This is the idea of my thesis. I want to discuss the topic of animation and realism through 2d and 3d animation and the Uncanny Valley theory
At the same time, I also recorded some points about academic writing that the teacher talked about in class, and specific ways to develop details
Around the methods and formats given, I tried to write some simple structural arguments for my paper to help me clear my mind before writing the paper.
Recently we made a walking animation of the lower half of the body. In class, the teacher helped me to point out that my walking animation is the problem of my knee, which is indeed a very important point that has troubled me for a long time. When my character is moving forward, the knee will unconsciously shake, and this is precisely because I ignore the relative position of the knee when making walking forward, resulting in the position of the knee is more backward than the previous frame, which is not right.
At the same time, when we do the walking animation, we also need to pay attention to the shift of the center of gravity, not only the problem of the center of gravity up and down on the side, but also the shift of the center of gravity from left to right in the positive perspective
Under the guidance of the teacher, I corrected this point, realized the progress of walking animation and solved this huge problem for me, and I felt full of harvest.
Today we are using metahuman to create facial animations from videos we shot ourselves. We used metahuman and live link plug-ins to achieve sequence recording, action baking, animation transmission, and finally realized the effect of face capture. It was a bit off in terms of accuracy, but it was a very interesting experiment
The key pose of character production is the basic component of character animation, so a good posture and dynamic posture are very important in animation
On the basis of meeting the basic requirements of animation, we should try to stretch the action to the maximum to achieve the exaggeration of animation
In the process of making key pose, it should be noted that the reference figure cannot be completely copied. For some angles and joints, more flexible control is needed to avoid overlap of key parts, such as elbow joints, so that the figure can present a natural posture with movement in the camera as much as possible
Pick a film you personally have watched and enjoyed.
I choise the film Rush hour (1998)
-Breakdown the story arc (what are the 8 stages)
1.lee was praised by his superior Han for intercepting more than $500 million in stolen money
2.Han’s daughter is kidnapped by a vindictive Qian Tao, and lee wants to get her back
3.lee came to the unfamiliar United States to work with Carter, but the two did not get along
4.The two gradually recognize each other as they chase the prisoner
5.The little girl was saved,
6.lee goes through a very dangerous situation while capturing the prisoner, the girl is strapped with a bomb
7.lee returns to China
8.Make friends with Carter, have fun, laugh about the future
–Breakdown the characters into their archetypes
–Create a timeline for the main character starting before the film start.
The storyboard or Animation Staging occupies a very important position in the film and television, which determines the fluency and direction of the entire work, and has an unshakable dominant position for the entire work.
In the creation of storyboards, we need to pay attention to the fluency of the lens, pay attention to the direction of motion of the camera between each storyboard, and cannot cross the axis.
At the same time, we can also flexibly use characters and camera movements to design some interesting shots, such as shot, close-up, and large perspective. Of course, we also need to pay attention to the placement of the composition of the subject in each shot, and connect the size of each shot to prevent the appearance of sudden changes in size to bring discomfort to the audience.
At the same time, various elements in the film are also very important. We need to pay attention to the position of objects in the scene, pave the way for the background of the story, the color of the light, and the main characters’ clothing, facial expressions, body language, relative position, lighting and contrast. Each element can become the highlight and feature of the work.
All in all, the artist must flexibly adjust these basic elements to determine the picture style of his film to produce the ideal work of art
Evidence an understanding of the theoretical discourse surrounding the legitimacy of animated documentary and identify key authorities on the topic.
Research and present an argument for an animated work you consider tackles any issues of equality, diversity or social injustice (150-200 words)
The legitimacy of animated documentary should be analyzed from two aspects.
First of all, it is about politics. Under the legal framework, the assessment of the legitimacy and rationality of animated films is often judged from the perspective of politics and law, which has some political motives and cultural meanings.
Another perspective is social comment. Scholars of social commentary tend to examine social issues from the perspective of social issues and pay more attention to the moral and ethical standards of the masses, so different voices will be generated.
In the animation works to solve the inequity of equal and diverse society, I think it is possible to create mixed media to reflect the voices of different groups, and such works can be used to reflect social tolerance, collect the voices of the masses, and convey diversified viewpoints. Using animation as a powerful tool to promote equality and social justice can also help inspire viewers to dispel stereotypes and build a more inclusive environment.
Buchan, S. (Ed.) (2013). Pervasive Animation. London: Routledge
Horness Roe. A. (2013) Animated Documentary. Basingstoke: Palgrave Macmillan.
In this lesson we learned about high resolution screenshots and rendering Settings, as well as the post box to control the scope and quality of the rendered picture. Use anti-aliasing methods and commands to improve the rendering quality.
Consider an animator of your choice you would define as an auteur and write a short explanation of how the criteria defined in the lecture might justify your claims.
I’ve always loved director Christopher Nolan. He is an outstanding film director, specializing in the production of several live-action films and psychological suspense works, such as the film Inception, the non-fiction film Oppenheimer. In The field of animation, he also provided some support for The Man of Steel, so I chose him as my analysis object to elaborate and define.
1.Personal Style：
Nolan’s personal style is known for complex storytelling, deep themes, and complex psychological depictions, and he will design some unique elements of image processing symbols and set them into the plot, such as the dreidel in Inception, and construct a complete story background for the psychological aspects of the characters.
At the same time, he often uses non-linear narrative techniques in his films, using multiple lines to plot the story and finally converging into the main line, which can stimulate the audience’s thinking
2. Technical Prowess
Nolan is famous for the use of real shooting technology, not only including real shooting technology, he is also good at using miniature and other ways to shoot the real scene as much as possible, such as in Interstellar, he found a real corn field to shoot the farm scene, presenting the audience with a great visual impact of innovative works.
3. Interior Meaning
Christopher Nolan’s work is often deeply rooted, he is adept at exploring human memory, reality and dream themes, and exploring abstract concepts to convey deep inner meaning. Through the expression of visual effects and rich plot elements, the philosophical reflection on the human heart.
Through the definition and analysis of these three aspects, I also have a clearer understanding of the unique characteristics of Christopher Nolan as a director in the field of film and television. I am very interested in his non-linear narrative language, which is worthy of profound analysis by every film and television professional.
(37) 2019 Calarts Experimental animation Portfolio(Accepted+Scholarship) – Birth – YouTube
The experimental animation I chose made me feel very interesting. It was shot by stop-motion animation. From the fragments of information to the sunset, the oceans, the gradual birth of organisms, the growth of cities, and finally the network of structures, a whole environment and time evolution is revealed. It addresses the theme of the environment.
Next, I would like to analyze the elements in the film step by step
This picture uses the three primary colors of red, yellow and blue to form a circular ring.
He used the most basic three primary colors of color to come together to form a circular object, and this object has gradually developed into a variety of different things. I want to understand the three primary colors of red, yellow and blue as the basic elements of primitive nature. The three elements represent the initial state of nature, which has converged into a concrete object with entity from a blank void.
The original ring structures come together and become more and more solid. It gradually becomes a sunset, and from here we really feel that now on Earth, the formal beginning of the manifestation of environmental entities.
The view moves from the sea level at sunset to the deep ocean, where life gradually emerges
Jellyfish turned into flowers, and life moved from the sea to land
People gradually developed their building traffic. It is worth noting that in the background sound effects of the video here, the author uses a lot of noise in the city, the noise of cars and horns, to show the change of the urban environment for worse.
Finally and most puzzling and mysterious of all, this is the part where the ambient sounds of the city disappear and are replaced by the howling sounds of the wind. I guess the author wants to show that the excessive destruction of the environment causes the change to return to the original empty.