Category: Advanced and Experimental 3D Computer Animation Techniques

This is the last week of Term Two, and I’m thrilled to announce that my previs is finally ready! This term has been incredibly educational, and I’ve learned so much about camera animation, compositing, and the technical intricacies that go into creating a compelling previs.

One of the most valuable lessons I learned was the importance of camera animation. Knowing how to move the camera smoothly and purposefully can make a huge difference in how a scene is perceived. I spent a lot of time refining my camera movements to avoid abrupt transitions and to create a more polished and professional look.

Compositing was another critical area of focus. Understanding how to place characters within the frame and set up the environment effectively is essential for storytelling. The rule of thirds, use of space, leading lines, and depth of field all play a crucial role in creating visually appealing and coherent scenes. George’s feedback helped me grasp and apply these concepts to my work.

Lighting, even in previs, is incredibly important. It sets the mood, highlights key elements, and guides the audience’s attention. I experimented with various lighting techniques to enhance the sci-fi atmosphere of my project.

Throughout the term, I also learned about the technical aspects of previs, such as using the graph editor to smooth out animations, creating visual effects for previs with shaders, and understanding the timing and spacing of animations. These technical skills are crucial for creating a previs that is not only visually appealing but also functional as a blueprint for the final project.

At the end of the term, George was happy with my progress and the final previs. The next step will be making my FMP based on this previs.

After adding lighting to some of the shots, George suggested incorporating more spaceships in the background of my establishing shot. Additionally, he advised me to decide on the details I wanted to include around the establishments. While I have planned everything, I will be adding details like foliage, buildings, and crowds to this shot later on as I continue working on my FMP.

We also decided to consider fading in the portals of the multiverses rather than having them enter the shot from the corners; this change should make the transitions smoother and more visually appealing. For the shot where Dr. Grey is working on his computer, George suggested adding another shot to provide better context and pacing, ensuring the audience fully understands the intensity of the moment.

To make the story clearer, George advised adding more computers around Dr. Grey and showing him frantically trying to stop the glitch, but unfortunately, his efforts are in vain. This addition will help emphasize the desperation and urgency of the situation.

For the final shot, I still need to add some details to make the explosion believable for the previs. This includes adding smoke and a security alarm going off to heighten the sense of urgency. These elements will make the scene more dramatic and engaging for the audience.

While my previs looks much better now, there’s still a lot of work to be done to make it better.

One of the first changes we considered implementing was moving the spaceship in my establishing shot into the hole. George suggested trying it out and keeping it if it looks good, so I’ll be testing that this week. Next, it’s time to add some lighting to my scene. Lighting is crucial in previs as it helps set the mood, highlights important actions, and enhances the overall visual storytelling.

I’ll start by adding lighting to the two shots below to show the audience that the machine is working correctly. After that, I need to fix the shot of the portals coming in, as one of them still has some abrupt movement. Additionally, I’ll create a magical effect with shaders to emphasize that the portals connect to different multiverses.

One of the critical moments in my previs is when the glitch occurs. George advised adding some red lighting to signal to the viewer that something is wrong. This visual cue will help convey the urgency and danger of the situation.

I’m still working on slowing down Dr. Grey’s movements and giving him enough time to run to the machine. This has been a bit challenging, but it’s essential for the pacing and clarity of the story.

For next week, I’ll focus on these tasks and continue refining my previs.

After refining some of the camera animations, George suggested changing the order of the shots, which you can see in the picture below.

One major issue was the animation speed when Dr. Grey notices the glitch—George described it as looking like “The Flash,” which was spot-on. I will slow it down to make it more realistic and easier to follow.

There were still some issues with the camera animation, especially around the machine at frame 981. There was an abrupt transition to the left that looked awkward and needed fixing. I also need to add more clarity to Dr. Grey’s poses and hold the camera longer on some shots to give the audience time to process the action.

George also advised changing the composition of the shot where Dr. Grey presses the button. Instead of focusing on his body, the shot should highlight the button and his hand to emphasize the action. For the final shot, my camera animation was again too fast, so I slowed it down to improve the pacing. George also taught me how to animate the transparency in the hypershade to adjust the timing and spacing of the explosion animation, which was incredibly helpful.

There’s still a lot to fix for Week 6, but I’m excited to keep improving and learning.

After integrating the first round of feedback from George, I’ve made significant progress on my previs, but there’s still a lot of work ahead.

Initially, George pointed out that the rotation at the end of my establishing shot was distracting and needed to be removed. I will take his advice and eliminate all the excessive camera rotations, opting instead to cut directly to the shots I want. This change helps to maintain a smoother flow and gives the audience more time to absorb the scene.

In the shot where Dr. Grey is working on his computer, I realized I needed to animate both his head and body to make the scene more engaging. I also focused more on camera animation, learning when to ease in and ease out to create a more polished effect. Animating the camera for this previs has been particularly challenging, requiring a lot of time and adjustments to figure out what was wrong. Specifically, for the shot of the wires, there were still some abrupt movements. George advised me to check the graph editor to smooth these out.

Another critical piece of feedback was to add more poses for Dr. Grey to better convey his emotions. Holding shots longer is essential to give the audience time to fully understand the scene. George also suggested adding more shots when Dr. Grey decides to blow up his lab, which will help clarify the story. He even showed me how to mimic an explosion in Maya for the previs, which was incredibly helpful.

I still have a lot of camera animation to refine and more poses to add to ensure Dr. Grey’s emotional journey is clear. For next week, I’ll be focusing on these areas, using George’s guidance to enhance my previs further.

My story revolves around Dr. Grey, a scientist who invents a device that unlocks portals to various multiverses. However, a malfunction in the system reveals multiple versions of himself, all cautioning him about the peril this technology poses to humanity. In a climactic twist, he opts to destroy his laboratory to avert the impending catastrophe. Initially, I concentrated on developing Dr. Grey’s character, with a detailed depiction provided in the image below.

This is the biography of Dr. Grey: Dr. Gray, a brilliant and ambitious scientist based in a futuristic city; With a passion for pushing the boundaries of science. Dr. Gray has devoted his life to science he has always been alone and now he is on a mission to invent a machine called yx3 that will make travelling to parallel universes possible. also, he has a goatee.

George suggested adding more backstory to Dr. Grey, such as why he is alone and what drove him to develop this groundbreaking yet dangerous technology. This backstory will add depth to his character and make his ultimate decision more impactful.

This week has been the busiest and most demanding of the term so far. We had to tackle several critical aspects of our projects, including basic composition, camera placement, and adding camera movement, all for the creation of the first draft of our previs. This process was incredibly time-consuming and required a lot of focus on various elements.

Given my passion for Digital Matte Painting (DMP), the establishing shot is incredibly important to me. I see the architecture of Dr. Grey’s city to be inspired by brutalism, with an overgrown, high-vegetation environment that emphasizes the isolation and secrecy of his work. I’ve sketched out my ideas to ensure this shot captures the right mood and atmosphere.

During our feedback session, George assisted me in refining the remaining shots. I acquired essential techniques for animating and controlling the camera to ensure smooth movements and avoid jarring actions. Additionally, he proposed compelling composition ideas and stressed the importance of portraying the pivotal moment when Dr Grey activates the detonation button in a visually and emotionally impactful manner.

I will incorporate these suggestions and refine the previs in the upcoming week.

This week, I’ve been busy creating three mood boards to capture the overall mood, environment, and lighting for my previs. The environment I’m going for is distinctly sci-fi, featuring futuristic elements and high-tech aesthetics. Picture towering, sleek structures with advanced technology integrated into every aspect of life. The lighting will be a mix of greens and blues, emphasizing the high stakes and dramatic moments in the story.

In addition to the mood boards, I also created some basic compositions in Maya. During our feedback session with George, I realized the critical importance of the rule of thirds, a principle we often overlook. With George’s draw-overs on my shots, I understood how I should consider the edge of the frame and the use of space. For example, positioning key elements along the grid lines can create a more balanced and engaging composition.

George also emphasized the importance of leading lines, which can guide the viewer’s eye towards the main action or focal point of the shot. Additionally, he pointed out the necessity of considering the depth of field to ensure that the background elements complement the foreground action without distracting from it.

These insights have been incredibly valuable as I refine my compositions and work towards a cohesive visual style.

I had three compelling concepts for my previs project, which I plan to present as my Final Major Project (FMP) story. With a focus on demonstrating proficiency in environment design and Digital Matte Painting (DMP), I aimed to develop a story with a strong sci-fi theme. Here are the initial ideas along with accompanying mood boards and basic shot outlines:

1. A boy trapped in a modern world discovers a mystical book and sets out on a quest to find like-minded individuals, only to realize it was all a dream.

2. A scientist creates a device that can access alternate multiverses. However, a malfunction reveals multiple versions of himself warning of the danger it poses to humanity. To prevent disaster, he must destroy his lab and everything in it.

3. In a futuristic environment, a groundbreaking medication allows people to experience different emotions at their command, such as the warmth and happiness of sharing a meal with loved ones.

After consulting with George, we decided to pursue Idea 2 as it offers more potential and aligns well with the skills I want to showcase. This project will be an immersive exploration of a sci-fi narrative, focusing on creating engaging environments and impressive DMP work.

In the coming week, I will work on creating the moodboards and some basic shots in Maya.

I’m so excited to start term 2! George’s lesson on analyzing the mise-en-scène was really enjoyable. we discovered how elements like settings, props, and character design work together to help the narrative. Moreover, I gained insight into previs and its significance in the film industry. The role of previs in planning performances and camera placements to make scenes filmable and elevate storytelling is truly remarkable.

For practice, I decided to study “Monsters University” mise-en-scène. Analyzing the mise-en-scène in “Monsters University” involves examining how different elements are organized and designed to convey meaning and elicit specific reactions from the audience. Here is a detailed breakdown based on the provided information:

Settings & Props

• Setting: The film predominantly unfolds on a university campus, featuring various settings like classrooms, dorms, and Scare Games arenas. This backdrop plays a vital role in establishing the academic and competitive tone of the narrative.
• Props: Props such as textbooks, scare equipment, and team banners serve to reinforce the university setting and highlight the significance of the Scare Program. These objects contribute to setting up the challenges and ambitions of the characters.

Costume, Hair & Make Up

• Costume: Characters don university-themed outfits like varsity jackets, team uniforms, and casual student clothing. These costumes help distinguish between different monster groups and their affiliations within the university.
• Hair & Make-Up: In the case of animated characters, this pertains to their visual design and textures. The varied appearances of monsters, including fur, scales, and colours, are utilized to communicate their personalities and roles in the narrative.

Facial Expressions & Body Language

• Facial Expressions: The characters’ faces are highly emotive, effectively conveying their feelings. For instance, Mike’s determined and enthusiastic expressions contrast with Sulley’s initially relaxed and self-assured demeanour.
• Body Language: The characters’ body language complements their personalities and emotions. Mike’s lively movements and Sulley’s more laid-back posture reflect their distinct outlooks on university life and individual aspirations.

Colour/Lighting

• Colour: “Monsters University” employs a vibrant and dynamic colour scheme to capture the youthful energy of college life. The use of colours shifts to match the mood of scenes, with darker tones during tense or competitive moments.
• Lighting: Lighting is utilized to set the mood and draw attention. Bright, well-lit scenes depict the lively university atmosphere, while dimmer, more dramatic lighting adds tension during the Scare Games.

Positioning of Characters/Objects within the Frame

• Framing: The film utilizes the rule of thirds and the golden ratio to create visually pleasing compositions. Characters are strategically positioned to direct the audience’s focus to significant actions or emotions.
• Positioning: The placement of characters within the frame helps establish relationships and dynamics. For instance, Mike and Sulley are often positioned together but with space between them to symbolize their initial rivalry and eventual partnership.

World Building

• Establishing the World: The university setting is meticulously designed to resemble real college environments, infused with monster-specific elements. This includes architecture and the organization of the Scare Games.
• Era and Style: The setting has a contemporary feel with a fantastical twist suitable for a world of monsters. The design elements are modern yet whimsical, aligning with the film’s tone and target audience.
• Governance: The university’s rules and structure, including the significance of the Scare Program and the hierarchical nature of the monster society, provide context for the characters’ motivations and conflicts.

Character Creation

• Character Design: Characters are uniquely designed to reflect their personalities. For example, Mike’s small, round shape and large eye convey his underdog status and intense focus, while Sulley’s large, imposing figure reflects his natural talent and confidence.
• Character Interaction: The interactions and responses of characters are pivotal in depicting their perseverance and evolving relationships. Mike’s determination and Sulley’s gradual realization of the value of hard work are showcased through their interactions.

Shot Composition

• Defining Scenes: Various shots and angles are used to convey the narrative. Wide shots establish the campus setting, while close-ups convey the characters’ emotions and reactions.
• Emotion and State: Changes in shot composition mirror the characters’ emotions and states. For instance, low-angle shots of Sulley enhance his intimidating presence, while high-angle shots of Mike emphasize his struggles and determination.

For next week I’ll be working on three different ideas for my previs.