Week 12: Rigging, Skinning

Binding and weighting geo

What is skinning? 

Skinning is the process of connecting geometry to the joints and then weighting the fall off. In terms of Maya we are connecting joints to vertices using a skin cluster node. The skin cluster node is part of the deformer family.

Binding : (Max) influences

When you bind any vertex will inherit a shared connection (weighting) to any number of joints (to a maximum set in the options).

Initial binding options: Post weights vs interactive weights

Interactive Weights
In post weights, the shared relationship between a vertex & any number of joints adds up to 1 (100%). Cannot drop under a value of 1 in total

Post Weights
In interactive weights, each joint can influence any vertex up to a value of 1 (100% each). The total value cannot drop under 1

After you edit the wights using painting weights which is a process of changing those relationships

The golden rules / common pitfalls

In skinning you never subtract you always add.

Edit weights manually, and then brush paint’ if necessary.

Don’t use smooth without ‘locking weights’.

Corrective blend shapes are added to maintain volume and create distinctive shapes within a deformation. However, the goal is to paint the weights as best as possible first, not to rely on the shape to ‘fix’ any skinning issues

In the bind skin option box the “bind to option” with joint hierarchy maya is going to bind all the joints in chain to the geometry

Creating a broken bind

  • Clean-up

I fist loaded all the weight to the chest and after I am going to remove it gradually to the right joint by floating the weight to the vertices of the corresponding joint. (by selecting the vertices in loops and the designated joint and flooding) chest-shoulder-elbow-wrist-fingers-clavical-lombars-pelvis

Grow selection to select vertices for the vertices

– Mirroring weights

after I passed on the leg following the same process (pelvis-hip-knee-ankle) and mirroring the weight on the other leg

for the feet I first edited the weight for one foot and after to mirror it to the other one I have select them both and mirrored the weight

Add influence to add a joint

Blending weights using component selections

– Pose space (corrective blend shape) deformers for corrections: adding a pose interpolator by going to a frame where the character’s skin is deforming incorrectly, or move the character into a pose where you want to add a corrective shape.

So I have created a pose and a modelling a shape to blend weights where the character geo would bend to make those poses more natural.

For the fingers in order for them to fold correctly I have added weight first to the joint that drove the movement, the joint that was the parent to the one where the geometry was bending unnaturally.

So I have selected the loop and converted to vertices and added the weight so that the influence of the geometry is shared between the two joints and the geometry folds more naturally

I have applied the same process to the consequent joint to share the influence on the geometry.

Average the weights based upon its neighbours

I after manually smoothed the paint weight for the thumb adding some influence to hold back the area where the thumb bend to maintain the volume

For the wrist I have applied the same process for the wrist selecting the vertices from an edge loop and add the influence to either the wrist joint or the elbow to maintain the volume when it’s bent.

Same for the elbow I have distributed the weight between the elbow and the shoulder by selecting the vertices of the mesh involved in the bend

For the shoulder the influences this time had to be distributed between three joints: the shoulder, the clavicle and the chest according to the the different parts of the shoulder itself.

The part on the top had to be blended for the shoulder and some weights added on the clavicle, the part corresponding to the armpit had to be shared between the clavicle and the chest always working according the vertices which in this case were only those affecting the specific are not the whole edge loop.

The most tedious part to skin weight is the spine since that the weight had to be distributed in a way that when the spine ben on a side the volume is maintained but if the influence on the pelvis was excessive the movement of the latter could have been compromised.

I have mirrored the skin weights from one arm to the other and from one leg to the other since I have been working on one side only.

Week 12: Rigging and Animation workshop part 2

12 principles of animation

All of of these principles can be applied to all medias in animation. With the squash and stretch animations can show how fluid the object is; anticipation is something which which the audience can anticipate the action, where is going; staging in 3D animation is posing, how an action is clean on screen; straight ahead and pose to pose refers to the way an animator works by posing an object and creating some in betweens and straight ahead animation as you go; follow through and overlap showing the weight and characteristics of an object, how it works; ease-in and out refers to timing and spacing of keys of an animation in a 3D environment; arc refers to the action of an object since every actions follows an arc; secondary action are objects that are affecter by other motions. Even if these principles are applied predominantly in 2D, also 3D animation can be seen in these terms because the finished material is going to be a sequence of 2D images.

Solid posing (appeal)

what makes a good pose:

  • is it clear, readable
  • demonstrate a sense of weights and physicality
  • visually dynamic (line of action, asymmetry, silhouette, negative space and contrast)
  • conveys character

line of action

run cycle:

Using the reference pictures for the poses to use in a run cycles first key these on the timeline.

hip rotation dynamic: shoulder has counter weight the position of the hips.

tracking the arc of actions using a motion trail:

The part on the ground of the run cycle should be linear in the graph editor for the feet to move forwards.

When creating breakdowns animators should be thinking of: arcs (anticipation, overshoot) and spacing (lead of one part of the body, follow through/drag of the action).

Pose to Pose exercise with the Punisher character

Starting by editing the animation settings to create stepped keyframes

I have created the main poses on 8

I after added some breakdowns

This exercise gave an awareness on posing and the importance that it has when it comes to animate a character: the silhouette of the character and the readability of the action as well as the line of action are all elements that work together to create a great and dynamic animation.

Final playblast video

Week 12: Project Development

Since we are doing something different for the second project, I will now pause the cat project for now and focusing only on the Fisherman project since is the one I have made a presentation of. However the cat assets modelling , rigging and texturing was a good exercise that helped me developed my skills.

Miro Board Link:

https://miro.com/app/board/uXjVOKHnfj0=/?share_link_id=371325218573

Restart the rigging:

Since I have started rigging the fisherman character last term before this term workshops on rigging, I thought I could restart rigging the character using what I have learned form class. If I can’t make it on time I will use my old rig for the final animation.

Fishing rod

The model I had previously modelled, textured and rigged of the fishing rod had some issues in the geometry itself: it was not accused, it was not representing faithfully a real fishing rod and also the whole rigging system even thought it was functional for the animation it had some issues in the skiing, also due to the model. Since that this prop is going to be one of the focus of the animation itself I have decided to look for a more elaborated model to download and after rig myself.

In the end I have found this model on cgtroader from emelyarules:

I after created a joint chain that I binded to the geometry, as well as importing the handle I had created for the old fishing rod since the one on the model was combined on the geometry.

For the bending I have set driven keys within a range of -10 and 10 to make the fishing rod bend correspondingly upward and downward.

Animatic

Using the storyboards as a guide I have created an animatic to use as a reference for the animation.

Single frame render on an action

Reference videos and pictures for fishing

This videos and image might be helpful for me in the animation stage since there are few basic actions that I could use a reference.

These are some standard poses which outline clearly the silhouette of the character.

Week 11: Project 2 Concept

Modelling/sculpting and texturing one asset from Van Gogh’s painting “Bedroom in Arles” as a case study

For my FMP I wanted to create a short 3D animated film revolving around Van Gogh: my idea is to create a Van Gogh avatar which would take the viewers on a tour of his most famous paintings, which I would create a 3D version. I am planning to create a 3D “house” where the elements of the different painting are a part of.

According to this idea, for this premise project I want to start and create the 3D version of an object from Van Gogh’s “Bedroom in Arles” since it would be the focus of the animation and I would be able to concentrate more on the details of the texture, modelling and UV mapping which I will after apply on a bigger scale. It would also be challenging for me since Modelling, Sculpting and Texturing are skills that I am still developing.

This project would also be useful for me since I am planning onto using substance surface for the texture and this is a software I have never used before.

The asset I am going to model is the bed, since is one of the asset which draws the attention in the painting.

The following are some concepts ideas to use as a reference for the project:

Week 11: Modelling Principles (Intro to Modelling) Notes

Control the collapse of the object by switching from1 low resolution and 3 high resolution which are preview modes.

Component mode to get into the structure of the object: how to understand Object Mode and Component Mode in Maya. In the Object Mode, objects are treated as a complete unit. By selecting the object and clicking the Component Mode icon, you have access to move the object’s points, lines and faces. The object components may be moved, scaled or rotated.

Bevel tool: the Bevel tool allows you to create chamfered or rounded corners on geometry. A bevel is an effect that smooths out edges and corners. True world edges are very seldom exactly sharp. 

Insert edge tool: the Insert Edge Loop Tool (in the Modeling > Mesh Tools menu) lets you select and then split the polygon faces across either a full or partial edge ring on a polygonal mesh. It is useful when you want to add detail across a large area of a polygon mesh or when you want to insert edges along a user-defined path.

An edge ring is a path of polygon edges that are connected in sequence by their shared faces. An edge loop is a path of polygon edges that are connected in sequence by their shared vertices.

Extrude tool: extrusion is our primary means of adding additional geometry to a mesh in Maya. With offset extruded faces act as different faces.

Geometry smoother: controls how Maya displays a polygon mesh in the scene. The mesh can be displayed either un-smoothed, fully smoothed, or in both modes simultaneously. The default setting is off. See Preview a smoothed mesh.

Input model history: delete the history (Maya has to calculate each history item you make in the sequance it was made. Once you start getting a bunch of them, the model can become unstable. Also, some actions, like binding and animation, can be adversely affected by some kinds of history items.)

Freeze transformation: the Freeze Transform tool sets the selected object’s position, rotation, and scale to world-relative origin ({0,0,0}) without changing any vertex positions. That means it resets the pivot location and clears all Transform values, but doesn’t change the size, shape, or location of the object in the Scene.

Create 3D surfaces using curves

Create the points for the curve; revolve the curve to create a 3D object (curve at the centre of the grid) convert it to nurbs object based upon curves.

Polygon, curves, nurbs

The difference between NURBS and Polygons is NURBS use curves and splines, whereas Polygons use flat and straight lines and vertices to create a mesh. NURBS are most commonly used in engineering models where accuracy is paramount. Polygons create solid planes and shapes by drawing lines between specific vertices.

Polygonal modelling vs Nurbs: for polygon modelling it calculates polygons, which are flat planes that comprise a 3D shape (the way that a cube is made out of 6 squares for example). NURBS calculates the mesh as splines between points, which can make curves out of a single section of geometry.

Non-Uniform Rational B-Splines (NURBS) provide a 3D modeling framework based on geometric primitives and drawn curves. You can use NURBS in two ways: Construct 3D models from NURBS primitives. Primitives are simple 3D objects created in the shape of common geometric forms such as cubes, spheres, cones, and so on.

Polygons are a type of geometry you can use to create three-dimensional models.

Nurbs to subdivision: subdivisions bridge the gap between nurbs and polygons

Smooth polygons- two ways: 1,2,3 on the keyboard preview temporary conversion, mesh smooth (full geometry smooth).

Smooth Mesh Preview lets you quickly and easily see how your polygonal mesh will appear when smoothed. You can quickly cycle between different Smooth mesh preview modes by pressing the 1, 2, or 3 keys when an object is selected. By default, meshes automatically display with Smooth Mesh Preview turned off.

Smooth Mesh Preview lets you quickly and easily see how your polygonal mesh will appear when smoothed. You can quickly cycle between different Smooth mesh preview modes by pressing the 1, 2, or 3 keys when an object is selected. 

By default, meshes automatically display with Smooth Mesh Preview turned off. When Smooth Mesh Preview is turned on, you can display the original mesh and a smoothed preview simultaneously (Cage + Smooth Mesh display mode) or the smoothed preview by itself (Smooth Mesh display mode). This mode is ideal for tweaking your mesh prior to an actual smooth mesh operation since any modifications you make to the original mesh will automatically update the smoothed preview. However, remember that Smooth Mesh Preview only changes the display of a mesh to allow you to visualize how it will appear when smoothed. The original mesh is not modified or smoothed.

Summary:

  • We can create objects using curves;
  • Curves have a close relationship with nurbs objects;
  • Nurbs don’t match with polygons since they are very different, but there are subdivision surfaces in between which can help to convert one to the other.
  • When we use polygons we end up smoothing them to match nurbs object since they are already organic objects
  • A polygon can be smoothed in two ways: using a smooth preview or with a high resolution subdivision of the geometry

Create a hard surface model, useful tools:

Lattice tool: the lattice is one of Maya’s most useful deformers. It surrounds an object with a box-like wireframe structure; this is the lattice the deformer is named for. The points of this structure can be selected and transformed, which also transforms the portion of the surface they enclose.

Delete edge vertex: when the edges of a polygonal mesh are deleted using the Delete key, the selected edges are deleted, but not the shared vertices at the ends of the edges. Use this tool if you want to delete the shared vertices associated with the deleted edges.

Merge threshold: to merge edges or faces into a single vertex. Select the vertices, or the edges or faces bordering the vertices that you want to merge to a center point. Note: You can only merge edges that are part of the same polygon mesh.

Cv curve tool: CV curves are the building blocks for Nurbs objects and surfaces. A curve is essentially a line and does not appear in your rendered image. By starting with a curve, you can build skins, revolved surfaces and lofted objects. CV is short for Control Vertices.

Curve snap: select vertex, then click and move on curve using middle mouse button. In some situations the snap to curve tool stubbornly refuses to snap to curve at all. A vertex rather snaps to its polymeshes own edges than to the curve. 

Extruding some faces of a cylinder on a curve will automatically position them on the curve and increase subdivisions.

Week 12: Design methods schedule – Methodology

The methodology: approaches and methods applied to develop findings.

Understanding methodology:

Research aims and objectives will form the basis for decisions on your approach to the methodology.

The first question you need to ask yourself is whether your research is exploratory or confirmatory in nature. 

investigative approach. get sources that already exists

first question: whether your research is exploratory or confirmatory

exploratory, qualitative: if your research aims and objectives are primarily exploratory in nature, your research will likely be qualitative and therefore you might consider qualitative data collection methods (e.g. interviews) and analysis methods (e.g. qualitative content analysis). 

confirmatory, quantitative: if your research aims and objective are looking to measure or test something (i.e. they’re confirmatory), then your research will quite likely be quantitative in nature, and you might consider quantitative data collection methods (e.g. surveys) and analyses (e.g. statistical analysis).

purpose:

to describe the processes and outcomes of their research. including a methodology helps summarise your studies for readers who review your work. Additionally, the methodology is important for providing insight into the validity and reliability of your research.

Is the section in which you describe the actions you took to investigate and research a problem and your rationale for the specific processes and techniques you use within your research to identify, collect and analyse information that helps you understand the problem. (For thesis what actions you took for the investigation -past tense; for proposal, propose the action you, process and techniques to analyse the informations, read the arguments for and against, analyse what you find -future tense as well as past)

It gives important insight into two key elements of your research: your data collection and analysis processes and your rationale for conducting your research. When writing a methodology for a research paper, it’s important to keep the discussion clear and succinct and write in the past tense.

how are you collecting and analysing your data

The methodology also includes an explanation of your data collection process. Several key details to include in this section of a methodology focus on how you design your experiment or survey, how you collect and organize data and what kind of data you measure. You may also include specific criteria for collecting qualitative and quantitative data.

Your data analysis approaches are also important in your methodology. Your data analysis describes the methods you use to organize, categorize and study the information you collect through your research processes. For instance, when explaining quantitative methods, you might include details about your data preparation and organization methods, along with a brief description of the statistical tests you use. When describing your data analysis processes in regard to qualitative methods, you may focus more on how you categorize, code and apply language, text and other observations during your analysis.

What to include? (two paragraphs) describe the research, data: film to analyse, articles, books

Data collection (also google scholar etc), data analysis, resources and materials, rationale behind the research (to show readers why your research is valid and relevant)

difference between methodology and methods

While the methodology is the entire section of your research paper that describes your processes, the methods refer to the actual steps you take throughout your research to collect and analyse data. The methodology serves as a summary that demonstrates the validity and reliability of your methods, while the methods you detail in this section of your paper are the scientific approaches to test and make conclusions about the data you study. 

format

avoid lists, summary or essay a paragraph: the methodology usually appears at the beginning of your paper and looks like a summary or essay in paragraph form detailing your research validity, process and rationale. 

content

The content within your entire methodology focuses on delivering a concise summary of your research, approaches and outcomes. The content in your research paper that details your collection and analysis methods differs because it’s often necessary to explain your scientific approaches and research processes with lists and visual aids to support the information.

(abstract only for thesis not proposal )

Week 11: Manual Rigging – Skeletons

Model geometry & flow

The model has a v shape because is better for skinning arms (not as high as they would be for a t pose) but is more difficult to position fingers joints.

Joint chains (parent / child) structures

Joints follow a hierarchy and joints are parented to the child if they are part of a structure in the outliner. When positioning the joint to align them to a model the rotate axes should not be used instead they can be positioned using “joint orient”. It is used to orient children of selected joints. When on, the Orient Joint Options affect all the joints below the current joint in the skeleton’s hierarchy. When off, only the current joint is affected by the Orient Joint Options.

When creating a list of joints the root joint has the translate values (to the world) and the children to that joint would have as translate values the distance to the root joint.

Joints & local rotations

Joints have world coordinates and local rotation axes. In a chain of joints the local rotation should be the same otherwise when rotating then they would behave incorrectly.

Ik handle always have a bend in the joint chain depending on the direction you want it to bend.

Finding joint positions in a model (locators marking & clusters)

In order to place the joints create first locators a point in the space on a different layer so to have a “clean” and precise base to after position the joint in the correct way.

The first locator I would create is at the centre of the pelvis holding the x key I have snapped it to the grid position it in the centre of the model, after I have duplicated three more locators for the spine of the model positioning the last where the chest is.

For the leg of the model I have created three locator which I have parented together to create a chain to keep the leg straight: one in the hip using the wire of the model as a guide; the second locator on the knee in the middle loop where they are concentrated and it does not need to be positioned in the centre since the knee, differently from the leg, does not bend to the right of left; I positioned the third one on ankle. rotating the root locator of the leg to be slight tilted to the ankle is going to establish the flexibility of it to better position the joint.

The feet locator have to be aligned to the ankle locator, so for the first one I snapped it to the ankle locator holding v and after to the grid holding x so that they were aligned. The second one should be where the toe bend, in the centre, and the third one to the end of the toe. I have created two more to be placed at both sides of the foot where the second locator is.

For the arms I placed one locator where the clavicle is to help more the shoulder. Just like I did for the leg I have created a chain of locators for the arm in order for them to be aligned to each other, the root locator positioned in the shoulder and the children in the elbow and in the wrist. I have placed the last two locators positioning them roughly where the end position was and in order for them to be aligned with the root I have rotated them using the root locator at the shoulder.

For the neck I have created two locators.

For the fingers I have created a chain as well. To position them I have used a cluster as a guide to find the centre of the loop of the model fingers and snap the locator. I have used constraint aim for the controller and controlled locators to align the individual fingers locators chain.

I after mirrored the locators of the arms and the legs to the right side of the model.

Creating a human body skeleton and keeping joints clean & straight using grid snapping & joint orient

I after started creating the joint using the locators I had previously created as a guide.

I started from the leg and I have created three joints chained together by snapping them to the grid using x.

Rotation vs joint orient

When creating a skeleton in order to maintain the joints of the legs, the arms, the feet and the fingers aligned instead of using the rotation on the channel box I have used the joint orient of the root joint to rotate them.

I after created the foot joint by aligning the two new joints to the ankle joint, snapping them to it using v and after snapping them to the grid using x and positioning them according them to the foot locators.

After I have created the spine chain joints by snapping them to the locators using v.

I have then modified the local rotation of the root joint to make the overall spine chain rotate correctly.

Following a similar process I have used for the legs joints I have created the arm joint chain

The fingers were the most tedious joints to create since that the fingers were slightly bent: I have first created the joint chain, adjusted the distance between them and used the joint orient of each parent to make their child orientation correct without compromising their alignment.

For the thumb in order to avoid gimbal lock I have firstly snapped the joint to the locators and for the end of the thumb joint I have zeroed out the joint orient values to alight the rotation of the joint chain.

Naming conventions

In the outliner I made sure that everything was organised by naming the joints accordingly to their position.

Mirroring joints

In the end I have mirrored the joints of the arms and the legs to the right side of the model using this options:

Character rigging and animation workshop – Week 1 –

skeleton picture reference to create a rig for a character:

Using advanced skeleton I have built a skeleton

position the joints according to the model following the topology of the model itself and also anatomy of the human skeleton

Once the joints were in place I have built the skeleton structure for the rig using advanced skeleton settings

I after binded the skin of the geometry to the joints using the following settings:

In order to help the skinning process, I have imported some animations to apply on the rig to better maintain the volumes when doing specific actions

There are several methods to skin a human model, I have started from the fingers all the way down the feet. I will only work on the right side on the model since after I will mirror the paint weight on the other side of the model.

I have used the animations imported to adjust the skin weight and maintain the volume of the model when bending in determined ways. The main tools for skin weight are the value and the opacity of the brush used for painting where the white areas are those affected by the selected joint.

The areas that needed to be skin weighted the most were the shoulders even though since that the character is positioned in a v pose rather than a t pose so the bind skin for them would be more accurate but still needs to be edited. Also the back needed to be more graded out since the way it bent was unnatural at first.

Once the skin weight on one side were corrected I mirrored them on the other side.

In the end I have deleted the keyframes for the imported animation and I have created my own poses using some references that I have found based on the punisher character. The way I have created the pose is the following: always used hierarchies of controls (e.g. starting from the root control moving all the way up to the fingers and from the root control all the way down to the feet). I also took in consideration the balance on the body when positioned in a certain position and the line of action.

Notes on additional reading:

Jaw Joint Placement & Motion (https://imgur.com/bYO0I3s):

  • All ‘virtual’ joints that we place are based on virtual anatomical surface landmarks.
  • For the jaw of a human(oid) this pivot is under the earlobe when viewed from the side. The jaw/mandible slides forward as the mouth opens and the mandible/jaw slide forward as the mouth opens.

This instead is a table to use a s reference when modelling eyes and teeth of a character

Rigging Dojo Anatomy for 3D Artists (https://vimeo.com/16075544):

basic approach to anatomy for rigging-

  • the human body can fit the geometry of a square and a circle (Leonardo Da Vinci reference picture): each rigger/modeller has to have a basic knowledge of anatomy so that he or she can apply this knowledge to the specific needs of their characters.
  • the human body can fit the geometry of a square and a circle (Leonardo Da Vinci reference picture): each rigger/modeller has to have a basic knowledge of anatomy so that he or she can apply this knowledge to the specific needs of their characters.
  • The primal pivot of the head is at the bottom of the cranium which coincides with the bottom of the nose. Many movements originate from there without involving the neck;
  • 50% angle of some of the head movements do not involve the neck and when they surpass this percentage the neck is engaged in these movements.
  • the ribcage range movements: upper ribs little movement and the lower ribs cage do have a little movement.
  • There is not much space between the ribcage and the pelvis
  • when the leg is straight the leg rotates from the hip, when the knee bends this rotation involves the knee
  • The patellar tendon attaches the bottom of the kneecap (patella) to the top of the shinbone (tibia). It allows the knee to fall down when it bends.
  • A lateral rotation occurs when the inferior pole is directed toward the lateral side of the knee, while a medial rotation occurs when the inferior pole is directed medially. This rotational position may indicate underlying torsion of the tibia such as lateral tibial torsion. So, the foot and the kneecap are not aligned.

Week 9: Project developments

This week I have tried to assign a sit position that I will need in a scene so that I could directly import this cat version when I will be needing it.

For the fisherman project I have experimented with the texture of water which would be an essential part in the animation.

One way to add a water-like texture to a Polygon, in this case a plane, is to assign a standard surface first and into the bump map value a noise shade increase the frequency to 22 to simulate the waves, for the animation I have used the input =frame/50 to add a subtle moment over time in the viewport.

I have also experimented with the ocean shader applied on the Polygon directly however in the render view it would appear pink, as if it does not recognise the shade.

I carried a quick research on how to solve the problem and using intend of arnold, maya software

I have also rigged the fish for the fisherman in order to make the fins of the fish flip independently from the rest of the body and I also added some controls that will be useful in the animation stage and a scale option to the main asset control so that when I will import it into the scene I will be able to adjust its size.

As I did for each model which as a mesh, controls and rigs I have organised them separately in the outliner.

Since e then some of the fins will be moving independently I have added some skin weights to the involved areas.

Other two props that be be appearing in a scene are the basket and the fish skeleton, so I have modeled the props in maya.


texture for the fisherman and cat

Since I want to add a lever of “realness to my models, I have researched some ways to add some clothes texture:

To do this adding a bump map value to standard surfaces I had previously created. in the bump map assign a file of a cotton pattern (for the fisherman clothes) and multiply the uv sample to 6 and the bump value to 0.150.

I have assigned a automatic uv map to the mesh to make sure that the texture would appear homogeneous on the model.

how the shirt and the suit looks in the viewport

rendered picture

This week I also experimented with the hair render texture for the fisherman project.

The first method I have used is to paint brush the brows Polygon

Unfortunately I could not make them show in the render view after I converted the paint brushes into curves, so I tried a new method

I have applied some xgen hair “guides” and adjusted their curve and position, however I was not able to modify the length the width and the density of the hair.

Since I was not able to add xgen to the cat to add fur to it, I have thought I could apply the same method I had used for the Fisherman clothes adding a bump map value to the texture.

In this case I have used a short fur texture, this is the rendered picture

In the first phase as you can see the bump value was too big and the subdivisions were not enough.

This is the latest version

In the concepts for the character I had added the pupil shape that I could use for the cat’s eyes to convey different emotions, so I have created a second set of eyes with the pupils being very narrow.

to switch between the two I have created the set driven keys and added an attribute to the eye controls that triggers the visibility of them: when it is on one the eyes with the narrow pupils are visible and when is on zero the “normal” eyes are visible.

Animated Shorts without Dialogues

For my project I won’t use dialogues so the sounds will have huge impact on the overall experience of the animation communicating the story and helping the visual delivering the overall message.

This video was very inspirational and informs about the sound design process and it introduces the world of sound that has to be created for a film where everything has to be coherent. It talks mostly about Wall-e and in general Ben Burtt works, he is considered the father of modern screen sound.

Disney early approach to sound was to use musical sound for sound effect, which is something I will like to implement for my personal project since I think it would fit well with the theme too.

This compilation of Tom and Jerry cartoons are a great example of the direction that I want to take for the sound design:

Week 11: Developing a research topic – Proposal structure

Developing a research topic

When developing a research topic some of the following questions are useful to identify the right subject to investigate further when writing a thesis:

Does the topic motivate you to research? How might the research inform a reader, what will they learn? How might the inquiry connect with previous established research?

It is also important to consider why your research is relevant to the field of study and how it informs an audience.

The research should also demonstrate the following

Enquiry: engagement in practice informed by comprehensive analysis and evaluation of diverse complex practices, concepts and theories 

Knowledge: critical analysis and synthesis of a range of practical, conceptual and technical knowledge(s) 

Process: experiment and critically evaluate methods, results and their implications in a range of complex and emergent situations

Communication: articulation of criticality, clarity and depth. Communicating a diverse range of intentions, contexts, sources and arguments appropriate to your audiences

Realisation: advancing the personal, professional and academic standards of production 

Proposal Structure:

First establish that components of the Thesis structure:

Title page

Abstract

Acknowledgements

Contents page(s)

Introduction

Literature review (critique of materials/sources and methods)

Methodology (all approaches, and methods applied to develop findings)

Themed topic chapters

Results (necessary, depending on research methods)

Discussion or findings

Conclusions

References

Appendices

Proposal objectives:

It should be demonstrated how and why their research is relevant to their field. it should also demonstrate that the work is necessary to filling a gap in the existing body of research on their subject; underscoring existing research on their subject, and/or adding new, original knowledge to the academic community’s existing understanding of their subject.

establish the following: Audience and purpose (ask questions and write them down they could be used as titles for themed topics, can you answer them?)

the proposal should include:

The research methodology you plan to use. How will you approach the study and reach supported findings. The tools and procedures you will use to collect, analyse, and interpret the data you collect. An explanation of how your research fits the budget and other constraints that come with conducting it through your institution, department, or academic program.

The thesis proposal structure

introduction: (better to write it once you have done everything) achieves several goals – introduces the topic, states your problem statement and the questions your research aims to answer and provides context for your research.

background significance : why, what motivates you?, define the existing problems, provide the reader with the information they need. Suggest what you not covering, how you conduct the research as well as clearly define the existing problems your research will address. By doing this, you’re explaining why your work is necessary—in other words, this is where you answer the reader’s “so what?” 

literature review: introduce all the sources you plan to use in your research. This includes landmark studies and their data, books, and scholarly articles. It includes a collection of sources you chose and explains how you’re using them in your research. 

research design, methods and schedule: discuss your research plans. It follows the literature review and includes the type of research you will do (qualitative or quantitative, are you collecting original data or working with data collected by other researchers?, is it an experimental, correlational or descriptive research, the data you are working with, the tools you will use to collect data; are you collecting original data or working with data collected by other researchers?). It should also include the tools you’ll use to collect data.

It can be seen as a system to use to bring everything together to inform the reader of what is your objective is.

supposition and implication: even if you don’t know your findings, this should be the part where you write what you hope to achieve and want to reveal to the reader. have a clear idea of how your work will contribute to your field other than how will your work will create the foundation for future research and the problems your work can potentially help to fix.

it does not state the specific results you expect rather states how your findings will be valuable.

This section is perhaps the most critical to your research proposal’s argument because it expresses exactly why your research is necessary. 

conclusion: bringing back to the readier what research objective is, summarises the research proposal and reinforces your research’s states purpose.

Your conclusion briefly summarises the research proposal and reinforces your research’s stated purpose. This will be more considerably significant in the final thesis having completed the investigation.

bibliography : list of sources and their authors, include a filmography, telegraphy being analysed or referenced.

Key steps:

specific of what is is that you are doing,

Establish a theme or topic. This may develop and refine as you research but will be important to establish precisely before completing all necessary research and establishing the final structure. 

•Introduction, statement on the Issue, topic to be investigated and purpose of report 

•Methodology; describe the methods that you used for your research. You will also need to demonstrate why you chose to use them and how you applied them.

•Critical Review of literature informing the research and how you used your sources to investigate the topic and achieve objectives or answer the question

•Investigation of options based on evidence. Main discussion and findings with citations. Sub-headings are recommended

•Conclusions or recommendations to the audience based on findings 

“Conducting a Literature Review” by Dr Jennifer Rowley notes:

  • A literature review is a summary of a subject field that supports the identification of specific research questions.
  • Creating the literature review involves the stages of: scanning, making notes, structuring the literature review, writing the literature review, and building a bibliography.
  • The objective of the literature review is to summarise the state of the art in that subject field.
  • The concluding paragraphs of the literature review should lead seamlessly to research propositions and methodologies.
  • Articles in scholarly and research journals should form the core of the literature review. Most such articles will be written by researchers. They will include a literature review, a discussion of the research methodology, an analysis of results, and focused statements of conclusions and recommendations. Scholarly and research journals may also include review articles that provide a review of all of the recent work in an area. They will include a bibliography that may be an invaluable source of reference to other work in the area, even if the review does not match a proposed research topic precisely.
  • Concept mapping is a useful way of identifying key concepts in a collection of documents or a research area (understand theory, concepts and the relationships between them). Their purpose is to assist the researcher to develop their understanding.
  • There are five steps in the creation of a literature review: scanning documents, making notes, and structuring the literature review, writing the literature review, and building the bibliography
  • The literature review should integrate in a coherent account three different types of material:

• a distillation and understanding of key concepts

• quotations, in the words of the original writer.

• a distillation of positions, research findings or theories from other authors, but written in your words.

Bibliography

Rowley, J. and Slack, F. (2004), ‘Conducting a Literature Review’, Management Research News 27(4), pp. 31-39