After a group discussion, the radish was made into an oval shape with an overall rounded finish. This week the main focus was on the UVh and material balls.
The doors and railings were mapped using Substance Painterh. The green leaves and the body of the radish were painted by Arnoldh.
This is the UV of the model:
This is all the textures after export:
Rendering test:
Dialogue was added to the story this week to add to the story, but the content of the dialogue did not match the character actions, which will be revised next week. Some shots were modified and the screen resized.
This week, Deng, who is in charge of pre-design. Give me a design house design, in order to meet some characteristics of the character (rabbit), the house as a whole with red rosettes as the main body, in order to increase the fun, add a slide in the root of the leaf part.
This week, we completed the large arm portion of the robot arm, creating a mechanical pressure bar to limit the degree of arm stretch. Create the circle, bind the parent-child relationship, and prepare for the animation later.
This week, story shots were revised to add a dozen new shots to complement the story. Camera restraint was applied to reduce camera shake and increase the physical movement of the characters.
Chen, K.L., Chen, I.P. and Hsieh, C.M., 2020. Analysis of facial feature design for 3D animation characters. Visual Communication Quarterly, 27(2), pp.70-83.
At:https://www.tandfonline.com/doi/full/10.1080/15551393.2020.1732218
We can draw the conclusion that “character background information does influence character design” based on Chen’s argument. The data from his thesis reveals that male and female facial looks differ in that face shapes are more significant than specific facial traits, and that the degree of exaggeration of a character’s features varies with age, with older male figures being an exception. They demonstrate that character traits can affect the audience’s initial perception of a character, even if the character’s position changes in the course of the plot. This helps the story become more interesting and surprising.
Power, P., 2008. Character animation and the embodied mind—brain. Animation, 3(1), pp.25-48.
At:https://journals.sagepub.com/doi/pdf/10.1177/1746847708088734?casa_token=bme5OWuncUoAAAAA:U6YY1E5th1Q9RQmM6CVgEFYpuQk0zm5ehgnwGHIEEoCY_QLoNVJpm6VJwaElmM5p2P6Osay9sjdPwQ
According to Power’s thesis research, it was discovered that the stories and aesthetics of 3D animated characters are influenced by language and culture, and that “artists and scientists “need to be educated across disciplines or with each other”” To create outstanding characters, character designers must integrate various disciplines, such as anthropology, sociology, and psychology.
After watching some videos on character animation this week, I started to reflect on whether the direction of my dissertation was a little too broad and should be narrowed down.
Analysis of character traits in 3D animation-analysis of the top 50 animated movies in the US 3D animation box office
This week the robot arm learns to create pressure bars to constrain finger flexion
In the project, I am responsible for the design of the scene house, the following is to find the reference map, the general direction of the hope to be close to the “fruit farmer” “ranch” similar houses.
I sent the reference images to Deng Zheng, who was responsible for the pre-design, and he in turn was responsible for the overall design sketches of the house.
Making some adjustments to the storyline this week and lowering the speed of the camera. Discussed camera use with George and asked questions about the multiple moving shots. George suggested using less motion shots and more lock shots to add more physical movement and enrich the characters’ emotions.