Creating a mood board for my film this week looking for some reference, the camera speed is a bit too fast, improving it next week.
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Author: Jiahao Yang
This week, based on the references I found for my dissertation, the direction of my dissertation was set as how the behaviour that different characters should behave in the same scenario context would look like. In replacing the variables ‘personality’, ‘appearance’, ‘background’ and other factors, is it possible to explore some inherent design principles that could provide some ideas for character designers.
Below is a reference to the paper I looked up.
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.
Thomas, S., Ferstl, Y., McDonnell, R. and Ennis, C., 2022, March. Investigating how speech and animation realism influence the perceived personality of virtual characters and agents. In 2022 IEEE Conference on Virtual Reality and 3D User Interfaces (VR) (pp. 11-20). IEEE.
Khalis, F.M. and Mustaffa, N., 2017. Cultural inspirations towards Malaysian animation character design. Malaysian Journal of Communication, 33(1), pp.487-501.
This week we are learning about the wrist and arm section. This time learning how to use new tools, being able to create more detailed sections and creating connectors between the wrist and fingers to link them together.
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Week 4：Collaborative Unit
This is a reference found on the Internet, the effect of the tree in combination with the stars.
We wanted a lowpoly effect similar to “Little Prince” in style.
This week I made the following video, I made the camera move, gave the characters some simple character animation, and added some shots, I wanted to study some effects about the story.
At this stage, I am interested in character modelling, facial features, movement and behaviour and contextualisation. 3D animation differs from 2D animation in that it focuses more on the emotions and body language of the characters, which allows the audience to quickly immerse themselves in the characters. I sometimes wonder why characters in films are styled the way they are, and whether there are fixed rules or standards of direction. I think the success of characterisation determines how good a film is, so the physical movements and appearance of the characters are very important.
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Week 3:Collaborative projects
This week we worked together to determine the theme of the project, the main characters, and find reference images for the project content. For last week’s story version, we discussed meticulously and vetoed it, because the time factor and the model factor conflicted, there was not enough time to polish the model meticulously, and we predicted that the project workload was too large, so we abandoned the story.
We identified the story as one factor (the person) influencing the other factor (the tree/star), and we hoped that even if the two factors did not do much to influence each other, they would still produce results because of a small action.
This week a quick selection area was created for the robot arm, to make it easier to animate the character later. The palm of the hand was also added, and the names of the finger parts were changed for easier control later on.
Without a doubt, Jibaro, episode nine in the third season of Netflix’s darling anthology Love, Death, and Robots, is one of the most astonishing pieces of animation in recent memory. Jibaro’s director, Alberto Mielgo, is a modern animation trailblazer, who continuously pushes the boundaries of conventional cartoons from the big studios to allow for more experimental artistic expression and innovative techniques. Incredibly stylized, Jibaro resembles rotoscoping works with the flowing movement of its characters and collages with its vivid and veracious panorama; they are, however, keyframe animation, painstakingly crafted after weeks of studying video references. Jibaro is a magnificent mix of 3D models on 2D backgrounds.
Interestingly, Alberto Mielgo started learning the language of aesthetics and colors through the digital medium, before trying physical drawing and oil painting. A fan of comic books, he explored storytelling devices where the visual carries the story instead of the words. This visionary (or madman) opted to continuously find ways to challenge himself as an artist with difficult techniques, demanding shots, and the use of technology. As he said in his interview with ScreenRant: “I love technology, and I like to push the boundaries, especially visually — not for the sake of just pushing the boundaries, but to serve the story. So I felt that that was the right way to do it. It was suffering, but we ended up doing it, which is cool.”
This week I revised the first story, adding major environmental building objects to enrich the story plausibility. Both men are from an assassin group, and their ranks are ranked in order of strength according to the badges issued by the group. The badges can be obtained by robbing others, so the two killers, originally from a small team, are at odds.