Is for Autism, directed by Tim Webb. This film uniquely portrays the lives of children with autism through the use of animation and an external voiceover, rather than relying on their own narration. I believe that animation can play a significant role in addressing social issues while preserving the dignity and privacy of the children depicted. The following video illustrates this concept.

Political Animations Examples

In addition to the political animations discussed in class, such as The Simpsons and American Dad, I conducted further research into additional examples within this genre. I discovered that several other notable animated works also convey significant political messages.

South Park: Bigger, Longer & Uncut (1999)

South Park: Bigger, Longer & Uncut (1999) is considered politically charged due to its sharp satire on issues like censorship and political correctness, modern parenting, and geopolitical tensions, particularly with its portrayal of figures like Saddam Hussein. The film critiques societal biases and reflects on race relations while using humour to engage with serious themes. Its commentary remains relevant, showcasing its ability to reflect contemporary issues and making it a notable work of political satire.

The Lego Movie (2014)

The Lego Movie is political due to its satirical portrayal of a totalitarian regime led by the villain President Business, who symbolizes corporate control and conformity. The film critiques societal issues like surveillance, media manipulation, and authoritarianism, all while wrapped in the playful and accessible format of a children’s movie. Its clever use of humour and pop culture references allows it to engage both kids and adults, making serious themes relatable and entertaining. This combination of fun and political commentary has garnered widespread acclaim, highlighting its depth beyond a typical animated film.

Animal Farm

Animal Farm is a political allegory that critiques Soviet Communism through the story of farm animals overthrowing their human owner, only to suffer under a new tyrannical regime. George Orwell uses this fable to illustrate how revolutionary ideals can lead to oppression when power is concentrated in the hands of a few.

The narrative serves as a warning about the dangers of totalitarianism, propaganda, and the betrayal of revolutionary goals. The book’s simplicity and humor make its complex themes accessible, allowing it to resonate widely and even serve as a propaganda tool during the Cold War. This dual purpose—both literary and political—demonstrates its enduring relevance as a critique of power and corruption.

More about animated documentary

1. What constitutes an animated documentary?

  • An animated documentary combines elements of documentary filmmaking with animation to convey real-life events, stories, or issues. This genre uses animated visuals to illustrate factual narratives, often incorporating interviews, archival footage, and voiceovers. By blending these techniques, animated documentaries can make complex topics more engaging and accessible to a wider audience, allowing for creative storytelling that resonates emotionally.

2. What are the implications of using animation in a non-fiction context?

  • Animations with a non-fiction context can significantly alter viewers’ perceptions and knowledge. While many people associate animation with imagination, fantasy, or childhood, using it to convey real-world messages can change how audiences view the medium. As I mentioned earlier, animation can effectively communicate serious topics, such as autism, in a more engaging and visually captivating manner.

3. What issues arise from the use of animation in documentary?

  • Using animation in documentaries raises concerns about artistic interpretation and perception of authenticity. The creator’s stylistic choices can significantly shape the narrative; for example, a whimsical animation style used for serious topics might undermine the gravity of the issue. Additionally, viewers may question the credibility of animated representations, feeling that they lack the realism of live-action footage. This skepticism can affect how seriously audiences take the information presented, as seen in animated documentaries on sensitive subjects like climate change, which may be perceived as less credible than traditional formats.

4. Do you think that all non-fiction work that contains animation can be considered to be an animated documentary? Why/Why not?

  • Not necessarily. An animated documentary requires a key message that the creator intends to convey, often related to a political, social, or environmental issue that warrants attention. However, not all non-fiction works contain a central message to communicate. Therefore, not all non-fiction that includes animation should be classified as an animated documentary.

Progress on Critical Report

Today, I have confirmed my research topic: “How do animated characters such as Bugs Bunny develop personalities beyond the author’s original intent over time?” I have been advised to outline a structure for the report and to include relevant references. Additionally, I will address the merchandising of these characters, including their presence on items such as mugs and t-shirts.

Categories
3D Computer Animation Fundamental immersion

Week 5: Physics Planning

Lesson Today

In today’s lesson, we conducted tests on the physics system within Unreal Engine (UE), specifically focusing on fracturing models, constraining them, and recording the resulting animations in two distinct ways. This process allows for the rendering of animations and enables further editing post-production.

I found the lesson particularly useful as it built upon concepts I had previously learned in Maya, although the approach in UE differs significantly. Additionally, learning the recording process within UE’s sequencer, where animation properties such as location, rotation, and scale can be edited on a timeline, was highly beneficial for future animation editing.

Project Progress

This week, my focus will be on selecting an appropriate model and designing the environment. I intend to utilize a fish model sourced from the Epic Games Fab platform for this purpose.

Since the model lacked a rig, I implemented one to animate the fish’s fins, face, and tail effectively. Additionally, I plan to adjust the fish’s color and texture to align with the storyline and overall environment design.

For the environment, I initially selected an unsuitable asset, mistaking it for a model-rich, imaginary underwater world. Unfortunately, it turned out to be a simple HDMI photograph, highlighting the need for greater caution when purchasing online assets.

Categories
Design for Animation, Narrative Structures and Film Language

Week 4: The Auteur and Animation

About the Lesson

An auteur refers to a director with a distinct, personal style. Unlike traditional directors, auteurs are in control of the film’s interior meaning and possess strong technical competence. This auteur theory traditionally applies to live-action cinema, but it has also sparked debates in animation, especially when considering a studio like Pixar. Pixar’s unique position as a collaborative studio challenges yet supports the notion of auteurism within animation. Even though Pixar operates as a collective, individual directors like Brad Bird or Pete Docter are often celebrated for their distinctive contributions, shaping the discussion around animation auteurs.

Can Pixar be considered an auteur studio?

Pixar can indeed be considered an auteur studio. Despite its team-based structure, the studio has maintained consistent thematic and stylistic elements across its films, such as emotionally resonant storytelling, existential themes, and technical innovation in animation. These recurring elements create a recognizable identity, which is characteristic of an auteur approach. Directors like Brad Bird, Pete Docter, and Andrew Stanton bring their unique personal visions to Pixar’s films, but always within the framework of Pixar’s signature style. This allows the studio to both function as a collective auteur and highlight individual director-auteurs who contribute to its creative output. Pixar’s emotional depth, attention to narrative, and technological mastery in storytelling are all hallmarks that establish its auteur status.

Why do they privilege or name individual directors?

Pixar privileges or names individual directors to acknowledge the personal visions that shape their films. Directors like Brad Bird (with The Incredibles and Ratatouille) or Pete Docter (with Up and Inside Out) infuse their projects with distinct personal themes and styles, contributing significantly to Pixar’s overall brand. Naming directors also helps the studio build a recognizable identity in the eyes of the audience, as certain themes or emotional depths are attributed to specific creators. This strategy allows Pixar to honor the auteur influence within its collaborative structure, while also drawing attention to the creative minds responsible for shaping specific narratives.

Case Study: Choosing an Auteur Studio

When considering the status of another animator or studio as an auteur, let’s take Studio Ghibli as an example. Like Pixar, Ghibli is recognized for its consistent themes, style, and ideological perspective, particularly through the works of Hayao Miyazaki.

  • Themes: Ghibli films often explore themes of environmentalism, pacifism, and coming-of-age journeys. These recurring topics make Ghibli’s works distinct in their ideological stance.
  • Ideology: Many Ghibli films advocate for the protection of nature, anti-war sentiments, and a deep appreciation for childhood innocence, giving the studio a clear ideological viewpoint.
  • Style: The hand-drawn, painterly aesthetic of Ghibli’s animation is instantly recognizable, contributing to its auteur status. Even with different directors, this style remains consistent.
  • Aesthetic: Ghibli’s use of soft colors, fantastical landscapes, and the fluidity of animation create a specific visual language that is closely associated with its films.
  • Characters: Ghibli characters often possess a quiet strength and resilience, with many protagonists being young girls who must navigate complex worlds. These consistent character traits add to the studio’s auteur identity.
  • Merchandising: Like Pixar, Ghibli has a strong presence in merchandising, with its characters like Totoro and Spirited Away’s No-Face becoming cultural icons. This reflects how the studio’s aesthetics and themes resonate beyond the screen into broader consumer culture.

In advocating for Ghibli’s auteur status, we see similar elements to Pixar—consistent thematic depth, a distinct aesthetic, and iconic characters—despite operating as a collective studio with multiple directors. Ghibli’s films are unmistakably its own, shaped by the personal visions of directors, particularly Miyazaki, while staying true to the studio’s overarching identity.

Learning through Analysis

When analyzing Pixar’s or Ghibli’s auteur status, I realize the importance of recognizing the balance between individual vision and collective studio identity. Both studios succeed because they offer emotional depth and technical mastery, yet their films are shaped by distinct directorial contributions. I also see how my personal tastes in animation—such as a preference for emotionally engaging stories and visually stunning worlds—align with the auteur elements I appreciate in these studios. Reflecting on these aspects deepens my understanding of how auteurism extends beyond live-action cinema into animation, where personal vision and collective collaboration intersect to shape some of the most beloved films today.

Progress on Critical Report

Below are some questions I have developed for the report. I am uncertain about their adequacy and plan to discuss them with my professor for further guidance.

  • How does Pixar use storytelling, color, and cinematic techniques to enhance narratives?
  • How do cinema and screening practices affect audience engagement with animated films?
  • What role does color play in shaping character and emotion in animation?
  • How do interactive elements improve viewer engagement in animation?
  • What are the core differences between experimental and commercial animation?
  • How do animated characters develop personalities beyond the author’s original intent, especially in abstract works?
Categories
3D Computer Animation Fundamental immersion

Week 4: Sequencer Materials

Lesson Today

In the current lesson, we examined a range of techniques pertaining to the sequencer, which we initiated last week. Additionally, we engaged in various methodologies for material creation. I have come to recognize that employing both a subsequencer and a master sequencer considerably improves organization and efficiency in the creation of shots and animations. Furthermore, the implementation of instant materials demonstrated significant convenience, facilitating real-time modifications throughout the material development process.

Project Progress

As the project evolved, I advanced my work through comprehensive research and refinement. Building upon the initial storyboard, I developed a revised version that incorporates elements from multiple narratives, adapting these components to ensure compliance with the specified length requirements.

Inspiration

Given my frequent experiences of fear in unfamiliar environments, I aspire for my narrative to illustrate a character’s journey in confronting and ultimately overcoming their fears. To visually represent fear in animation, I intend to depict elements that may arise in the character’s perception during moments of apprehension. For instance, threats that seem tangible to the protagonist, despite not being present in reality, will be portrayed within the scene as manifestations of their fearful vision.

Recognizing that my initial narrative concerning fear was overly lengthy, I opted to revise it by transforming the protagonist from a human into a fish, thereby enhancing alignment with the scope of the story.

Concept

In a lake, a ghost fish hides under an invisible cloak or changes colors to conceal itself, feeling anxious about other fish. Realizing that they are not as frightening as it thought, the fish attempts to engage with them but accidentally gets stuck in its cloak, rendering it immobile. Although the other fish cannot see it, they hear its voice and work together to help it escape. Once freed, the ghost fish overcomes its fear and happily interacts with the other fish, experiencing the power of friendship.

Research

Initially, I envisioned the fish as a cute character; however, I later considered designing a fish that inflates whenever it experiences fear.

While I found this concept intriguing, I recognized that such a design for the fish is commonplace in reality and would not distinguish my work effectively. Consequently, I conducted research on fish animations to generate additional ideas.

I also intend to incorporate elements related to nature in the shot; therefore, I referred to various nature shots and images for inspiration.

To enhance its uniqueness, I also referenced images featuring distinctive environments and color palettes.

These color palettes and environments evoke a more imaginative and mysterious atmosphere.

Background of characters

The character is a fish that utilizes a cape to render itself invisible, thereby disguising its presence from others. My objective was to create a character that is both cute and appealing while simultaneously embodying traits of shyness and fearfulness. To aid in the design process, I employed AI image generation techniques for inspiration, resulting in the following outcomes.

Character designs

I find the final design of the character particularly appealing and may use it as a reference or as the primary character in the narrative.

Mood boards

Categories
3D Computer Animation Fundamental animation

Week 4: Ball with tail(Spline)

Ball with tail(Blocking): Previous Homework Changes

For the previous “Ball with Tail” homework submission, two major issues were identified. First, the time the ball remained on the ground was insufficient to convey a proper sense of weight. Second, the tail flick after the ball made contact with the ground occurred too quickly, resulting in an unnatural motion due to incorrect timing.

In response, I attempted to address these two major issues, and the following is the revised outcome.

Ball with tail(Spline):

This week’s task involves further developing the “Ball with Tail” animation. Specifically, we are required to convert the ball animation from blocking mode to spline mode.

Blocking

This refers to the animation technique in which key poses are created to establish the timing and placement of characters and props within a given scene or shot. It serves as the initial stage of animation development, often used to provide a rough indication of timing, indicating where the character should be positioned and what poses it should adopt at various points in time.

Spline

This refers to the animation technique aimed at creating smoother motion. When keyframing an animation, the software automatically generates the intermediate frames between key poses. This process represents the second stage in the animation development workflow.

For this completed task, I found the animation to be relatively smooth in blocking mode but somewhat unnatural in spline mode. I am uncertain whether the issues lie in the timing or the pacing (i.e., the placement of keyframes). I plan to make further modifications after receiving feedback in the upcoming lecture.

Categories
3D Computer Animation Fundamental animation

Week 3: Ball with tail

Pendulum: Previous Homework Changes

In a recent assignment on pendulum animation, my tutor provided feedback that emphasized a critical aspect to improve: the “end shake,” or follow-through action in animation. Upon reflection, I recognized that my representation of the follow-through was not realistic, as it did not include the natural “S” and “C” curves that are essential to the progression of the shaking movement.

Subsequently, I attempted to revise the pendulum animation based on the feedback provided.

While it may not be perfect, the follow-through now appears more natural than in the previous version.

Ball with tail: Planning

In this week’s lesson, I also worked on the ball with tail animation, which I found quite challenging. This was due to the increased complexity of animating both the ball and the tail simultaneously. Additionally, it was my first time using the blocking technique, which involves keyframing only the essential poses in an animation.

Below are my initial plans. Ultimately, I chose to proceed with the design on the left, as the one on the right proved too complex. I preferred to focus on refining the details rather than pursuing a more intricate approach.

Ball with tail(Blocking): outcome

This is the result of my ball-and-tail animation. I am uncertain whether it achieves the desired level of smoothness or if I have incorporated an adequate number of keyframes. I plan to continue practicing the shaking motion and the follow-through of the tail to enhance these elements further.

This animation was created using the “Blocking” method.

Blocking

Blocking refers to a technique in animation where the keyframes remain static and do not alter when navigating between them, whereas spline animation involves smooth transitions that change as one moves between keyframes.

Another notable difference between these two animation techniques is their representation in the graph editor.

The Graph Editor functions as the engine of the animation software Maya. It facilitates the smoothing of animations by adjusting speed, pacing, and easing effects, among other features. All keyframed elements can be visualized within the Graph Editor, allowing for the editing of various settings, including translation, rotation, scale, and other keyable controllers, either collectively or individually.

In the Graph Editor, blocking is represented by straight horizontal lines, indicating that there is no connection between the different keyframes. Consequently, changes between the keyframes are not visible, reflecting the discrete nature of this animation technique.

In the Graph Editor, spline animation is represented by connected keyframes, creating smooth curves. When you navigate between the keyframes, you can observe the gradual changes in movement, showcasing the fluidity of this animation technique.