This week’s lesson focuses on Body Mechanics, which refers to the study of how the body moves. Below are some examples:
Although different characters exhibit unique movements, they must all adhere to certain principles to ensure the animation appears smooth and logical. These principles are collectively referred to as mechanics. Effective mechanics ensure that a character’s weight shifts, poses, positions, pacing, and timing are executed appropriately and cohesively.
Referencing
In today’s lesson, we also discussed the concept of Referencing. Although I had previously filmed references of myself for the Weight Shift homework, I am still not entirely familiar with how it works in practice. During the lesson, we received valuable tips from a video, which emphasized the importance of maintaining the same camera angle for both the reference footage and the animation. This consistency allows for more effective utilization of the reference when creating the animation.
For example, in the 2D blocking animation I created (shown on the right), the animation uses the exact same angle as the reference on the left—specifically, a perspective view positioned between a front and side view. This alignment ensures that I can accurately reference each pose step by step, without needing to imagine poses that might otherwise be obscured.
In other words, if I were to use a side-view reference for my animation, I would need to visualize certain poses that are not clearly visible. For instance, I would have to imagine the exact placement of the character’s hands when she stretches them.
In addition to the reference mentioned above, I conducted further testing with references, assisted by Technician Roos.
Front and Side views of Standing Up from a Chair
Perspective View of Standing Sp from a Chair
Front and Side Views of Jumping Over Obstacles
2D Blocking animation and Testing
I began by sketching the key poses from the reference to create the blocking for the 2D animation. Then, I used a polygon to roughly animate the character’s body in Maya. I plan to further refine this by incorporating the character into the polygonal body and using it as a reference for the timing and pacing when I begin my actual 3D animation.
During today’s lesson, we were provided with various guidelines for writing a critical report. These include:
Paraphrasing
Understand the readings thoroughly and take clear, concise notes.
Summarizing
Condense the main ideas of the readings effectively.
In-Text Citation
Ensure citations are included consistently throughout the text.
Key Considerations
Relate all resources back to the research question being addressed.
Quoting
Use quotation marks (“ ”) for direct quotations. For example:
Paul Wells suggests, “…”
Use terms like “clearly” or phrases such as “clearly, this might be a factor” to indicate uncertainty or nuance in your argument.
Additionally, we learned that a literature review involves critical analysis and evaluation of previous research on a given topic. It should be well-organized and structured to address a clearly articulated research question.
Progress on Critical Report
At present, I have completed the following sections of my work:
Abstract
Keywords
Introduction
Literature Review
References
I have conducted research using Google Scholar and books from the library. I now plan to begin writing the main discussion chapters.
Below are some key findings from my research so far:
Mickey Mouse occupies a significant, if secondary, position in Benjamin’s writings on cinema and experience.
Impact of Medium Shifts from Cinema to Television
The transition from cinema films to television significantly impacted the portrayal of animated characters, expanding their reach to larger and more diverse audiences. With television, characters appeared in longer and more frequent segments, often totaling eight hours a week rather than the shorter 50-minute runtime of traditional cinema. This extended exposure allowed audiences to see these animated personalities evolve in depth and nuance, fostering a stronger connection with viewers and establishing them as regular, relatable figures in daily life.
Changing Presentation of Animated Characters as Performers
As animated characters adapted to the television format, they often took on new roles as hosts or guides, developing a sense of self-awareness that let audiences perceive them as performers. This approach gave viewers a glimpse into the “real” side of these characters, encouraging a more personal connection. For example, in The Mickey Mouse Club, Mickey Mouse took on a hosting role, frequently engaging directly with viewers and guiding them through the program’s segments, reinforcing his role as a leader and friendly companion. Similarly, in The Bugs Bunny Show, Bugs Bunny was presented more as an actor in various roles rather than as a singular, fixed character, making him feel more dynamic and versatile to audiences.
Based on the feedback received for my previous walk cycle assignment, I must incorporate the following adjustments.
Issues and Explanation
(Front View)
For the front view, it is essential to ensure that the body of the “Walker” model follows a motion resembling the shape of the number eight to maintain a proper Arc.
Arcs
As outlined in Week 1’s blog, Arcs are a fundamental aspect of most animations.
Figure-1: I Want to be…an Animator Website
from the movement of the hands to the table,
Figure-2: I Want to be…an Animator Website
or the movement of the legs from the center to the right,
Figure-3: I Want to be…an Animator Website
or even the swinging motion of an arm, these movements often follow arcs. Animating along arcs results in smoother and more realistic motion. The image above illustrates arm movement forming a shape similar to the number eight, which I aim to replicate in my animation.
I attempted to reference this woman’s hand movement to observe whether a “figure-eight” arc is achieved.
Figure-4: I Want to be…an Animator Website
Furthermore, the nature of arcs also varies depending on the amount of force applied to the movement.
(Side View)
I also need to address the issue of the heel not maintaining the same position as in the previous frame. If left uncorrected, this could give the impression that the model’s foot is sliding, potentially making it appear as though the model is about to trip.
Additionally, there was an issue with Knee Popping in my animation.
Knee Popping
Video-1: Alexander Williams(How to Fix Knee Pops in a Walk Cycle)
This occurs when the knee bends in one frame and then abruptly straightens and extends in the next, creating a jarring, unnatural effect in the animation. To resolve this, it is important to ensure that the knee maintains a slight bend throughout the animation, preventing any sudden or harsh transitions.
Another issue with my animation is that the foot lifts off the floor too quickly. In a natural walk, the foot remains in contact with the ground for a bit longer before lifting, with the toe staying in contact longer than the heel. Therefore, the foot in this segment of the animation should be positioned as indicated by the blue line.
Further Polish Result
In the revised version, I resolved the previously identified issues and incorporated additional refinements to enhance the animation’s fluidity. For instance, when the heel makes contact with the ground, the entire foot does not touch the surface simultaneously in the subsequent frame. Instead, the heel contacts first, followed by the toes, creating a subtle flipping motion that adds a slightly exaggerated, cartoon-like effect to the walk.
Nevertheless, some instances of knee popping remain problematic. For example, as the foot touches the ground, the knee transitions abruptly from a straight position to a bent one. I am uncertain whether this appears unnatural and intend to seek clarification from my tutor.
In today’s lesson, we explored various lighting techniques in Unreal Engine (UE), alongside some modeling methods.
Although I have previously studied lighting in my prior courses, I continue to find it fascinating, as it encompasses more than just the light we perceive. When creating or adjusting lighting, several factors must be considered, including:
Shadowing (with softer angles)
Ray tracing
Reflections
Source angles
Direct lighting & Indirect lighting
Bounced light
Each of these elements plays a critical role in achieving a realistic and dynamic lighting environment.
Project Progress
Environment
I tried to modify the colours of the environment to make it look more vibrant.
Before
After
Animation
I did some brief animating in UE specially for position and timing. All the details will be fixed afterward.
Since today was designated for feedback, I implemented revisions based on my tutor’s guidance and recommendations.
Project Progress
The changes and progress of my project are outlined as follows.
Model and Rigging for the other character
For the secondary fish interacting with the main character, I conducted online research to determine suitable fish models. Initially, I aimed to select more realistic fish models to contrast with the main character. This distinction helps convey to the audience that the main fish, feeling different from the others, is anxious about its unfamiliar environment. The following are a few models I have considered.
However, even if the other fish have different styles or color schemes from the main character, their similar species may make it challenging to convey the protagonist’s fear effectively, especially within a 30-second animation. Therefore, I decided to use a shark as the other character to communicate this idea more directly.
Animation
I tested the timing and positioning of the fish in Maya. To assist with this, I saved the UE environment as an FBX file and imported it into Maya, using it as a reference for the distance the fish need to move and the appropriate scaling.
However, I encountered several issues:
I struggled to achieve accurate sizing and positioning for the fish.
Despite adjustments, the camera angle in Maya remains noticeably different from the one in UE.
2. I was unable to import the animation from Maya into UE.
There seem to be issues with the rig or model that prevent me from importing the fish into UE (with the rig and animation separately), as it repeatedly flags naming issues.
I attempted several methods in Maya, such as combining meshes, deleting history, adjusting skeleton hierarchy naming or namespaces, and modifying various settings. Despite these efforts, the animation still cannot be imported into UE.
After multiple attempts to resolve this issue without success, I decided to create the animations directly in UE. I am now in the process of re-rigging the fish within UE.
After receiving feedback on my previous walk cycle assignment, I need to implement the following changes.
Fig-1: Animator’s Survival Kit P.108
Before addressing the necessary adjustments, it is essential to review the content covered in last week’s blog. Specifically, we examined the different poses that constitute a walk cycle, including:
Contact
Down
Pass Pos
Up
Contact
In an effective walk cycle, it is essential to maintain a well-defined curve.
Fig-1: Animator’s Survival Kit P.103
As illustrated in this screenshot from the book, curves are visible above the model’s head and at the feet. This imaginary curve should remain consistent throughout the walk cycle to ensure smooth and natural motion.
In my previously submitted assignment, the Contact Poses and Down Poses did not descend sufficiently to maintain a consistent curve. Additionally, the poses were not adequately spaced, resulting in a lack of clarity. Addressing these two issues will be my primary focus for improvement.
Contact Poses
Down Poses
Another issue with my blocking animation is that the feet are either not fully in contact with the floor or are sinking below it, which creates an unnatural appearance. To resolve this, I adjusted the foot positioning to ensure proper contact with the ground.
Walk Cycle(Spline)
After addressing the issues mentioned above, I made additional refinements, such as ensuring the feet remained stable and did not move in unintended directions. The result of these adjustments is as follows.
In today’s lesson, we explored various aspects of animation narrative, editing, and character roles. We reviewed foundational narrative structures, including the three-act structure, Freytag’s Triangle, and the Monomyth, among others. These frameworks provide a basis for building compelling and cohesive stories in animation.
Three-act structure
This is a fundamental structure common to all stories, consisting of a beginning, middle, and end. In the beginning, the background of the characters is introduced, and they soon face various conflicts. The climax represents the peak of tension, where characters experience the most intense conflicts, often through a pivotal or action-packed scene that serves as the story’s most thrilling moment. Importantly, the story’s beginning and end should reflect change, ensuring that the characters or circumstances are different by the story’s conclusion.
Examples of Montage Editing
In addition to narrative structures, we also explored film editing techniques, with a particular focus on montage editing. I find montage editing especially interesting, as it conveys messages without depicting the entire scene. Instead, it presents select shots related to the action, prompting the audience to infer what occurred. For instance, in a murder scene, rather than showing the actual stabbing, the film might show a knife dripping with blood, allowing viewers to imagine the event themselves. This approach engages the audience’s imagination, making the scene both powerful and suggestive.
I decided to search for more film examples that effectively use montage editing to convey action or emotions without showing explicit details. This technique fascinates me, and seeing how different films use it could deepen my understanding of how selective shots can shape audience perception and heighten the storytelling impact.
Up (2009)
In this well-known Pixar movie, montage editing is used masterfully to depict the lifelong relationship between the protagonist, Carl, and his wife, Ellie. In just 2-3 minutes, this scene encapsulates their entire journey together, from childhood, through marriage, to old age, and ultimately to Ellie’s passing. This condensed portrayal, achieved through a series of carefully selected shots, allows the audience to experience the depth of their relationship in a brief but profoundly emotional sequence, illustrating how montage can convey complex, time-spanning narratives in an impactful way.
Tangeled (2010)
In Tangled, there is a similar montage sequence, but with a unique twist: it’s a musical montage. The narrative progression is guided by the song “When Will My Life Begin?” which reflects Rapunzel’s emotions and daily routines. This form of montage, where music drives the narrative flow, is commonly found in Disney and Pixar films. The song’s lyrics and rhythm not only enhance the visuals but also provide insight into the character’s feelings and desires, making the sequence both entertaining and revealing of Rapunzel’s inner life.
Continuity
In terms of continuity, we explored several techniques for connecting two or more unrelated shots, each offering unique methods to enhance storytelling. Here are some examples:
Graphic Relations
Graphic Matching: This technique links two unrelated scenes by using similar visual elements. For example, a shot might transition seamlessly from a circular object in one scene to a similar shape in the next, creating a cohesive visual flow.
Rhythmic Relations
This method connects unrelated shots through the use of rhythm or music, providing a sense of continuity by aligning with the beats or mood of the soundtrack.
One concept that particularly surprised me was how animation conveys messages that live action sometimes cannot. Animation brings the impossible into reality, making it easier to accept unusual or exaggerated ideas. Even if a story appears bizarre or fantastical, animation allows it to seem natural rather than odd. This unique quality of animation encourages audiences to think outside the box and embrace creative possibilities that may be challenging to convey in live action.
Story having ending as the beginning
In today’s class, we also discussed films that have endings mirroring their beginnings. This concept immediately reminded me of The Lion King (1994). The film begins with the birth of Simba, the future king of the Pride Lands, and Mufasa proudly presenting him to the animals in a grand ceremony. The movie then concludes with Simba returning to the Pride Lands, symbolically taking his place as king, and mirroring the opening scene as he presents his own cub. This circular structure is a clever narrative device that does not confuse the audience but rather adds depth to the story, showcasing Simba’s growth and the cyclical nature of life.
Imitations or Influences of Disney’s Hyperreal Animation Aesthetic
Several animation studios and forms have been influenced by Disney’s hyperreal aesthetic, characterized by highly detailed, fluid character movements, and expressive environments. For instance, Pixar, a subsidiary of Disney, has perpetuated this style in films like Toy Story (1995) and Finding Nemo (2003), where realistic textures, lighting, and smooth animation contribute to a hyperreal world. Similarly, DreamWorks’ Shrek (2001) employs a similar aesthetic, using detailed environments and character animation to enhance visual storytelling. Both studios aim for a balance of realism and fantasy, following Disney’s example but with their own innovations in terms of technology and thematic exploration.
Studios/Animators Resisting Disney’s Aesthetic
In contrast, some animation studios actively resist Disney’s hyperreal aesthetic by embracing different styles that emphasize abstraction, artifice, or visual simplicity. For example, Studio Ghibli, under Hayao Miyazaki, tends to favor a more hand-drawn, organic approach to animation, focusing on naturalistic yet stylized visuals that prioritize atmosphere and emotional depth over hyperrealism. In Princess Mononoke (1997), the studio’s aesthetic is marked by less emphasis on smooth, fluid movement and more on expressionist backgrounds and a stylized rendering of characters. Similarly, Aardman Animations’ stop-motion films like Wallace & Gromit (1989) resist hyperrealism by focusing on textured, often exaggerated character models and exaggerated, non-realistic movement.
Aesthetic Comparison of Dumbo Sequences
In the Pink Elephants on Parade sequence from Dumbo (1941), two distinct animation traditions emerge. The sequence exemplifies Disney’s West Coast style, which is grounded in the classic Hollywood tradition, with smooth, realistic character movements and detailed animation, as seen in the rest of the film. However, the “Pink Elephants” scene employs a more avant-garde, surreal East Coast style, characterized by nonlinear narrative, exaggerated, rubbery graphics, and an emphasis on visual experimentation. The scene’s abstract style, with its dreamlike sequences, contrasts sharply with the film’s otherwise realistic visual tone, providing a unique, jarring aesthetic shift.
Disney might have included this sequence to push the boundaries of animation and show the versatility of the medium. It highlights the ability of animation to evoke complex emotions and depict surreal experiences that live-action cinema could not. The inclusion of this scene may also reflect Disney’s desire to explore different artistic expressions within the framework of mainstream animation, offering a playful and imaginative divergence from the film’s usual realism.
Progress on Critical Report
I am currently working on my Critical Report. While the topic has been confirmed, the content is still in development. During a recent discussion with my language tutor, I was advised that my current draft resembled more of a summary and description than a critical analysis. He suggested that I include more background information about the relevant historical period and explore the underlying reasons for changes in animated personalities. To address this feedback, I plan to consult additional resources, such as Re-Imagining Animation: The Changing Face of the Moving Image by Paul Wells, as well as scholarly essays and reports, including “Animating Hierarchy: Disney and the Globalization of Capitalism,” “Animation and Critical Theory” by Alla Gadassik, Richard McIntire’s work for the NAACP in The New York Times, and animated short films available on platforms like YouTube.
Furthermore, I intend to focus on three prominent animated characters, examining their history, characteristics, and conceptual evolution in depth.
In today’s lesson, we explored the rigging process for an octopus, a dragon, and a character within Unreal Engine (UE). Rigging involves adding a skeletal structure and control systems to a model to enable animation in the subsequent stages. I find rigging in UE both intriguing and challenging. Although various plugins in UE streamline the rigging process, it remains difficult to retain and apply the required blueprint configurations, which are essential for effective rigging. I believe additional practice would enhance my proficiency in this area.
Project Progress
I utilized an alternative model and integrated plugins to construct the environment, as the previously downloaded file was an HDMI image, which did not meet the project requirements. This format restricted character movement around rocks and corals, which is essential for achieving a realistic effect. Consequently, I opted to modify my approach.
Environment and Camera Angle
Using the available resources, I arranged models and configured elements such as lighting, god rays, shadows, and cameras. This version represents an initial test of the environment setup.I utilized an alternative model and integrated plugins to construct the environment, as the previously downloaded file was an HDMI image, which did not meet the project requirements. This format restricted character movement around rocks and corals, which is essential for achieving a realistic effect.
Consequently, I opted to modify my approach. Using the available resources, I arranged models and configured elements such as lighting, god rays, shadows, and cameras. This version represents an initial test of the environment setup.
At present, I am satisfied with the results and plan to proceed with blocking the animation for the character, particularly the fish.
However, I encountered an issue when reopening Unreal Engine on a different computer, as the downloaded textures for the models and surfaces were missing. I plan to seek a solution for this issue through online resources and by consulting my tutor.
Animatic
Before beginning the animation of the fish, I created an animatic to provide a preview of the character’s movement and camera angles. This process aids in better planning for the animation, as I am using Maya to create the animation and Unreal Engine to build the environment.
Rigging
I attempted to rig the fish I had previously found, but encountered some issues in the process. Due to its shape and the fact that it was sculpted, I had difficulty inputting the skeleton (the bones highlighted in white) into the model.
The “fins” of the fish were not moving correctly with the controllers. I have decided to use a different model for my animation to determine whether the same issues persist.
This rig appears more suitable for use, as it allows me to add controllers to enhance the animation.
For my fish texture, I plan to use purple as the main colour for the environment and yellow for the fish, creating a strong contrast that helps the fish stand out from the background. This approach is inspired by the color palette in the following padlet.
I am going to change the main colour for the environment after I solved the texture issue in Unreal Engine.
I tried to reference the colour from the colour padlet above, but it does not really give a good result and rather seems like the sea was poisonous or cursed. I would continue experimenting with the colours by importing the fish to the environment together with doing the animation,
For the previous homework about weight shift, I modified the version from blocking to spline.
I find the outcome somewhat bouncy and unstable, possibly due to excessive movement in the body and the ankle of the leg. To address these issues, I made adjustments and created the next version of the weight shift.
Walk Cycle
Fig-1: Animator’s Survival Kit P.108
In every walk cycle, there are five key positions: contact, down, passing pose, up, and another contact, as illustrated in the image above. The repetition of these movements creates the foundation of a walk cycle. Regardless of whether the character is a princess or a superhero with distinct personalities and traits, they all adhere to these fundamental principles in their walk cycles.
Fig-1: Animator’s Survival Kit P.119
Walk Cycle: Reference
I find this reference quite useful, as it outlines each movement within the walk cycle and includes a grid that helps me better understand the shifts of different body parts.
Walk Cycle: Outcome
I am uncertain about the body tilting left and right, as it appears somewhat awkward to me. I plan to address this issue to improve the overall animation.
Upon reviewing the animation from the front view, I noticed that the body has shifted to the left. This presents another issue that I need to address.
I attempted to remake the walk cycle by following the tutorial’s guidance and found that copying and pasting frames is much more efficient than recreating each pose from scratch. Additionally, I incorporated a subtle shift of the ball’s body in the front view, making the movement appear more natural.
Following feedback on my previous assignment, I implemented several modifications. These included refining the trajectory arc, adjusting the time the ball remains airborne, and altering the shape of the ball during its ascent and descent. Additionally, I modified the tail’s form to ensure it follows the ball’s motion more cohesively.
This reflects the revisions made to the earlier version.
This is the revised version, incorporating adjustments to the trajectory arc, airtime, and the shape of both the ball and its trailing tail throughout the motion.
Weight Shift
In today’s lesson, we focused on weight shift. The primary objective of the animation homework is to ensure that the weight accurately follows the leg bearing the load.
In other words, when the weight shifts from right to left, the body should initially tilt slightly to the right. As the weight transitions to the other side, it should then tilt slightly to the left, creating a sense of movement. Additionally, it is essential for the body to maintain alignment with the line of balance throughout the animation.
Line of Balance
Fig-1: EtheringtonBrothers
We must ensure that in every frame, when a line is drawn between poses, the distribution of positive and negative space on the left and right remains balanced. This approach mimics the actual balance that a person exhibits in the real world.
Weight Shift: Reference
For this task, I recorded several reference videos of myself, experimenting with both faster and slower movements. My goal was to incorporate exaggeration into my actions; however, upon reviewing the footage, I felt that the level of exaggeration was inadequate. After further attempts, I captured improved results that more effectively convey the desired effect.
Weight Shift: Planning
While planning the animation, I found it challenging to map out each keyframe as the animation complexity increased. In simpler animations, such as a bouncing ball, planning was more straightforward; since the ball lacks limbs, it was easier to illustrate overlapping details like shape variations and speed adjustments without elements covering one another. However, as the animation involves more complex forms—like characters with legs—layering different elements can create confusion, making it difficult to keep the planning process organized.
To address this, I plan to use digital drawing tools with distinct colors for each frame in future projects, which should help clarify each element and improve readability in the planning phase.
Weight Shift: Outcome
My weight shift blocking ended up differing somewhat from the demonstration in class, as I based mine on a different reference video. Nonetheless, I did my best to align with the demonstration as much as possible, and this was the resulting animation. Some adjustments are still necessary, particularly regarding the rotation of the foot, body, and various angles.
Posing
This week, I created several poses based on the preliminary sketches I had drawn earlier.
