Week 5: Camera paths, angles & sequences

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Camera shots are essentially what do you see in in the frames or what the director wants the audience to see, having the control over what is going to be shown in the frames and the motivation behind those choices. Camera position is important for deciding which perspective the camera is going to show

We can consider what is framed in the camera as the perspective of someone: A point of view shot (also known as POV shot, first-person shot or a subjective camera) is a short film scene that shows what a character (the subject) is looking at (represented through the camera).

Each shot in a film expresses a point of view, which often changes—sometimes with each new shot. The point of view, or narrative stance, mostly goes unnoticed by the audience. However, altering the point of view can profoundly affect how the audience interprets any scene and character.

  • First-person point of view restricts what the audience sees to the viewpoint of a single character. Extensive use of this subjective viewpoint can be problematic because we can never see our point-of-view character’s reactions. Films that use first-person POV usually focus on the characters that we can see rather than the character who sees them. However, it’s tough to connect with a character without seeing their face.
  • The third-person limited point of view presents the action from the perspective of an ideal observer. It’s the style of narrative most common in TV and film. The term “limited” refers to the idea that we only know a few characters’ feelings and thought processes, rather than the entire ensemble. When we start to understand more about supporting characters because of a narrator, the film moves into omniscient point of view.
  • An omniscient narrator or POV will tell the story without attaching it to a single character or group of characters.

I thought about all of the possible points of view in a scene and how they can affect a story. (Determining the point of view is one of the director‘s most significant contributions to a film). I created the scene and after animated variations on camera path following an animation I previously animated showcasing an angry walk.

Week 5: group meeting

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This week two students from the BA Sound Design course joined our project to help implement the sound for the VR games. The following is a list of sounds we will need:

Regarding the animation, we agreed with them that the music especially the on e to be played in the background as the narrative develops will be on 4/4 ( With four steady beats in each measure, it provides for a very stable rhythm).

We also asked if they could import the seagulls rigs into unity where they would scale and put them into the environment so that we would imported back to maya with the environment so that we would have a clearer idea of the spatial areas of each scenario.

We also created a to do list as we do in every meeting:

Week 4: Projects developments

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This week I have started model the assets for the fisherman project:

I have started from the focus of the short movie which is the fisherman character.

I have imported the model sheet first to use as a reference for modeling

I have created a cube and from the side and front view I have adapted it to the reference design

Once the face shape was ready I have deleted two faces for the eyes and extrude one for the nose

I after started working on the body by extruding some faces at the bottom of the face to create a neck and extruded them again to create the body

after I created new polygons and shape them to use as eyebrows and moustache which made him more expressive

I then created an hexagon shape to model the hat he would wear extruding the faces to create the main shape

I have extruded the faces at the side of his head to create some hear and added few strings of hear at the top

later I thought it would have been better to remodel the body since I was not happy with the first vesting of it. I have also added few details such a s hands and clothes which i have modeled starting from the body shape duplicating it and deleting the faces that I did not need. For the hand I used the cut tool to create new edges to then stitch together to simulate the fingers.

Boat model

I have also modelled the fishing boat where I have used the create edge loops, the cut and the extrude tool mostly to create it. I have assigned it a simple standard surface for the moment I will after export the uv map to add a bit of moss and scratches to make it more old and used.

Fishing rod

Another essential prop for the story is the fishing rod that the fisherman will use: I have created a very simple and rural one that may fit better with the character

After I have also used two reference pictures to model the fish and the corncob pipe, for this props I have used the soft selection tool to easily adapt the geometry to the picture without ruining the topology of the mesh. The extruding tool was also very helpful in this process especially to create external parts of the model without using different geometries.

Fish

Cornhob pipe

Week 4: Mechanical modelling and animation – Useless Machine

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This week’s task was to design, create and animate a useless machine. A useless machine or useless box is a device which has a function but its direct purpose is deliberately unknown.

I first created a basic Useless Machine: When the switch on the top of the box is flipped “on”, a finger comes out of the box, turns the switch “off”, and then retracts into the box.

I after created a Useless Machine Variation using a model of the character Wall-e from the university library, since he is a robot and I thought it could work well with the mechanical movement of the box, moreover wall-e himself has box-like features. I tried to recreate some of his characteristic animation from the film.

https://vimeo.com/676610203

Week 5: Establishing a research topic

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Developing a research topic – these points are very informative in the process of finding a topic to research into:

•Will the topic motivate you to research and discover

•How might the inquiry connect with previous established research (especially if there has been carried out a similar research, how might it impact that existing research?)

•Might it impact present or future theoretical and practical study (are there potentials to apply new learning)

•How might the research inform a specific audience  (who do you want to inform? practitioners such as other animators or directors, other academics… that can inform them)

•Will the enquiry fulfil and evidence the outcomes outlined in the assignment (development of the proposal should be evidence the assignment)

Once I will decide an interest in a particular area is to pin down the investigated question.

Consider why your research is relevant to the field of study and inform an appropriate audience. 

•On graduation which area or environment of production do you wish to focus upon and why? (this might be a starting point for a research topic and also FMP proposal)

•What skills will you need to attain the standards required for vocational practice?

•How will you showcase your FMP practice for the final shows?

•Is it important to directly connect the thesis research to your practical work?

•Do you have an area of research you wish to conduct that is unrelated to practical element?

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

Thesis proposal structure

•Introduction

•Background significance

•Literature review

•Research design, methods, and schedule

•Suppositions and implications

•Conclusion

•Bibliography

Research methods: qualitative and quantitative

Qualitative and quantitative research methods are two established research traditions that underpin all academic articles. Together they provide scope for several approaches to develop topics, structure for enquiry and legitimacy in findings and conclusions. There is important discourse in understanding the definitions and implications of both methods of research.

This specific journal (https://doi.org/10.1111/ejed.12014) from Kaya Yilmaz defines these methods and differences and provides a guide on how to write an academic article:

In order to back up your work there are two different “systems” you could use to validate your work:

Quantitative research

A testing system that has to be robust that can’t be contested, factual. Proving your point through statistics, through data through survey.

Qualitative research

Qualifying what we are saying not quantifying it. Qualitative research generates “textual data” (non-numerical). Quantitative research, on the contrary, produces “numerical data” or information that can be converted into numbers.

Films states in his article that there are four elements that we need to reflect and address to in terms of research:

  • Epistemology, what purpose does it have? what is it for? what area does it cover?
  • Theoretical perspectives, who or what will be studied?
  • Methodology, which research strategies will be used? Qualitative or quantitative?
  • Methods, This is not about strategies but tools that will be used to collect and analyse data?

Article Notes Comparison of Quantitative and Qualitative Research Traditions: epistemological, theoretical, and methodological differences

Purpose of this article to explain the major differences between the quantitative and qualitative research paradigms by comparing them in terms of their epistemological, theoretical, and methodological underpinnings

It gives a clear definition of quantitative and qualitative research getting into detail of especially of the latter since “is not based on a single methodology and does not belong to a single discipline“.

The different approaches that quantitative and qualitative researches have in regards of these elements: Epistemology, Theoretical perspectives,Methodology and Methods. In regards of this last point Quantitative uses questionnaires, surveys and systematic measurements involving numbers; Qualitative uses participants’ observation, in-depth interviews, document analysis, and focus groups

the article also examines the main difference between them:

  • Qualitative methods are especially effective to study a highly individualised programme in which learners who have different abilities, needs, goals, and interests proceed at their own pace. (understand the meaning of the programme for individual participants, their points of view and experiences should be illustrated with their own words)
  • Quantitative methods are more helpful when conducting research on a broader scale or studying a large number of people, cases, and situations since they are cost-effective and statistical data can provide a succinct and parsimonious summary of major patterns
  • They differ in terms of their approach to defining the concepts of reliability and validity (accuracy of research data – quantitative). Qualitative research uses its own terms to communicate what is meant by reliability, validity: credibility, trustworthiness, and authenticity (validity) accurate or true for both researcher and participants and dependability and auditability (reliability) consistent over time and across different researchers and different methods or projects.

Developing and testing your topic: critical thinking

Good critical thinking is systematic you need to: 

• Investigate the problem thoroughly


• Prosecute and defend the idea


• Cross examine the witnesses (literature), a critique of the literature used, what it can do to support your arguments.

 • Sum up and consider theory 

• Reach an informed verdict
– In the light of this evidence, it seems that…. 

Critical thinking involves being skeptical and persistent in constantly reviewing your evidence (Why am I being told this? Who is telling me this? What am I missing). Be analytical and critical is essential (not only descriptive).

Critical thinking means:

What do I want to do? what can I add to these researches? Picking a subject matter is a starting point. Checking the accuracy of information as well as checking the logic of the argument and looking for possible flaws in argument. Moreover is important to understanding why other people see it differently and reaching informed conclusions too.

Key questions:

• What is main point I want to make?

• Can I back up my argument?

• Is my evidence relevant, accurate, up-to-date? 

• Is my view based on false premises/false logic? 

Present initial thoughts on the potential area/s of research I wish to investigate.

We accept anthropomorphism in animation but actually it can be very judgmental to the way we treat animals the way we look at them as less important than ourself . There are arguments for and against anthropomorphism since it is seen as a dangerous way of portraying animals and it can fall into ethical issues (about animal well fair, human arrogance). (pick at piece of work that is accepted and say: this is ethically wrong).

Or

Anthropomorphism was at the beginning of animation a big area and animal animation was used as a mean to deal with ethical issues. How was/is it it possible?

Week 3: Projects developments

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The first aspect I should consider in order to plan my work is what is going to be framed in the scenes so that I will be working on assets based on that. I should focus on essential assets and the main character would be the most important one. As long as I have the main props for the scene to make the narrative work and the scenario recognisable for the audience I could even use some infinity backgrounds for the overall environment.

this is the link for the whiteboard on Miro I have created where I will update my development:

https://miro.com/app/board/uXjVOKHnfj0=/?invite_link_id=167610705170

“Fisherman” Project

Moodboard

I have created a moodboard which may help me in the development phase to visualise better the character, the environment and the overall tone I want to create for this project. I have included some designs that I could take inspiration from for the props, and the character design and also a couple of films, “Joy” and “Luca”, the former is a short animated showcasing the tale of the lovable small dog (Joy) and a pesky Heron. Even though the story is not centred on fishing the main character is out with his owner on a fishing trip. The latter is Luca the latest Pixar animation film and is set in a beautiful seaside town on the Italian Riviera where fishing is one of the main focus and can be very inspirational for me for the overall tone and fishing tools they use as well.

I have added a description to the Fisherman project storyboards both regarding the narration and the sound

Character design

I have started by designing the main focus of the animation: the fisherman. I tried to experiment with his age, his look and attitude. Since that he is inexpert I thought that a younger look would fit more, however even a more aged man would be very funny as well since he might have been better when he was younger and stronger, but now that he is old he has lost his skills. The aspect I am more sure about is his clothes: I researched into fisherman looks and generally they are all wearing a cap with overshoes and a jackets with many pockets, probably to put baits.

How to Convey Character’s Personality Through Shape, Variance and Size?

The impression of the physical appearance of a character affects the impression of personality traits. The main tools to refer to are shape, variance and size, which should be all used when designing a character.

  • Shape: facial expression is really secondary when reading a character; first thing to notice is the face shape, posture and body language, and shapes have more universal meaning across the globe compared to colour. We often subconsciously assign qualities to a person or a character by only perceiving him/her as a combination of shapes. Square shapes are assigned to characters to project his solid, stable and may be stubborn personality as well as its dependability and confidence. On the other hand, the perception of oval shapes that safe, soft, friendly, safe and harmless, on the contrary, angular shapes has always projected danger and often designers use triangles and pointy shapes in their villain character’s personality. artists also use them to show a hero’s determination, drive and opportunism.
  • Variance: characters should be divided into 3 parts: head, torso and legs. Since contrast creates interest they should have different proportions of these elements described above. This is also used in the proportions for the face on a smaller scale. For instance, babies have large, round heads and small bodies, which is what makes them so adorable.
  • Size: using the size relationships in your character can make their design more appealing. A good design is often characterised by different in size shapes, combined in an interesting and unpredictable way.

First identify its personality: He is going to have stubborn personality since he is a fisherman who is determined to catch a fish so I started out his design from square shapes, However I wanted him to have also created contrast in his body legs and torso proportions to make it more interesting: his head is bigger compared to the rest of the body which may resemble “babies” proportions so to make it look sweeter and less intimidating. he is going to wear a large dungarees and a big head to stress even more his short size; moreover I though I could add a corncob pipe which would characterise him even more. Having so defined body features will help when I will have my model ready to animate to first focus on body expressions rather that facial ones.

Work on the scene set up, which model will I need:

Following the storyboard I have created I will be producing the following props – boat, fishing stick, fish, corncob pipe, water

corncob pipe reference

“Cat’s secret life” Project

(focus on the fisherman project first)

I have added a description to the “Cat’s secret life” project storyboards both regarding the narration and the sound as well:

Moadboard

In this moodboard I wanted to recreate the tone, attitude and feel of the animation I intend to create especially the personality of the cat who is the protagonist. I have added few picture from different animation films which pictured cats in it: from “the secret life of pets” in particular regarding Chloe, one of the main protagonists. Chloe has an eating disorder. She’s shown to be apathetic, indifferent, and slothful – she doesn’t care much. The only things she does really love are food and herself; I plan to use the other film references of films I have include more as an inspiration for the cats animation they use: “the aristocats”; the cat from “shrek” and the cat from”Oliver and company”.

Character Design

I tried to draw some cats using several reverence and styles and colours to see which one would fit better to the story

Cat personality: mischievous, active, cunning and a bit clumsy too.

The shapes I have used for the final design are circles for the eyes to make them active and “alive”, triangles for the ears and the mouth to project danger and also use them to show determination, drive and opportunism. The squared face shape shows its stubborn personality as well as its dependability and confidence.

Difference between humanoid animation and animals animation (emotions, movements)

Considering these two project ideas I have come up with, I have identified the main difference between them which I can research into: the main characters are very different since one is a human and the other is a cat. So, how can I, as an animator, differentiate the way I convey their emotions and movements?

As for the fisherman he is a man, and acting videos are easier to find or make myself. Moreover, a great deal of human brain is dedicated to deciphering the emotional state of other humans so it might be easier to animate them rather than animate animals.

Regarding the way to animate animals, just like it happens for humans, is through observation; and also since us as animators and audience are used to apply and communicate throughout our emotional intelligence, in animation there is a process frequently used which is “anthropomorphism of movements of the animals character animation”: the attribution of human form or other human characteristics to any nonhuman object. So, their species features and design can impact the storytelling and characterisation of an animal character. Moreover, attributing human traits and qualities allows for us as an audience to empathise with the characters.

So how does anthropomorphism add to characterisation and storytelling? 

“Kung Fu Panda“, for instance, is the story of a bipedal, lazy and overweight panda becoming a martial arts master. The process which helped to develop a charming and well executed story was taking the apparent traits of a real panda and creating a narrative that surrounds those characteristics. Real world problems become animalistic versions of problems, letting us feel for the protagonists. This is the idea behind my project on cats’ secrets life: being myself an owner of a cat I have noticed throughout the time that he has certain behaviours and habits which are notoriously acknowledged when referring and thinking of cats in general which are for example being mischievous, witty or even lazy.

I think that the most human like feature though would not be attributed its physical features but the way the cat will convey its emotions: we attribute those human feeling to cats as humans since those specific feelings are the only one we can express, we can understand and, most of all, are mostly used to.

The use of arms and legs would also different in quadruped (animals, cats in this case) and biped (human, fisherman): the quadruped have their upper limbs as active as their lower limbs which would not only affect its animation but also its rig structure and hierarchy.

Week 4: Project development process

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The following are some task I am planning to work on this week:

Added the last controls to the rig using the set driven key tool:

eyes controls for closing the upper and bottom lids and a locator for the eye to rotate them

Beak control to open and close it

Finally bonded the skin to the rig

Adjusted the rig influence using the paint skin weight tool especially for knees, wings and beak

This is an rig testing for the wig after I have bonded the skin to it:

Wing feathers/fingers testing

Seagull 2 Rig

I tried to match the other seagull rig to the other one had to make few changes:

Just like I did for the other model I have created some curves to set driven keys for the eyes lids to be closed to create an eye blink.

Using the same technique I have created a circle to parent it to the beak and created an attribute to turn on and off to open and close the beak.

This seagull has also eyebrows so I have created a circle to parent with the joint attached to them to make them move easily.

I had to create a new wing controls with IK handle to make the wings fold

I froze the transformation of each nurb circle control after I have adapted it to the new mesh to male the animation process easier.

I after binded the rig to the skin and modified the paint weight of the brows, the knees and wings just like I did for the other seagull

I made sure that the joint for the brows was affecting only that area rather the the whole head, so I will be able to raise the brows for exaggerate his expression.

Model props

I thought to create a character design for the child who is going to be included in the pier scene.

I have included drawings with characters having a big head, over proportioned for his body, big eyes and a mischievous/angry tone and expression.

I also created a model sheet starting from the character designs I have created. And imported it to maya to experiment with the model as well, using different techniques such as poly modeling or starting from geometries and adapting it to the shapes of the character design.

Storyboard (continue)

Before getting into the VR storyboard we thought that designing a “traditional” storyboard would have been useful to use as a reference when working in VR, so I continued to storyboard our game according to the last script version:

In the frames, just like I did last time I have drawn an eyes perspective view considering that what is shown is a probable view of the player

Animation list according to the script

Default move (look finding nemo)

Beak movement for when they speak

Turning head

Grab the fries underneath his wing (seagull B)

Eating the fries (seagull B and A)

Take one fries (seagull A)

Offer fries to the player (seagull A)

Eyes rolls and wing on his face (annoyed, seagull A)

Look at the player (seagull A and B)

Seagull taking the stick (seagull A)

Offer the stick to the player (seagull A)

Worried (Seagull B)

Fly (Seagull A and B)

Holding an ice cream (seagull A)

Landing, stumbling and stabilizing (seagull B)

Eating with fork and knife (seagull B)

Eating with the wings (seagull A)

Speech bubbles

This is an initial list however it would be more useful to create a template with a section for scene, character and action to put the animation into a context.

Animation testing

I have started experimenting with the rig that I have created for the Seagulls. I thought I could do the default movement they would do when they are not involved in a particular action.

The animation of the seagulls from finding nemo were the movements I used as a reference

I have first positioned the seagull in a starting position with the wings folded and his beak closed. I after created some “loop” movements for the wings. I have also made his belly move forward and inward to simulate breathing and made his neck move making snap movements and blinking from time to time.

Week 3: Basic green screen removal – Basic Maya lighting tips – Shot set up and lighting

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Basic green screen removal

After downloading a video of a person acting in front a green screen and a picture to use as a background, I imported them into nuke and merged them with a merge node. I after used a Primate node to remove the green screen. Basically, Primatte segments all the colors in the foreground image into one of four separate categories. The result is a spill suppressed foreground image and a matte which is used to apply the modified foreground to a suitable background. Primatte works in 3D RGB color space.

This is the result video:

Basic Maya lighting tips

The integration of an object into a real life environment requires the virtual camera to be matched to the “real-world” camera that takes the original video.

Maya light match for shots

Basic lighting set up

First create a grey ball and put it in the middle of the scene

Create a skydome: edit the intensity of the skydome light: the grey ball darker colours should mack the darker colour of the scene and the lighter colours should match the lighter colour in the scene.

Turn camera for the skydome to 0 otherwise the render would be white

I first edited the lighting drastically to after turn it down

I then assigned a standard surface material to the ball

I also brought another light in the scene depending on the environment

Add a metal sphere to see where the source of lights are and the intensity of them

I added a ground plane to catch the shadows by assigning a shadow matte material

Anything white in the alpha channel in the render view is going to be rendered and the shadow matte plane is not rendered.

The primary visibility attribute in the Render Stats allows an object to reflect and refract, but the object itself does not render. To do so, both the visible objects and the hidden objects (the objects for which you wish to show reflection and refraction) must belong to the same layer.

 

Week 4: Project Meeting

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This is a to do list we came up with to accomplish before we meet for our next project meeting:

During this week’s meeting the team members from VR showed us the environment we are going to use for the game and also we saw the models I have done for the seagulls in unity too to have an idea of how they will look like.

We also covered the following point:

  • Adding cell shading for the overall look
  • The models we should make (for instance I thought I could ask for the age and the range movements of the baby model we have to include according to the script)
  • The script was finalised and so I am able now to finish the storyboard: we thought that we could have a traditional drawn storyboard and we can also create one in VR (next week we are planning to book a VR booth Esme and Callum and I to create them using the traditional one as a reference). Moreover the script they have created included more detailed descriptions of movements so it will be easier for creating the animations.
  • The player will have the seagull wings, being one of them as well but we won’t need the whole wing model but only a small part (the feathers/fingers) so I can create them starting from the original wing mesh.
  • We also decided to have real voices for the seagulls. We will record the seagulls voices before we start animation.

Week 3: Architecture and Environment (Passive animation)

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Space is an important element when considering animation. The position of a form is relative to how it is being seen within the environment and when designing a space it brings consideration of its function.

Comparing Gme with Moving image (animation)

The common points between them are that they both amuse, they follow rules, they can be used in animation, they can be a form of expression. Their differences rely in how they involve the people or players, their level of interaction and the boundaries.

Game is an activity that engages to play while moving image are director vision.

Narrative, act and events and stage and environment are three related design elements of games which have a particular relationship in this media:

  • Narrative determines theme and/or style
  • Stage and environment: a successful stage can be determining in how well are the environment supporting the story, making it convincing and enjoyable. it includes the level, route of the game; the aesthetic; theme and style that drives with the narrative; and the environment that can put into part of the “play” (the action to use for engaging a game, which is the player’s unique behaviour)
  • Act and Event which defines the major act, communicates the narrative, helps with the choice of pose, sets up the scenario and help express the emotions.

The narrative for architecture is particularly enhances in game and anime: games and animes often demonstrate a better way of resolving architectural ideas, because the foundation of their narrative often require spatial referencing, so the narrative can be integrated just within a context. Moreover the advantage of these media can express the form of narrative, the idea of affecting our thinking on architecture with entertainment. There is also a potential in exploring almost unlimited restriction in architecture still containing logic.

Digital space for game design (breaking the boundary)

The user is a determining figure when designing a digital space: game space goal is serving well its rule of play and narrative. The boundary of the space is determined by the game genre. Inputting the configuration and function of architectural thinking in virtual space can strengthen this relationship and deepen the degree of immersion. Directors have the opportunity to control the vision with a unique perspective.

Passive animation in environment

The following is an example how how an object even if is being subjected to an action without producing a reaction can be important to create the narrative and staging of a scenario.

3D artists were challenged with the Alternate Realities CG challange. A basic animation was provided for everyone to work from, and the results were stunning. 2,400 artists delivered, the top 100 were chosen for this montage.

The whole animation revolves around the main act, the background and the animated background element which helps supporting the scenario, these elements bring the whole scene to life.

Collaborative Project

Narrative, act and events and stage and environment for our VR game where elements I had to reinterpret as the project developed since I always worked with a moving image perspective following a director vision. For VR we can still visualise a scene, but instead of objects being defined relative to the frame, we define them relative to the audience. This was an aspect I had to deal with especially when I have created the storyboards.