In the lighting design for the interior scene, I dedicated considerable time and effort to achieve a composition with depth and storytelling elements. Since the overall structure of the scene is symmetrical, I intentionally introduced asymmetry in the lighting setup to prevent the visuals from appearing too monotonous. This approach not only broke the uniformity of the space but also added visual appeal and dynamism to the composition.

Specifically, I focused on creating layers and directionality in the interplay of primary and secondary light sources. For instance, although the scene features a symmetrical layout, I used a stronger warm-toned light as the main source and complemented it with a softer cool-toned light as a fill, creating a striking color contrast. Additionally, I incorporated asymmetrical details in the scene, such as the fireplaces flanking the hallway and the desk on the left side of the hall, which I specially designed with scattered scrolls and books.

To further enhance the narrative, I added props near the table holding the treasure chest, such as a weathered sign, scattered candles, and other subtle elements. These props not only enriched the backstory of the scene but also invited the audience to explore its intricate details.

In certain key shots, I experimented with distinct lighting configurations to heighten the color depth and ambiance. For example, in the second shot, I introduced a rare cool-toned light source to break the dominance of the warm tones. This contrast with the surrounding warm lighting created a more vibrant and engaging visual effect, enhancing the dynamism of the scene.

After importing the FBX model into Unreal Engine (UE), I needed to reassign and adjust its materials. To streamline the process, I initially obtained the base materials by importing the FBX file. These materials provided the foundational textures and attribute parameters for the character. However, as the default materials did not fully meet the requirements of my project, I refined them in the material editor to optimize their visual effects and better align with the overall style of the animation.

Specifically, I focused on fine-tuning the surface roughness, color saturation, and detailed parameters. Adjusting the roughness was particularly crucial as it directly affects how light reflects off the character’s skin. To create a non-reflective skin texture, I increased the roughness parameter, making the character appear more natural on screen while complementing the lighting setup in the scene. This approach not only minimized excessive highlights that could distract the viewer but also gave the character a unique stylized texture that harmonized with the cartoon-like environment.

Despite the tight project schedule, I managed to complete these fundamental adjustments within the limited time, ensuring that the material effects were consistent with the rhythm of the animation. Additionally, during the modification process, I considered the compatibility with the rendering phase. For instance, I ensured that the character’s material maintained a stable appearance under varying lighting conditions, avoiding any abrupt changes caused by shifts in illumination.

Through these material optimizations, I successfully enhanced the character’s visual appeal while laying a solid foundation for the animation’s final presentation.

During the export stage of animation production, I conducted meticulous checks and adjustments to address various potential issues, especially clipping problems. To tackle this, I fully utilized the features of the X-Form Editor, accurately identifying and fixing any clipping points on the model’s surface.

When exporting files, I adopted two different methods tailored to the needs of each character. For the big monkey’s animation, I opted for the FBX file format. I exported the baked skeletal animation and matched it to the skeletal structure of the animation sequence before importing it into Unreal Engine (UE) as an animation sequence. This approach effectively preserved the details of the skeletal animation and seamlessly integrated with the engine’s controller system.

For the little monkey’s animation, which involved complex geometry deformations, I used the Alembic (ABC) format for export. The ABC format excels at capturing intricate geometric caches, making it ideal for scenes requiring high-fidelity dynamic effects. However, its drawback is the inability to directly retain material information, necessitating reapplication in the engine. To resolve this, I first imported the little monkey’s FBX model into UE to retrieve the material ball resources. Then, I applied these materials to the corresponding ABC file’s material slots, successfully restoring the character’s materials. While this method added complexity to the workflow, it ensured that the materials and animation were perfectly synchronized in the final render.

Throughout the export process, I rigorously tested various aspects, such as animation smoothness at different frame rates, accurate material map loading, and consistency of the model’s physical attributes within the scene. These detailed efforts not only guaranteed the quality of the final animation but also provided a solid foundation for subsequent rendering and post-production.

During the process of creating the animation, I realized that the previously constructed scene was overly realistic. While it was rich in detail, the high reflectivity of the materials and the complexity of the lighting made the visuals feel disconnected from the overall style of the characters. After multiple attempts and careful consideration, I ultimately decided to completely rebuild the scene to better align with the character animation and narrative.

In the new scene design, I opted for stylized, cartoon-style assets. This artistic approach not only matched the tone of the animation but also reduced the visual distractions caused by overly intricate materials and lighting. The cartoon-style scene not only brought more artistic appeal to the visuals but also added a unique charm and expressive quality to the animation.

After rebuilding the scene, I focused particularly on the lighting design to create the ideal atmosphere and dramatic effects. I chose warm-toned lighting, such as soft orange and yellow hues, to establish a welcoming and adventurous mood. Additionally, I introduced subtle blue and purple tones in the shadows and as auxiliary lighting, enhancing the richness of the colors and making the scene more dynamic.

To ensure the best light and shadow effects for each shot, I tailored the lighting for every individual scene before rendering.

This reimagined scene design and meticulous lighting adjustments not only resolved the previous style inconsistency but also infused the animation with a more distinctive visual language, elevating the overall expressiveness and viewing experience.

In the process of creating the animation, building and refining the scene was an ongoing task. To ensure both rendering quality and efficiency, I chose to construct and optimize the scene using Unreal Engine.

I selected a set of realistic-style scene assets with the goal of creating an environment that blends ruins and caves, evoking a sense of mystery, adventure, and treasure hunting. These assets included crumbling stone walls, collapsed structures, stone pillars, and scattered ancient treasure decorations, perfectly fitting the theme of my project. However, since the assets were highly detailed and differed from the style of the character animations, additional adjustments were necessary to achieve better harmony between the two.

To ensure precise alignment between the scene and the character animations, I first exported the scene’s key position data from Maya and imported it into UE. This data included critical terrain layouts and relative positions, serving as a crucial reference for building a detailed scene. Based on this data, I adjusted the placement, scale, and rotation of the assets to ensure each element seamlessly matched the characters’ actions. For example, while animating running and jumping sequences, I paid special attention to the height of the ground and the placement of obstacles to avoid clipping issues or inconsistencies with physical logic.

Additionally, I enhanced the scene with dynamic elements, such as gently flickering torchlight and drifting dust particles, to add a layer of realism and immersion to the environment.

In handling action details, I paid special attention to the character’s hand movements and body dynamics.

When the character’s fingers grasp, I focused on depicting the intensity of the grip. The bending angles of the first two finger joints increase significantly under force, while the curvature of the palm tightens, conveying a sense of concentrated strength.

During the character’s preparation for a forward dash with a sidestep, I added anticipatory movements to enhance the action’s logic and visual impact. This preparatory motion includes a slight backward tilt of the body, a sense of tension in the shoulders, and stabilization of the lower limbs. At this moment, the body enters a brief pause, with the accumulated energy ready to burst forth. Special attention was given to the body’s center of gravity, which leans slightly in the opposite direction to balance the force of the dash.

In designing the forward-leaning motion, I also emphasized the follow-up dynamic. Once the character completes the main forward-leaning action, their body subtly rebounds backward, creating a natural inertia effect. This small but crucial adjustment not only adds fluidity to the movement but also imbues the character with a greater sense of vitality and physical authenticity.

The handling of details between actions is especially important in animation. Eye contact between two characters, in particular, can convey subtle emotions and psychological changes, creating highly engaging dramatic effects. For example, through one character’s gaze and the other’s response, the audience can perceive the sense of mutual understanding, tension, or conflict between them.

Additionally, continuity between shots is a key aspect of storytelling in animation. To achieve seamless transitions, action-based continuity can be used as a bridging technique. For instance, the trajectory of a character’s movement at the end of one shot (such as a forward-leaning motion) can be carried over and completed in the next shot. This approach not only maintains visual consistency but also enhances the rhythm and immersion of the narrative. By employing such techniques, viewers are guided smoothly through the sequence without being jarred by abrupt transitions, allowing them to stay engaged with the characters’ actions and the story’s progression.

First, I enhanced the richness of the visuals by incorporating background elements that served as spatial references. These elements not only provided clear spatial cues for the characters but also added depth to the scenes. At the same time, these background elements played a crucial role in storytelling.

When designing camera transitions, the backgrounds became key references for positioning the characters and planning camera movements, making the transitions between scenes more seamless and natural. For instance, as the characters moved, changes in the background elements helped convey shifts in the environment and the extension of space, allowing the audience to visually follow the characters’ journey more effortlessly.

These backgrounds were not just decorative but also integral to the narrative, closely interacting with the characters to enhance the overall expressiveness and cohesiveness of the animation.

My mentor gave me some very practical suggestions for improvement, particularly on refining the details in the animation. For instance, he pointed out that the hand movements in certain scenes need to appear more natural and subtle. This includes not only the bending angles of the fingers and the positioning of the palms but also the alignment of hand gestures with the narrative context.

In addition, my mentor suggested paying closer attention to the dynamic balance in the characters’ walking animations, especially the rhythm and amplitude of their side-to-side swaying. He emphasized that the body’s motion during walking should not only reflect the character’s personality traits but also stay consistent with the overall rhythm of the animation. For example, the character Big Monkey, being confident, could have steadier steps and a more pronounced sway to emphasize their self-assurance.

When storyboarding, I paid close attention to every detail, especially the interactions between the characters. To better convey their emotions and narrative, I carefully designed their eye contact, movement coordination, and relative positioning within the frame. For example, in scenes where they exchange glances, I used subtle facial expressions and slight gestures to highlight their mutual understanding and emotional connection. In more intense moments, I adjusted their distance and posture to create a sense of tension. These deliberate choices not only helped shape the characters’ personalities and relationships but also allowed the audience to intuitively feel their psychological states.

During production, my instructor’s guidance gave me a deeper understanding of spatial relationships within the frame. He emphasized the importance of maintaining depth in composition and ensuring harmony between the characters and the background, especially in dynamic scenes where crossing the line of action must be avoided. I learned that crossing the line disrupts the audience’s perception of the characters’ positions, leading to confusion in the storytelling. To address this, I meticulously adjusted camera angles during storyboarding to ensure smooth and logical transitions between shots. These careful refinements enhanced the clarity and coherence of the narrative, making the animation more immersive while significantly improving its professionalism and visual appeal.