Donatella's 3D Computer Animation Blog

My 3D Computer Animation Progress
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7.11 Week 11 FMP FMP & Thesis

Week 11: Animation Process (PART 4)

Introduction

This week, I focused on the C-Shots of my animations. Even though they are short animations, it is always highly advisable to get feedback to create smoother movements.

Bat Dropping Gun

Feedback V01

I should rearrange the position of the arm and center it more towards the viewport of the camera.

I should also pay attention to adding moving holds, as the wrist of the character seems stuck.

Hand

Feedback V01

Even though the general animation of the hand coming out of the ground was acceptable, I need to add more overlap in the fingers and adjust the spacing of the forearm.

Stolen Pumpkin

Feedback V01

In this animation, I should improve the timing of the camera and come to a stop quicker.

In this sense, the skeleton hands can come in sooner into the scene and I can add a moving hold when they are gabbing the pumpkin.

Feedback V02

After adjusting the timing of the camera animation, the only suggestion I received was to create a snappier movement of the hands when they are leaving off screen.

Critical Reflection

Even though the animations were not as difficult as the previous ones I worked on, I learned that:

  • I need to make sure to add moving holds and avoid the body parts feeling stuck on screen.
  • Even though animating fingers can be tricky, I need to make sure to add overlap in the different finger parts.
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6.12 Week 12 FMP & Thesis Thesis

Week 12: Analyzing Tim Burton’s Character Design

Introduction

In order to conduct my study, I analyzed the character design of the following movies: Beetlejuice (1988), Edward Scissorhands (1990), The Nightmare Before Christmas (1994), Corpse Bride (2005), and Frankenweenie (2012).

Data Collection Tool

In order to gather information, I developed a data collection tool which focuses on the following two major aspects: the character construction and the emotional connection between the audience and the character through both character identification and character engagement. Having said that, what follows next is a brief outline of what I analyzed in each section.

Character Construction

  • The grotesque and the uncanny portrayed in the character design.

Emotional Connection Through Character Identification

  • Connection on a Surface Level between the character and the audience (through physical appearance, gender and sexuality, race or ethnicity)
  • Connection on a Deeper Level between the character and the audience (through personal backstory, embodied experience)

Emotional Connection Through Character Engagement

  • Levels of Sympathy towards the character (through recognition, alignment, allegiance)
  • Levels of Empathy (through emotional simulation, affective mimicry)

Gathering Data from Tim Burton’s movies

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6.11 Week 11 FMP & Thesis Thesis

Week 11: Data Collection Tool

Introduction

I developed a data collection tool with two focal points: Tim Burton’s character construction — focusing on the portrayal of the grotesque and the uncanny — and the emotional connection between the characters and the audience through character identification and engagement — expanding on Shaw’s findings on character identification and Smith’s structure of sympathy.

Data Collection Tool

Data Collection Tool

Whereas the aim of the first section is to determine how Tim Burton makes use of the grotesque and the uncanny in the characterization of the protagonists, the second section focuses on how the levels of identification and engagement can influence the emotional connection and response the spectator feels towards the character.

Conclusion

The data collection tool I have developed for this study —  which uses triangulation as a validity procedure — can be used in the future by the animation community as a guideline to examine the remaining characters in terms of levels of identification and character engagement through empathy and sympathy.

Bibliography

Shaw, A. (2015) Gaming at the Edge. Sexuality and Gender at the Margins of Gamer Culture. London: University of Minnesota Press.

Smith, M. (1995) Engaging Characters. Fiction, Emotion, and the Cinema. Oxford: Oxford University Press.

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7.10 Week 10 FMP FMP & Thesis

Week 10: Animation Process (PART 3)

Introduction

This week, I mainly focused on the animation of Skullchaser’s jumping and landing sequences.

Jumping Off Cliff

Feedback V01

I should definitely improve and clear the sillhuetes of the hands. In addition, many of the arm movements seem very stiff.

Furthermore, I should also adjust the position where the character jumps off screen.

Skullchaser Lands on Floor

Feedback V01

This sequence is definitely too quick, so I need to add more frames when the character lands on the floor and starts running.

I need to improve as well the body movements when the character is landing on the floor.

Feedback V02

After adding some frames to the shot, the timing seems much better.

One of the major difficulties I had was that I delayed as well the movement of the camera. However, this affected negatively on the view of Skullchaser’s poses, so I need to make sure that I always animate according to the camera.

Turns Around and Aims at Bats

Feedback V01

Even though the key poses seem fine, I need to work more on the dragging of the arms and bend the arms a little bit more.

I should also focus on delaying the rotation of the head, as the body is leading the action.

Lifting Pumpkin

Feedback V01

I should focus on improving the arc of the pumpkin. Rather than translating it in a straight line, I should try getting a curved path.

On the other hand, I should adjust the position of the hands and constrain them to the pumpkin in order to avoid clipping moments.

Critical Reflection

The feedback session I received this week was truly beneficial as it helps me to understand the following:

  • Sometimes it is useful to retime your animation by adding more frames to clearly showcase the movement of the character.
  • I should animate according to the movement of the camera, as it can affect the keyposes of the character.
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6.10 Week 10 FMP & Thesis Thesis

Week 10: Triangulation as a Validity Procedure

Introduction

After understanding the importance of validity procedures in qualitative research, I finally found which one I would like to apply to my paper.

Triangulation

Triangulation is a validity procedure where researchers search for convergence among multiple and different sources of information to form themes or categories in a study’ (Creswell, J. K. and Miller, D. L., 2000, p. 126). In other words, the researcher uses a variety of methods and sources to analyze a phenomenon.

Given the fact that my research question implies analyzing emotional triggers in order to understand the bonding between Tim Burton’s characters and the audience, I decided to use triangulation as my validity procedure as I will combine different research approaches to create my own data recollection tool. I expanded Murray Smith’s ‘structure of sympathy’  with Shaw’s findings on ‘character identification’ as it enables me to critically analyze and break down the emotional connection of the viewer and a fictional character.

Conclusion

Having defined that I am going to use triangulation as a validation procedure for my study was essential in that my study will not be conducted in a subjective manner. Instead, I will include different approaches that analyze the emotional engagement between the audience and characters in a systematic approach.

Bibliography

Creswell, J. W. and Miller, D. L. (2000) Determining Validity in Qualitative Inquiry. Available at: https://www.jstor.org/stable/1477543 (Accessed 8 August 2023).  

Wax, M. L. (1995) ‘Knowledge, Power, and Ethics in Qualitative Social Research’, The American Sociologist, Vol. 26, No. 2, Part II: Sociology, Law, and Ethics, pp. 22-34. Available at: https://www.jstor.org/stable/27698724 (Accessed: 8 August 2023).

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7.9 Week 9 FMP FMP & Thesis

Week 9: Animation Process (PART 2)

Introduction

This week, I mainly focused on the shooting sequences of the character.

Skullchaser Shooting

Feedback V01

In my first attempt, I failed to properly animate the movement of the arm shooting the gun.

In other words, the recoil that should affect the arm after the shot is not visible to the audience.

In addition, I also feel that I added to many hits on the gun when it gets stuck.

Feedback V02

In this second draft, the animation of the arm is looking way better, as we can now feel the shots of the gun.

However, I should track the arc of the gun using as a reference the red dots.

Furthermore, now the hits on the gun seem more clearer.

Skullchaser Kills the Final Bat

Skullchaser Aims at the Floor

Feedback V01

I need to work on the animation of the back arm as it seems pretty stuck.

On the other hand, I should also focus on bending more the arm that is holding the gun.

Gun Shot Close Up

Feedback V01

This shot is very short and is not one of the most significant ones. For this reason, the animation was acceptable and the only suggestion I got was to try to blink one eye when the character points at the bat.

Critical Reflection

To me, shooting animations were extremely challenging since it was confusing to understand what part of the arm is moving first (arm, forearm, wrist). However, the draw overs gave me a clearer understanding on how to animate the shots and I also received valuable feedback which I will try to implement in future animations:

  • Bend slightly the arms and legs, rather than positioning them in a straight line.
  • Blinks are extremely helpful to change from one pose into another one.
  • Focusing on certain shapes (such as the nose or dots) are extremely helpful to track the arcs.
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6.9 Week 9 FMP & Thesis Thesis

Week 9: Determining Validity in Qualitative Inquiry

Introduction

After defining my research question and designing my methodology, the next step I needed to do is determine the validity of my qualitative research. To do so, I explored which validity procedures researchers use in their inquiries in order to apply the most suitable into my investigation.

Defining Validity Procedures

According to Creswell, J. W. and Miler, D. L. (2000, p. 124) there are two key factors that affect the validity of an inquiry, and they are ‘the lens researchers use to validate their studies and researchers’ paradigm assumptions’. In this sense, in my research it will be crucial to define the framework I am going to use as it will clarify what perspectives I am going to use to analyze and interpret Tim Burton’s movies.

In order to examine how Tim Burton balances horror and empathy in his characters, I will approach the character design from a cognitive psychology perspective since it will enable me to understand the emotional engagement they have with the audience. When it comes to the paradigm assumptions, which are influenced by how the researcher perceives the world, I will conduct my study based on a systematic procedure to avoid bias while collecting data and information from the characters.

Further Comments

Defining a validity procedure is extremely essential as it can be argued that qualitative research is subjective in approach when it studies human behaviors rather than collecting countable and numbers-based data. For this reason, in the following week I will define what type of validity procedure I would like to apply to my paper.

Bibliography

Creswell, J. W. and Miller, D. L. (2000) Determining Validity in Qualitative Inquiry. Available at: https://www.jstor.org/stable/1477543 (Accessed 8 August 2023).  

Wax, M. L. (1995) ‘Knowledge, Power, and Ethics in Qualitative Social Research’, The American Sociologist, Vol. 26, No. 2, Part II: Sociology, Law, and Ethics, pp. 22-34. Available at: https://www.jstor.org/stable/27698724 (Accessed: 8 August 2023).

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7.8 Week 8 FMP FMP & Thesis

Week 8: Animation Process (PART 1)

Introduction

Over the next weeks, I will start working on my animation. So in the following blog entries, I will go over the drawovers I received in class by George. They are a crucial part of the process, as it enables me to improve the timing, spacing and movements of my characters. In some other cases, it also helped me to create clearer character sillhuetes.

Skullchaser Lifts Ball

Feedback V01

I was advised to create a more appealing pose by spreading the legs on the ground.

On the other hand, it would be beneficial to put the stone closer to the camera.

Finally, I should definitely reduce the toe rotation as the movement does not seem natural.

Skullchaser Throws Ball

Feedback V01

In my first draft, I struggled hard with the position of the back arm. Therefore, I was advised to put the arm lower.

This implies to rethink the spacing of of the arm going behind his back.

Feedback V02

In my second draft, not only did I adjust the position of the arm, but I also focused on generating overlap with the body and the head of the character.

However, I need to polish the way the character is moving while he throws the ball. To do so, I will use the motion path to track the arcs.

Horse Follows Ball

Feedback V01

In my first draft, I admit that I completely failed to animate the movement of the ball. I merely focused on animating the ball off-screen, though rather than following an arc, it is moving linearlly.

On the other hand, I was advised to open the jaw of the horse to drag the mouth while it follows the ball.

I was also advised to refer to the dog cycle we animated last term, to understand the ups and downs of the front and back legs.

Feedback V02

In my second draft, I also focused on animating the villain, and I was advised to create a clear contrapposto pose.

I also noticed that it would be better to make the shot a little bit longer, to showcase the fall in more frames.

I also added the bones breaking and falling apart on the floor.

Villain Snaps Fingers

Feedback V01

I added a hat to the villain, so that he has a more unique character identity.

Again, I was advised to work on the contrapposto pose.

When it comes to Skullchaser, I should work more on dragging the chest of the character and adjusting the timing of his movement.

Critical Reflection

The feedback session was extremely helpful to guide me on the character animation. I also got very useful advice, which I will try to apply in my future animations:

  • Create clear and appealing character poses.
  • Add props to the characters to create a unique identities.
  • Keep working on dragging some character’s movements, especially when it comes to the arms.
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6.8 Week 8 FMP & Thesis Thesis

Week 8: Research Design

Introduction

After defining that I will conduct a qualitative research, I started working on defining my research design methodology.

Research Design

In order to conduct my study, I will follow two main approaches to answer my research question:

  1. Case Studies: I will examine the main characters of some of Tim Burton’s most influential animated and live action movies in form of case studies. The movies are: Beetlejuice (1988), Edward Scissorhands (1990), The Nightmare Before Christmas (1994), Corpse Bride (2005) and Frankenweenie (2012).
  2. Diagnostic Research: I will attempt to find a pattern between the protagonists of the before mentioned movies by examining their physical appearance, personality traits and backstory. The focal point will be to figure out which grotesque and uncanny characteristics these characters have and how they trigger an emotional response on the audience. To do so, I will elaborate a data collection tool (by adapting and editing preexisting studies from different authors and fields) to systematically gather information.

Conclusion

By analyzing the movies in form of case studies, I will approach my research in a systematic way of collecting data.

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7.7 Week 7 FMP FMP & Thesis

Week 7: Animating Skullchaser’s Run Cycle

Introduction

This week, I focused on animating Skullchaser’s run cycle, as I categorized it as an A-Shot (High Difficulty) and this sequence is going to appear in several other shots. In addition, I also worked on animating the bat’s flying cycle.

Run Cycle – Animation Process

Run Cycle (Image Reference: The Animator’s Survival Kit)

Reference

I used The Animator’s Survival Kit to analyze the keyposes and gain a better understanding on the timing of the run cycle.

Animating the Run Cycle

Run Cycle (Skullchaser)

I animated the run cycle on the spot, which means without translating the character on the X axis. This enables me to import the run cycle into different sequences and then adapt the movements according to the scenes.

Animating Towards the Camera

Another thing I learned is that sometimes animators can get away with some issues as long as they are not visible to camera. For instance, Skullchaser’s head is clipping with his helmet, however, since the character will always face towards the camera, the audience will not see it.

Using Studio Library

I learned that a very efficient way of working is to save animations and poses in Studio Library, as it enables animators to implement their saved animations into their different scenes.

Flight Cycle – Animation Process

Flight Cycle (Image Reference: Bat Flight Cycle by Terrana Cliff)

Reference

In order to start animating the bats’ flight cycle, I looked for reference pictures and I found this diagram by Terrana Cliff on the Internet.

It helped me to understand the keyposes and breakdown poses of the animation.

Animating the Flight Cycle

I animated the flight cycle on the spot to save the animation in Studio Library. Then, I imported it into the different scenes and animated the master controller to create the movements for the bats. Since the rig only had limited joints and controllers, I animated as well some of the vertex points, for instance, in the ears and toes.

Further Comments

Applying Studio Library into my work methodology was essential, as it enabled me to save plenty of time. Finally, it was my first time animating characters on the spot, so I had to pay attention to not animate on the X axis.