This week, I worked on the camera movements and transitions of the intro scene of my animation. I watched some reference videos from Tim Burton’s movies Nightmare Before Christmas and Beetlejuice.
Reference Videos
Camera Rotations
What I found interesting was the camera rotations as they make the animation more dynamic.
I also found the the transition through the window very appealing.
Establishing Shot
For my establishing shot, I want to include slow camera movements to introduce the different buildings and decorations of my Halloween Town.
In addition, I will also include a fictional company logo at the beginning of my animation.
Previs-Shots
Part 1: Intro Scene
For my intro scene, I combined the camera rotations from Nightmare before Christmas with the slow camera movements from Beetlejuice.
Part 1: Feedback
I managed to create a well-paced intro scene with interesting camera movements.
Part 2: Character Intro
In this part, I introduce the main character and create a Batman inspired Pumpkin Signal.
Part 2: Feedback
I should not include any vertical rotations and translations when I introduce the main character.
Part 3: Running & Shooting Sequence
Skullchaser runs and fights against the bats.
Part 3: Feedback
The transitions of my shooting sequence are still unclear and I definitely need to work on them.
Part 4: Final Sequence
Skullchaser saves Halloween by finding the missing pumpkin.
Part 4: Feedback
I should use Dash from the Incredibles as a reference for my character posing.
This week, I focused on adding some details to my mechanical arm and making sure that all the layers are named properly. In the following weeks, I will work on testing the animation of the arm.
Detail Close-Up
Adding Extrusions
I extruded the elbow to add more shadows and detail to the cylinder.
Adding Pads
I also worked on adding some pads for the palm of the hand.
I extruded the surface and edited the vertex points to change the shape of the pad.
Metallic Texture
I made sure the screws and the wrist have a metallic texture on the model.
For our second environment, the Minar-E-Pakistan, we decided to include a another a creature apart from the snail: a chameleon.
Why a Chameleon?
Chameleons are one of the most versatile animals in nature due to their high ability to adapt their color and movements to their environment. Therefore, they can be perceived as symbols of transformation and change.
Chameleon Reference Videos
In order to create my chameleon animation, the first thing I did was look at reference videos in Youtube. Then, I combined them into one video, making sure I had shots from different perspectives. These reference videos were crucial in order to edit my animation from different viewports in Maya.
Chameleon: Reference Videos
Reference List:
Around The World (2021). Chameleon – 4K Video – Chameleon Changing Color – 4K Animals Collection with Nature Sounds. Available at: https://www.youtube.com/watch?v=h88091zO3nc&t=271s&ab_channel=AroundTheWorld (Accessed: 03 March 2023).
duncantakeru (2015) Eye movements of the flap-necked chameleon, Chamaeleo dilepis. Available at: https://www.youtube.com/watch?v=olS7UKZ7C-c&ab_channel=duncantakeru (Accessed: 03 March 2023).
T3 Times (2015) Veiled Chameleon Walking Funny and Then Changes Color. Available at: https://www.youtube.com/watch?v=Ls8k4_EHUQQ&ab_channel=T3Times (Accessed: 03 March 2023).
Thiago Oliveira (2013) The routine of a Chameleon. Available at: https://www.youtube.com/watch?v=UNj7ngzDHfk&ab_channel=ThiagoOliveira (Accessed: 03 March 2023).
Chameleon Animation Planning
After watching reference videos, I started planning my animation by analyzing the different body parts and structuring each movement into a timeline.
Chameleon Animation Planning
Chameleon Animation
I animated the chameleon considering that we would place him on a tree branch. I did not add any textures or lightning into the scene since we would edit that in Unity.
Part 2: Critical Setback
Problem: How to export animation files from Maya into Unity
We faced one major challenge when we tried importing the snail and dolphin animations into Unity. Even though I exported them as an .fbx file, part of the 3D model was not visible in the Unity scene.
I had an emergency meeting with our animation mentor George, who advised me to bake the animation. This solved the problem of importing the rig, however, the animation was still not visible in Unity. Even though the keyframes were visible in Unity, the animation did not work.
Solution: Export the animation as an alembic file
After several attemps of fixing this problem, Shizra came up with a solution as she faced a similar error in her previous job. Instead of exporting the animation as an .fbx file, she advised me to export it as an alembic file. Fortunately, this fixed our issue, and both the rig and animation were visible in Unity.
Part 3: Frameless Immersive Art Experience
This week, we went to the Frameless Immersive Art Experience and it personally helped me to structure our VR project by asking some questions.
What story are we going to tell the audience?
How are we going to engage the senses?
How can we create the experience immersive?
The concept of our VR experience is to showcase the consequences of a climate apocalypse on our planet. The audience will be invited to travel to different countries and discover what is left over of some emblematic monuments.
We will mainly focus on the visual aesthetics of the environment but also make sure that the music communicates the idea of a desolate place.
The experience will be immersive, as the player can walk through the environment and watch how life has evolved into different creatures and spirits.
This week, I focused on defining a research topic and elaborating a tentative abstract and research question to explain my investigation. I also established which authors I will include for my thesis and which I am looking forward to expanding by next term.
Research Proposal
Abstract:
The following paper will discuss to what extent do film semiotics play an essential role in world building and characterization within the horror genre. It will specifically focus on some of Tim Burton’s most iconic animated and live action films (Nightmare Before Christmas, Corpse Bride, Frankenweenie, apart from Sweeney Todd and Beetlejuice). The aim of this paper is to analyze Tim Burton’s distinctive style in order to help other animators to understand how to create the visual language of horror films.
Tentative Title:
To what extent do film semiotics play an essential role in world building and characterization within the horror genre?
Tentative Subtitle:
A semiotic analysis on Tim Burton’s animated and live action movies: Nightmare Before Christmas, Corpse Bride, Frankenweenie, Sweeney Todd and Beetlejuice.
Bibliography:
Semiotics in Film:
Edgar, R., Marland, J., and Rawle, S. (2010) The Language of Film. London and New York: Bloomsbury Publishing Plc.
Semiotics:
Peirce, S. P. (1991) Writings on Semiotic by Charles Sanders Peirce. Second Edition. North Carolina: University of North Carolina Press.
Saussure, F. d. (2013) Course in General Linguistics. London: Bloomsbury.
Horror Genre:
Sipos, T. M. (2010) Horror Film Aesthetics. Creating the Visual Language of Fear. Jefferson, North Carolina and London: McFarland & Company, Inc.
Tim Burton:
Kempf, H. C., Gallo, L. Burton, T. (2009) The Art of Tim Burton. China: Steeles Publishing.
World Building:
Nelson, M. A. (2019) Fantasy world-building: a guide to developing mythic worlds and legendary creatures. Mineola, New York: Dover Publications, Inc.
This week, George went over our previs shots and we had personalized feedback on our work.
Challenge of the Week: Playblast Animations
I had a hard time showcasing my previs shots as my playblast option was not working properly. For this reason, I had to render some of my shots, which was extremely time consuming. However, I managed to fix that problem in class, when George installed Quicktime Player onto my laptop.
Previs-Shots
Part 1: Character Introduction
For the first part of my animation, I wanted to introduce my character and give more background information about him (that he is a hard worker).
Part 1: Feedback
Instead of showcasing how Skullchaser arrives home, he should be already sitting extremely tired by his desk.
Part 2: Establishing Shot
For the second part of my animation, I focused specifically on showcasing the environment and setting.
Part 2: Feedback
I should watch some reference videos on how to introduce landscapes so that I can focus on showcasing the gothic aesthetic I want to communicate. One suggestion was to watch the introduction scene of Beetlejuice.
Part 3: Hero Introduction
For this part I wanted to introduce my hero, while showcasing his logo in the background.
Part 3: Feedback
I should consider how the character steps into the scene. So instead of having him already standing, he should take a step into the camera.
Part 4: Action
In this part, the character is supposed to run and face the obstacles while approaching the pumpkin.
Part 4: Feedback
I must reconsider how to connect all the scenes and also, it is advisable to avoid many run cycles. I should try changing the camera view and showing in the background the coffin.
Part 5: Defeating the Bats
Here my character defeats the bats and puts his gun into his pocket. However, I had some issues with the hierarchies of my elements, which I will fix for next week.
Part 5: Feedback
My character changes position when he is about to put away his gun, so I should reflect on the screen.
Part 6: Saving the Pumpkin
The last part showcases how Skullchaser finds the pumpkin and how his workcycle begins again.
Part 6: Feedback
The close-ups on the pumpkin is not necessary at the end of my animation and I should also rethink how my character lifts the object.
Further Thoughts
Skullchaser: Even though I need to rethink my introduction and final scene, I found it interesting to add some backstory to my character, and reveal more about what his relationship with his work is.
Transitions: I definitely need to rethink how to connect my animation sequence. Even though many of my shots are clear, it would be better to create smoother transitions.
Playblast Animations: For next week, I should be able to deliver my previs shots more effectively since I can now use the playblast option properly and I no longer have to render my animations at this stage.
Ozdemir, S. (2023) Worldbuilding [Recorded lecture]. Collaborative Unit. University of the Arts London. 15 February. Available at: https://eu.bbcollab.com/collab/ui/session/playback (Accessed: 17 February 2023).
Serra gave us a lesson on world building, and we discussed which aspects we needed to take into account when creating our own environment for our animations.
Which creatures are going to live in our world?
How do they communicate?
Do they have their own rules and values?
In this sense, world building needs to be addressed in a holistic way since we need to think of how the world looks like, who is going to live there and how the creatures are going to interact with each other.
Part 2: Creature Animation
When it comes to the world we created for our immersive experience, we designed a semi-realistic environment that portrays the ruins of some emblematic monuments. We will show that life has evolved, and for this purpose, we will include some creatures in the form of spirits: snails and dolphins.
Why a Snail?
Despite the slow-paced nature of snails, they are always determined to reach their destination, and therefore, are seen as a symbol of persistence, patience and progress in life.
Reference Videos
In order to create my snail animation, I searched for reference videos on Youtube and then, I combined them into one video, making sure I had shots from different perspectives. These reference videos were crucial in order to edit my animation from different viewports in Maya.
Reference List:
Hologei Archive (2018) Snail Muscular Foot : What it Looks Like from Beneath. Available at: https://www.youtube.com/watch?v=-5flco1sNio&ab_channel=hologeiarchive (Accessed: 15 February 2023).
Stephen H. Outdoors (2019) Snail Close-up, Retracting Tentacles (Full HD). Available at: https://www.youtube.com/watch?v=XKnP9pHmNGA&ab_channel=StephenH.Outdoors (Accessed: 15 February 2023).
4k Topia (2021) Snail 4K | 4K Display | 4K DEMO. Available at: https://www.youtube.com/watch?v=iB-S3B5QnQs&ab_channel=4KTopia (Accessed: 15 February 2023).
Snail Animation Planning
Snail Animation
Why a Dolphin?
Dolphins are known to be highly sensitive creatures and have emotional similarities with humans. Since they have a spiritual connection to the idea of not only life but death, they are perceived as symbols of spiritual renewal and rebirth.
Reference Videos
To start working on my dolphin animation, once again I combined some videos that included shots from different perspectives.
Reference List
Great Escapes (2021) 8 hours – Hawaii Dolphins Underwater Relaxing Music – RELAX, SLEEP, MEDITATE | Great Escapes. Available at: https://www.youtube.com/watch?v=bjaXt-Q7dHY&ab_channel=GreatEscapes (Accessed: 15 February 2023).
Scenic Relaxation (2020) Swimming With Dolphins 4K – 30 Minute Underwater Relaxation Film. Available at: https://www.youtube.com/watch?v=UV704FOSDjg&ab_channel=ScenicRelaxation (Accessed: 15 February 2023).
Dolphin Animation Planning
Dolphin Animation
Part 3: Photogrammetry
Furthermore, Serra introduced us to the art of photogrammetry as a useful tool to create 3D models within a short time frame. We used the software Reality Capture to transform the videos we took at Tate Modern into 3D models.
Marwan R. (2000) Monument for the Living 2001–8. Tate Modern London. (Viewed: 8 February 2023).
Scanning
First, I scanned at the Tate Modern the sculpture “Monument for the Living” by Marwan Rechmaoui.
Photogrammetry
Then, I imported the video into Reality Capture and the software created a 3D model.
Marwan R. (2000) Monument for the Living 2001–8. Tate Modern London. (Viewed: 8 February 2023).
Cleaning Up
Later, I had to clean up the model, as there were many imperfections within the mesh.
Texturing
After the clean-up process, the software was also able to provide some texturing materials.
This week, we went over the structure of the literature review, and we also had a brief introduction on understanding methodology.
Qualitative vs Quantitative Methodologies
• Qualitative: Explores peoples’ perceptions, ideas and feelings, and therefore, it can be considered more subjective.
• Quantitative: Investigates the hard numbers and statistics, and therefore, it can be considered more objective.
For my personal investigation, I will most probably rely on a qualitative methodology since I would like to explore the visual elements of the horror genre and the emotional impact it has on the audience.
This week, we had personalized feedback on our 3D Storyboard and Previs Shots. The animation I decided to choose was the one with the Skullchaser, so what follows next are some pictures and videos of my progress so far.
3D Storyboard
3D Storyboard – Skullchaser Animation
3D Previs Shots
What follows next, are the previs shots I created for my animation and the corrections I received from George in class.
Previs Shot 1: Establishing Shot
In order to introduce the setting and environment to the audience, I decided to show Halloween Town and the graveyard.
Corrections
I should evaluate if the camera rotation is necessary.
Previs Shot 2: The Golden Pumpkin
I show the golden pumpkin from different perspectives.
Corrections
I should make the animation a little bit slower.
Previs Shot 3: Calendar
I wanted to add a calendar to my animation to highlight Halloween Day.
Corrections
Since I already have my establishing shot, it is not necessary to show the window. I can rotate the camera and have the window in the background.
Previs Shot 4: Skullchaser Presentation
In order to present the hero, I wanted to show the character and create a 3D logo.
Corrections
I should make the animation slower and zoom in into the character.
Previs Shot 5: Destination Presentation
I wanted to show the obstacles my character must overcome to get the golden pumpkin.
Correction
I could invert the direction of the camera. Instead of starting to display the pumpkin, I could first show the buildings.
Previs Shot 6: Skullchaser Close Up
I created a close-up of the hero.
Corrections
I could make the animation longer so that I can add a facial expression into the character.
Previs Shot 7: Skullchaser Running Down the Hill
The character starts his journey running down the hill in order to get back the golden pumpkin.
Corrections
I should stick to the perspective of my storyboard, where the character runs following a diagonal path.
Previs Shot 8: Bats Coming out of Coffin
My character needed to have some enemies on the way, so I decided to animate some bats coming out of a coffin.
Corrections
It would be better to first animate how the coffin opens and some seconds later the bats start flying out from it.
Previs Shot 9: Skullchaser running
My character is being chased by bats.
Corrections
I should add some tracking to the camera movement, so that it follows my character.
Previs Shot 10: Bat Attack
The bats attack my character, and he loses his gun.
Corrections
I should make the rotation of the camera more slower and add more frames into my animation.
Previs Shot 11: Gun Drop
I focus on how my character loses his gun.
Corrections
I should add more frames to my animation at the beginning and end.
Previs Shot 12: Shooting Bats
My character confronts his enemy and manages to kill the bats
Corrections
It would be better if the bats surround my character before he kills them. I should also keep more space between them to see them better in the scene.
Previs Shot 13: Pumpkin Holding
My character gets the pumpkin and holds it.
Corrections
I should think of how the character enters the scene to create a smooth transition with the last scene.
Previs Shot 14: Pumpkin Lifting
My character shows the pumpkin like a trophy to the audience and now Halloween is saved.
Corrections
I could combine the last animation with this one.
Further Comments
I need to keep working on the timing of my animations as I tend to create quick camera movements. In addition, I would also like to think of an alternative way of starting and ending my animation to reveal more information about the main character.
This week, we enhanced our design by adding a piston to our 3D model and we also learned how to set driven keys to automate the rotation of the fingers.
Creating a Piston
Piston Modelling
First, we modelled our piston by creating some cylinders.
Locators & Constraints
Then, we used locators to enable the piston to follow the rotation of the fingers.
Aim & Parent Constraints
We used aim and parent constraints to attach the movement of the piston to both locators (base & top).
Set Driven Keys
Set Driven Keys
The second part of our class consisted of learning how to set driven keys on the fingers.
This enabled us to automate the rotations of all the finger parts (tip and phalanges).
Finger Curl
For each finger, we set up a curl value from a scale from 1 to 10.
Instead of rotating each part of the finger individually, we now have one main controller that affects the entire movement of the finger.
Further Comments
Practicing how to set up locators and driven keys was essential in that these features will save us much time in the future by automating the movement of our models.
