Week 2: Collaborative unit – Detail description & Diary of work

Here is the link of the project brief:

Week 2: Collaborative Unit – Project Brief

Slowly reveal the story and setting by using flashbacks and interlacing to increase the sense of abruptness, weirdness and freshness to the audience.

This week I discussed with Kaiwen about our project. We’ll going to produce a horizontal exploration game. For the art presentation, we may try to do 3D or rendering 3D into 2D. Players may explore in different rooms which connected together. They can move to right or left to switch the rooms. Also, they can interact with the object in the scene. Samsara Room and This war of mine may be an example for us to reference.

Samsara Room on Steam
Samsara Room
This War of Mine - Gameplay Trailer - YouTube
This war of mine

Besides horizontal exploration, I think explore vertically will also be a good research area. It will be super cool if the character can go into a space vertically. But the camera switch may cause problems. So, we may discuss it further.

Story – How the story develop

First step

And for the story itself, Kaiwen and I discussed and revised many versions.

Initially, I create a background of the city Narokse (an imaginary city) with the story of a brother and his younger sister living outside the city. Narokse was covered in fog caused by the war with the deity in year 907 which is the same with the background now. But the difference is the elder brother went into the city before the war began. So, basically the girl lost the contact with her brother. So, in the game the girl’s aim is to find her brother.

And in the year 915, the girl received a blood-stained letter from her brother, who had gone Narokse to do business as he said before the war. It had an address in the city and a note scrawled, “One day you will know what happened, but the person who told you won’t be me.”

Then in year 917, the fog was lightened. In that case, the girl tried to cross the fog again before everyone else. She succeed.

So, in my original setting, brother will be a member of an outside organization who has been tasked to go into the city to investigate the strange/or himself is a senior member of the urban secret organization. He lived with his younger sister and he loved her a lot. And that love is the reason why his sister persisted in going into the city to find her brother.

Scenes:

  1. The girl standing on a hill outside the city, holding the envelope and looking out over the misty city. [camera focus on the upper part of the body]
  2. The girl standing outside the door of the house, a close up shot to the upper back of the girl with the doorplate. And the girl gently open the door. There may be light or darkness in the door.
  3. Shots of missiles rising from the city into the sky. Implying that the city disappeared because of the war. “The stars are shining, turns the night into morning.”
  4. Cutscene opening animation, girl walk step by step close to the door, hear the heart beat behind the door from weak to strong, she is breathing more and more heavy.
  5. The final shot could be the girl fainting, possibly from inhaling too much “gas” in the air, and vaguely seeing something before collapsing (her brother coming to her rescue/or someone else/or just hallucinations).
  6. There are messages about ‘weird’ in the records, which make people inhuman.

About the brother

  • Brother may has a high-level identity, but was framed, so an accident happened to him. He didn’t dead, but may become inhuman of the “weird”.
  • Record of brother “My calculations are accurate, but in this game I’m just a chess piece.”

Second step

While Kaiwen provide his thought about the story. He agreed the main character to be a girl, but the story he want to describe is about the girl and her parents. About love and beliefs, evil gods and the truth that was covered up. He talked about the religious elements he wanted to add (like Resident Evil 7) and the concept of phantasm.

Resident Evil 7

So, we came up with the idea of the girl as main character lived in the city was trapped in the phantasm that made by the god mother believes in. In fact, everyone died or disappeared because of the war, and the girl’s mother prayed for the girl’s safety, so the god created an “ordinary” day for the girl which . The day repeats itself like a cycle.

As the powers of the gods fade, the girl gradually discovers something strange in the room (such as aging walls, or things that don’t exist).

Scene

  • Wake up in her room, and find out there’s something strange around.
  • Different levels of exploration or choices lead to different endings
    • True End: Waking up from the phantasm, standing in the rubble, and it was raining.
    • Bad End: The protagonist is unwilling to face reality, or fails to see the problem and continues to indulge in phantasm. But Someone knocks the door at the end of the shot.
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Week 2: Collaborative Unit – Project Brief

This is the brief for the presentation during class.

Horizontal exploration game (with 3D interlude animation)

How the game will be presented?

The game is based on a horizontal view but the player is actually in a 3D scene with a camera focus on the character. The player can interact with the objects in the scene by using key items. The story will be driven through a combination of game interaction and interlude animations. Finally, by gathering all the clues together, player will uncover the truth.

What is the story talking about?

The little girl wake up in her bedroom, feeling something strange than usual. She calls her parents, but no one answers. She wants to know what happened. So, she begins to search in her home she most familiar. The game starts…

  • (Following is the story that audience will get into during playing the game)

In 907, City Narokse launched a war against the deity. After the war, half the town vanished like being rubbed off by an eraser, and the rest was enveloped in an impenetrable fog. No one was heard from inside.

In 917, the remaining divine power of the deity gradually faded, causing the fog that enveloped the city to lighten. At the same time, the little girl in Narokse city also gradually woke up. Is it a dream, reality, or illusion? Will she discover the story of her father, the deity, and Narokse? What did the deity do to the little girl? Does everything have an end? Players will follow the perspective of the little girl to explore.

Reference:

This War of Mine pe Steam
The war of mine

Here is the link for more details:

Week 2: Collaborative unit – Detail description

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Week 1: Diary of work & Note

FMP Thesis proposal

  • For the topic:
  1. Does the topic motivate you to research and discover?
  2. How might the research impact present or future theoretical and practical study. Are there potentials to apply new learning?
  3. Will you be able to fulfil and evidence the outcomes outlined in the assignment?

It should be something I’m passionate about. The area that I really want to learn. And maybe something that I don’t particularly know well at the moment but I want to learn and develop.

The thesis proposal can connect to the final animation. It is also fine if it is an independent thesis.

What am I passionate about in terms of animation terms of practical work?

I love animation and that’s why I want to turn it into my career. To be specific, maybe character animation for me. For now, I want to find a job in game industry. So, If I want to become a character animator I need to do the character animation in my project as a showreel to get the job opportunity.

What might I want to research?

Quite a lot so far. I’m not sure for now.

  1. Exploring how animation drives audience’s feeling.
  2. Cartoon 3D animation.
  3. Abnormal camera movement and color schemes.
  4. Horrible animation base on Cthulhu Mythos.
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Week 1: Collaborative Unit – Initial Draft & Diary of work

I am willing to try stylize rendering in collaborative unit. Also I want to describe the story and animate it in the way of Lovecraftian horror. Basically, this kind of style highlight the fear of the unknown. And the story itself partly related with Cthulhu Mythos.

Cthulhu Mythos | Myths and Folklore Wiki | Fandom
Cthulhu

And for the project, I can do storytelling, 3D animation, rigging and weighting. Also, I can do simple modeling. But I’m not good at character modeling. So, if we want to do all the stuffs by ourselves, I definitely need a groupmate to take the part of character modeling.

Friday Updated.

I collaborate with Kaiwen Xiao. He also wants to do the stylize rendering stuff in the project. We are planning to make a game and we need to come up with a brief story in next week. Also, we may need invite someone in sound art to produce the music for us. Otherwise, we have to use license free music as back ground music in our game.

Remember we need to explore topics outside of MA 3D Computer Animation.

Initial plan

1. Animation + game

  • reference game: this war of mine, beholder, Luigi’s Mansion
  • Background use 3D model with 2D texture
  • game mode: character was driven by the desire of finding something or seeking the truth, exploring the room then finally discover something
  • Things to do: model, texture, game interface, interlude animation, character animation, music, the story
  • Camera: close to the character, when the character go into the next room, the scene is slowly cut to a part of the next room near the door of the panorama.  

2. Animation + interactive options

3. Music Video

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Submission – 3D Animation Fundamentals

Show Reel

Weekly Challenges and Diary of work Links:

Week 2: An overview of the 12 Principles of Animation.

Week 2: Good and Bad animation according to my understanding.

Week 2: Bouncing Ball with Travel & Obstacle Course.

Week 2: Diary of work.

Week 3: Six Solid Posing

Week 3: Ball & Tail Animation

Week 3: Diary of work.

Week 4: Walk Cycle

Week 4: Diary of work.

Week 5: Reference footage & Setting Up Maya, Exploring Rigs & Blocking Out Body Mechanics Part 1

Week 5: Diary of work.

Week 7: 3DEqualizer & Body Mechanics Part 2

Week 7: Diary of work.

Week 8: Advanced Body mechanics

Week 8: Diary of work.

Week 9: Phonemes and performance

Week 9: Diary of work.

Week 10: Performance animation and previs

Week 10: Diary of work.

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Assignment: Research Presentation, Critical Report and Post links

Topic: Influence of audience demands on the creation of Disney works

Audio-visual presentation:

Research Posts Links:

Topic statement of critical report

Research about the relationship between writers and audience

Weekly Tasks and Notes Links:

Week 1: Timeline & Understanding of the history of film, animation and VFX.

Week 1: Diary of work & Note.

Week 2: The animation studios/animators who imitated Disney’s hyperreal animation aesthetic in their editing.

Week 2: Diary of work & Note.

Week 3: Politics in Media

Week 3: Diary of work & Note.

Week 4: Analysis Of Mise-en-Scène

Week 4: Diary of work & Note.

Week 5: Film analysis – story arc & Characters breakdown & Character timeline

Week 5: Diary of work & Note.

Week 6: Character & Story development breakdown.

Week 6: Diary of work & Note.

Week 8: Diary of work & Note.

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Research about the relationship between writers and audience

Implied reader

Iser puts forward the concept of “implied reader”. The implied reader is not a real reader, but a real reader that may exist, or an ideal reader that the author expects to design and hopes in the creation process, that is, the implied recipient.  It is the potential consideration of readers’ acceptance ability and vision, which runs through the whole process of artistic creation, dominating and restricting artists’ selection of ideas, materials, styles, language use and meaning expression.  

It exists in the work, and is the ideal embodiment of the artist’s conception and pre-set complete understanding of the story work based on experience or hobby.  Moreover, this implied reader has been involved in the creation activities, has been pre-designed in literary works, has become an important component in the structure of works.  Obviously, this “implied reader” eliminates many interference factors and is more in line with the “ideal” and “demand” of the author. It can even be said that it is the internal logical requirements of the second author, that is, the author’s theoretical structure.  

Iser, points out that the implied readers include: structure character readers (work itself contains Such as the somebody so long The authors consider the how to draw it better The author has been arranged To make the reader to see the appearance of someone) and tectonic structure of readers role (which can take into account the different readers see after will produce different thought).  Readers’ acceptance of literary works is not only shown through reading, but runs through the whole process of artistic creation.  Literature is a process of communication, and its relationship with readers is a dialogue relationship.  Therefore, whether the author is aware of it or not, he will design the “reception mode” in advance in the process of creating the work, which is the “implied reader”.  

“An implied reader is a hypothetical figure who is likely to get most of what the author intended” (Iser, 1974).

“The concept of the implied reader is therefore a textual structure anticipating the presence of a recipient without necessarily defining him” (Iser, 1980, pp. 34)

Horizon of expectation

Gadamer argues that people have a “sense of historical influence” and that they are embedded in the particular history and culture that shaped them. Thus, interpreting a text involves a convergence of perspectives in which scholars find ways to combine the history of the text with their own context.

All history is contemporary, and all historical interpretations are based on contemporary interpretations. Influenced by this view, Hans Robert Jauss proposed the concept of “horizon of expectation” : Personal expectations are always influenced by public expectations, and public expectations and personal expectations are different in different historical stages. Therefore, do not go back to the past, but stand in the present, the key is the present interpreter’s point of view.

Every time the understanding is different

Gadamer argues that literature does not come into the world as a finished thing, a carefully packaged meaning that actually depends on the historical situation of the interpreter.

Hermeneutics

Hermeneutics admits that the meaning of works is historical, and human knowledge always starts and moves within the prejudice, and the historicity of understanding constitutes the prejudice of understanding, which determines the creativity and generation of understanding. Understanding is entirely historical. Gadamer perfected: the meaning of a literary work is never exhausted by the intentions of its author. When a work is placed in a different cultural and historical context, people may extract new meanings from it. The variability and instability of meaning have its historical particularity and historical limitation that cannot get rid of.

Mimesis

Its core idea is that fictional works imitate reality.

Reference:

GADAMER, H.-G. (2003). Truth and method. [Online]. New York: Continuum. Available at: https://mvlindsey.files.wordpress.com/2015/08/truth-and-method-gadamer-2004.pdf [Accessed 16 December 2021]

HALLIWELL, S., & ARISTOTLE. (1998). Aristotle’s Poetics. Chicago: University of Chicago Press.

ISER, W. (1974). The implied reader: patterns of communication in prose fiction from Bunyan to Beckett. Baltimore: Md, Johns Hopkins University Press.

ISER, W. (1980). The act of reading: a theory of aesthetic response. Baltimore: Johns Hopkins University Press.

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Topic statement of critical report

Research Areas: Influence of audience demands on the creation of Disney works.

Key words: Audience demands, Hermeneutics, Implied reader, Audience awareness, Mimesis

Does the topic motivate you to research and discover?

The motivation part of why I am willing to do this research is because I had already done the research on how politics affect the films in class. So, it would be of special interest to find out how audience preferences infect the way of the Disney’s content creators (Animator, writer, producer) present their stories, characters, and work. My original topic was ‘Influence of audience preference on the creation of Disney works’. Through the continuous advancement of my research, I found that all these are related to the change of audience needs, so I finally adjust the word ‘audience preferences’ to’ audience demand’.

How might the research impact present or future theoretical and practical study? Are there potentials to apply new learning?

It goes without saying that all the artwork, whether films or drawings were created in order to present to the public. Therefore, the audience’s feedback will take a huge portion of evaluating whether the film is a success or not. So, I chose this topic on Disney to search if Disney’s artworks were influenced by the audience.

Will you be able to fulfil and evidence the outcomes outlined in the assignment?

I’m planning to find out whether there are any changes in creation by comparing the characters of the Disney princess movie series in different periods. I found that Disney had made changes in many places comparing its previous animations, but I did not carefully consider why. I’m going to find out what affected these changes through this research.

Audience: who and what is the report for?

My target audience is content creators, and I want to inspire them by creating stories and characters according to the audience preference and demand. What’s more, through my research, I want to sensitize the audience to the fact that the authors have considered the type of their target audience when they are creating stories. Also, I want to find the relationship between audience demand and characters.

Purpose: what do you want them to know?

By comparing the characteristics of characters in princess films in different time periods, the audience will realize that the writers or animators create stories according to the needs of the audience and the changes of social background (related to politics) from the perspective of hermeneutics.

Bibliography:

BRODE, D. (2004). From Walt to Woodstock: how Disney created the counterculture. Austin: University of Texas Press.

DAVIS, A. (2007). Good Girls and Wicked Witches: Changing Representations of Women in Disney’s Feature Animation, 1937-2001. John Libbey.

GADAMER, H.-G. (2003). Truth and method. [Online]. New York: Continuum. Available at: https://mvlindsey.files.wordpress.com/2015/08/truth-and-method-gadamer-2004.pdf [Accessed 16 December 2021]

HALLIWELL, S., & ARISTOTLE. (1998). Aristotle’s Poetics. Chicago: University of Chicago Press.

ISER, W. (1974). The implied reader: patterns of communication in prose fiction from Bunyan to Beckett. Baltimore: Md, Johns Hopkins University Press.

ISER, W. (1980). The act of reading: a theory of aesthetic response. Baltimore: Johns Hopkins University Press.

MUNIA, F. (2017). A study of two Disney movies: Cinderella (2015) and Beauty and the Beast (2017). [Online]. BARC University. Available at: http://dspace.bracu.ac.bd/xmlui/bitstream/handle/10361/9054/15263008_ENH.pdf?sequence=1&isAllowed=y [Accessed 17 December 2021]

OAKLEY, T. (2013). Toward a general theory of film spectatorship. [Online]. Case Western Reserve University. Available at: https://www.academia.edu/37063380/Toward_a_General_Theory_of_Film_Spectatorship

[Accessed 17 December 2021]

WATTS, S. (2001). The Magic Kingdom: Walt Disney and the American way of life. Columbia: University of Missouri Press.

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Week 10: Diary of work.

Weekly diary of work for ‘3D Animation Fundamentals’.

This week I polished the performance of previous facial animation with the body movement. Readjusted lots of frames according to the audio clips. I found out it really need a lot of modification in order to perfect a animation. Also we talked about what is gimbal lock in class which is quite famous term in animation industry. And I did some exercise on camera rig too.

Here is the link for this week animation exercise:

Week 10: Performance animation and previs

Visualisation/ Pre-Visualisation

  • It’s the 3D sketch in order to animate properly.
  • The planning of Live stunt / shoot, VFX / SFX, and Storytelling

Pre-Visualisation: The basic rules of ‘Pre-Vis’

  • Quick Working practices (time is money/ Pre-VIs is meant to save money)
  • Follow direction (Director is in charge)
  • Create basic visual representations (low res 3D sets & characters)
  • Clean camera animation / staging (working to fixed camera moves by Director)
  • Produce strong visual communication (story/events/beats/performance/editing)
  • Use appropriate animation (varying levels – fully animated to stepped/blocked)
  • Not use full rendering or lighting (can be viewport / playblast or engine)

↑All these process is to save time and money for all the things go into next step easily.

It’s a roughed out scene in order to get the composition and shot right.

Camera

Four basic groups (Ctrl G) for a camera in order to animate individually.

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Week 10: Performance animation and previs

Challenge 10 (Part 3 & 4): Performance & Pre-Viz

In this stage, I began animating stepped and flat animation in order to shape good key poses. I chose IK handle on arms so I focus on the arc of the arm swing. I want to make sure my character’s arms swing naturally. And finally, I adjusted a little bit on lips according to the blocking body movement result.

Then I used Tween Machine to further breakdown the poses. And I smooth the bumps in graph editor as well as adjusting dope sheet to get a more proper timing. I found that some facial movement like brows movement will seem less noticeable when body movement plays its role. So, I readjusted the brows to give it a more obvious movement. I keep polishing the poses and timing according to the audio in order to get a decent result. Finally, I used three-point lighting to light my scene. And here is my final outcome.

What’s more, I feel the characteristic of the animation I did is flexible and vivid. Because I believe when I’m animating a living being, every frame on every parts of it need to have some changes. So, I made a more detailed head waving animation and a slight shoulder tilt when my character is talking. Also, when he opens his hand, the movement is not stationary. It’s based on his shoulders. It’s same on the movement when the character saying ‘Driving’.

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